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Aesthetic appreciation of landscape is by no means limited to the sensuous enjoyment of sights and sounds. It very often has a reflective, cognitive element as well. This sometimes incorporates scientific knowledge, e.g.,geological or ecological; but it can also manifest what this article will call 'metaphysical imagination', which sees or seems to see in a landscape some indication, some disclosure of how the world ultimately is. The article explores and critically appraises this concept of metaphysical imagination, and some of the (...) roles it can play in our aesthetic encounters. (shrink)
How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract idea does (...) present paradoxes. For example, how are we to respond to scientific updates about the ever greater vastness of space? The way forward presented here is to endorse, but not with any sense of uniqueness of misplaced grandeur, our freedom to contemplate with due seriousness both the near and the far and our own capacities, such as imagination and love, as also part of the wonder and mystery of the universe. (shrink)
The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.
First published in 1966, The Discipline of the Cave is the first series of a course of Gifford lectures on philosophical issues.. J N Findlay’s lectures use the image of the Cave to show how familiarity is full of restrictions, and involves puzzles and discrepancies unable to be resolved or removed. Such philosophical perplexities may be a result of the misunderstanding and abuse of ordinary ways of thinking and speaking. They may also be a way of ‘drawing us towards being’, (...) providing proof of the absurdity of ordinary thought, speech and experience unless modified and added to in ways which may point beyond it. What may be called a mystical and otherworldly element may need to be introduced into or rendered explicit in all our experience in order to give a viable sense to the most commonplace human utterances and activities. (shrink)
In some recent theological writing, imagination is presented as a power of the mind with crucial importance for religion, but one whose role has often suffered neglect. Its fuller acknowledgment has become a live issue today. ‘Theologians’, wrote Professor J. P. Mackey, ‘have recently taken to symbol and metaphor, poetry and story, with an enthusiasm which contrasts very strikingly with their all-but-recent avoidance of such matters’. As well as relevant writings by Eliade and Ricoeur, there have been treatments of religious (...) imagination by Professor John Mclntyre in his Faith, Theology and Imagination and in J. P. Mackey's composite volume entitled Religious Imagination. (shrink)
Aesthetic theories, like theories of morals, are roughly divisible into those that maintain an analytic neutrality and those that attempt to arrive at “first-order”, practical judgments. A philo sopher of language may confine the legitimate task of aesthetics to the clarification of talk about works of art and about the fashioning of works of art. But other aestheticians, perhaps a more numerous group, see their study as far more intimately related to art criticism, and as able, without the committing of (...) naturalistic or any other fallacies, to reach particular aesthetic value-judgments. Between these extreme positions lies a great diversity of theories which, while clearly differentiating aesthetics from art criticism, still carry practical implications of a general kind. The conceptual scaffolding into which they fit the art-forms, their notion of what is central to aesthetic experience and what peripheral, their account of artistic creativity-all these can be indirectly evaluative, can subtly influence and alter one's responses to actual aesthetic objects. (shrink)
Frank Sibley was a philosopher who achieved notably sharp, lucid analyses of fundamental issues in aesthetics. This lively collection witnesses to the continuing power of his ideas to stimulate fresh thinking in and beyond his field.
This paper has a twofold structure: both parts concern philosophy's understanding of its data—in the area of aesthetics. The first part considers aesthetics as philosophy of art: the second part considers aesthetics as concerned also with the appreciation of nature.
No-one can read far into our subject without finding an author linking aesthetic experience and freedom in one sense or another: Kant, notably of course, but also Schopenhauer, Schiller, and many more. In this article I want first [A] to remind you in a sentence or two of those by now classic ways of connecting concepts of freedom and aesthetic experience, and then [B] to outline some thoughts of my own. Section [C] opens up in more detail a less frequented (...) and less well-charted topic: basically, the many- layered nature of much aesthetic experience, and how that can involve freedom in an ‘improvisatory’ contribution by the apprec iator. Each layer can be thought of as containing a ‘given’—the product of earlier syntheses, plus a new component, in its turn, to be synthesized, whether historical, scientific, religious, or other. This probably occurs most of all in the aesthetic appreciation of nature, since art offers some controlling, ‘mastering’ of the appreciator’s response. (shrink)