Challenging the image of physics as dry and dusty, The Beautiful Invisible shows that this highly abstract science is in fact teeming with beautiful concepts, ...

After the so-called Hegelian verdict, Adorno is the first philosopher who devotes such an intense attention to natural beauty within his aesthetic speculations. This central – although unfairly bypassed – moment could be fruitfully analysed through the figure of landscapes, thematized throughout Adorno’s constellation of texts. In this framework, the landscape represents more than a mere backdrop, but rather a significant theoretical spot to concretize the connection between the aesthetic performativity and the beauty of nature. Therefore, by (...) means of a careful reading of Adorno’s various formulations on the topic, this paper aims to show how the philosopher overcomes the traditional and immediate antithesis between nature and culture or even technique. More importantly, it will be investigated how a genuine aesthetic experience of nature – also in the image of a landscape – should be configurated, in order to hopefully feel its now mutilated silence again. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Contemplating the Beautiful: The Practical Importance of Theoretical Excellence in Aristotle’s EthicsJames L. Wood (bio)Aristotle, unlike plato, famously distinguishes φρόνησις from, practical from theoretical wisdom, in Book VI of the Nicomachean Ethics. He distinguishes them on the basis of both their objects and their psychic spheres: is the excellence or virtue (ἀρετή) of the scientific faculty, τὸ ἐπιστημονικόν, “by which we contemplate [θεωρου̑μεν] the sort of beings (...) whose principles [ἀρχαί] do not admit of being otherwise,” while φρόνησις is an excellence of the calculative faculty, τὸ λογιστικόν, by which we contemplate “the sort of beings that admit of being otherwise” (VI.1, 1139a6–8).1 Φρόνησις is skilled and experienced deliberation about human action and emotion, and in particular about “the sort of things that relate to (πρός) living well in general” (VI.5,1140a28); so φρόνησις guides right action, and as it turns out, directly entails excellence of character, ἠθική ἀρετή (VI.13, 1145a1–2)., on the other hand, while necessary for complete happiness (VI.12, 1144a1–6), “contemplates none of the things that make a human being happy” (VI.12, 1143b19–20), because it contemplates not changeable human affairs, circumstances, and actions, but eternal and unchanging realities (VI.6–7; X.7–8; cf. On the Soul, III.9, 432b26–433a1). Θεωρία, contemplation itself, is defined with reference to in Book X, where contemplation is made the basis of the highest human happiness as the excellent activity of intellect (νου̑ς) by which “beautiful and divine” realities are apprehended (X.7, 1177a15–18 and following). In contrast, the excellence of practical activity (both φρόνησις and ἠθική ἀρετή) is explicitly distinguished from the excellent theoretical activity of νου̑ς in θεωρία and relegated to a merely “secondary” importance (X.8, 1178a9 and following).2 [End Page 391]We might well conclude from this account that theoretical activity has nothing to do with practical activity, even if each is independently necessary for complete human happiness, and even if, as Aristotle says, practical excellence is somehow necessary to prepare the way for theoretical excellence (cf. VI.13, 1145a6–11). I wish to counter this impression, however, by showing that there is a theoretical dimension to excellent practical activity.3 More precisely, I will argue that theoretical activity contributes to practical excellence by furnishing the principles (ἀρχαί) of practical reasoning to the calculative faculty and the motivating end (τέλος) of action to the irrational-appetitive (τὸ; ἄλογον) part of the soul. The intellectual faculty that performs this theoretical activity is νου̑ς; the principles that νου̑ς apprehends are the first premises of ethical and political deliberation; and the τέλος that νου̑ς holds up to the appetitive soul as an orienting and motivating object is το καλόν.4 What distinguishes this activity from the theoretical activity that furnishes the principles of scientific reasoning (ἐπιστήμη) for the sake of knowledge is both the kinds of objects studied and the purpose of the study. One typically studies mathematics or astronomy in order to gain knowledge, not to act virtuously; however, one can certainly study the principles of human nature for the sake of virtuous action (as well as knowledge), as Aristotle himself does in the Ethics and other treatises (cf. II.2, 1103b27–29).5 Moreover, the theoretical study of the most “beautiful and divine” realities, described in Book X of the Ethics and Book XII of the Metaphysics, raises the possibility of a direct contribution of θεωρία at the highest levels to πρα̑ξις through the mediating activity of νου̑ς in the contemplation of the highest beauty and divinity.In what follows I will develop and defend these points through a close examination of Aristotle’s discussion of these concepts. My argument has three main parts. The first examines the role of thought in excellent action, the second brings out [End Page 392] the significance of το καλόν as the universal object of practical excellence, and the third argues in three subsections for the contribution in different ways of theoretical to practical excellence.1. The Dependence of Desire on Thought in Excellent ActionAs is clear from his concluding remarks in Book VI, where he declares that the possession of φρόνησις entails the possession of all the virtues of character (VI.13, 1145a1–2), Aristotle holds that the ἀρεταί of practical thought and character, φρόνησις and ἠθική ἀρετή, are interdependent and mutually implicating in virtuous choice and action. Thought needs desire in order to be practically effective... (shrink)

The first book to focus on the intersection of Western philosophy and the Asian martial arts, _Striking Beauty_ comparatively studies the historical and philosophical traditions of martial arts practice and their ethical value in the modern world. Expanding Western philosophy's global outlook, the book forces a theoretical reckoning with the concerns of Chinese philosophy and the aesthetic and technical dimensions of martial arts practice. _Striking Beauty_ explains the relationship between Asian martial arts and the Chinese philosophical traditions of Confucianism, (...) Buddhism, and Daoism, in addition to Sunzi's _Art of War_. It connects martial arts practice to the Western concepts of mind-body dualism and materialism, sports aesthetics, and the ethics of violence. The work ameliorates Western philosophy's hostility toward the body, emphasizing the pleasure of watching and engaging in martial arts, along with their beauty and the ethical problem of their violence. (shrink)

Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different (...) but related accounts have appeared, both of which address the above issues. On the one hand, James McAllister has argued that aesthetic criteria in science reflect scientists' judgements about what kind of theory is most likely to be empirically successful, based on the relative empirical success and failure of different kinds of theories in the past. Scientists employ what McAllister dubs "the aesthetic induction". On the other hand, I have argued that we need to see science as making a hierarchy of metaphysical assumptions about the comprehensibility and knowability of the universe, these assumptions asserting less and less as one ascends the hierarchy. One of the more substantial of these assumptions is that the universe is physically comprehensible. The key non-empirical feature a body of fundamental theories in physics must possess to be acceptable is unity. The better such a body of theory exemplifies the metaphysical thesis that the universe is physically comprehensible, in the sense that it has a unified dynamic structure, so the more acceptable such a body of theory is, from this standpoint. This affects not just theoretical physics, but the whole of natural science. In this paper I compare and contrast, and try to assess impartially the relative merits of, these two views. (shrink)

Theoretical Perspective on Smell is the first collection of scholarly articles to be devoted exclusively to philosophical research on olfaction. The essays, published here for the first time, bring together leading theorists working on smell in a format that allows for deep engagement with the emerging field, while also providing those new to the philosophy of smell with a resource to begin their journey. The volume’s 14 chapters are organized into four parts: -/- I. The Importance and Beauty (...) of Smell II. Smell in Time and Space III. What We Perceive through Smell IV. Smell and Other Senses -/- The collection solidifies the area as an important emerging branch of perceptual philosophy by presenting the cutting edge research being done by innovative early career researchers, as well as by those more senior and established within the field. -/- Table of Contents 1. Introduction Andreas Keller and Benjamin Young -/- Part I: The Importance and Beauty of Smell -/- 2. The Role of Smell in Consciousness Barry C. Smith -/- 3. The metacognitive gap: Why we both trust and mistrust our sense of smell Ophelia Deroy -/- 4. Perfumes and the Aesthetic Appreciation of Nature Chiara Brozzo -/- 5. Aesthetics, Olfaction, & Environment Michael Aaron Lindquist -/- Part II: Smell in Time and Space -/- 6. Smell and the Space Between Us Clare Batty -/- 7. The Temporal Structure of Olfactory Experience Keith A. Wilson -/- Part III: What We Perceive through Smell -/- 8. How Biology Perceives Chemistry: A Causal Analysis of the Stimulus in Olfaction and its Implications for Scientific and Philosophical Theorizing Ann-Sophie Barwich -/- 9. The Accuracy Conditions of Olfactory Perception Andreas Keller -/- 10. Maybe We Don't Smell Molecular Structure Benjamin D. Young -/- 11. Stuff & Nonsense: Against Mizrahi on Olfaction Harry Sherwood -/- 12. The Layering of Smell William G. Lycan -/- Part IV: Smell and the Other Senses -/- 13. From Odors to Flavors: Perceptual organization in the chemical senses Becky Millar -/- 14. Seeing and hearing flavors Błażej Skrzypulec -/- 15. Smelling Gustatory Qualities Louise Richardson. (shrink)

This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to (...) consist in comparing any two objects' teleological styles either in respect of how or in respect of how well each realizes a common purpose. I argue that this equivocation forces Wicks into a dilemma: either he must assert the impossibility of ugliness or he must assert that the judgment of dependent beauty is reducible to the judgment of perfection. Either way, he denies important theoretic desiderata. (shrink)

Science is often thought of as a methodical but dull activity. But the finest science, the breakthroughs most admired and respected by scientists themselves, is characterized by elegance." "What does elegance mean in the context of science? Economy is a considerable part of it; creativity too. Sometimes, a suggested solution is so simple and neat that it elicits an exclamation of wonder from the observer. The greatest science, whether primarily theoretical or experimental, reflects a creative imagination." "In this book, (...) the distinguished physiologist and writer Ian Glynn explores some of the finest examples of elegance in science: the delightful simplicity of the laws discovered by Kepler and Newton in the motion of the planets; Galileo's experiments with an inclined plane; the remarkable work of Thomas Young on light; dazzling insights into the counterintuitive workings of our perception demonstrated by Richard Gregory and Vilayanur Ramachandran; and the several breakthroughs that led to Crick and Watson's unravelling of the structure and function of DNA. The result is a fascinating tour through some of the most important episodes in the history of science."--BOOK JACKET. (shrink)

The paper proposes a reflection on mathematical beauty, considering the possibility of aesthetic qualities for formal language. Through a concise overview of the way this question is understood by some famous scientists and mathematicians, we turn our attention to Gian-Carlo Rota’s theoretical proposal: his reflections as a mathematician and philosopher offer a perspective, of phenomenological matrix, fruitful for looking at the question. Rota’s contribution allows us to focus on the role of competence, acquired through effort, sedimentation and habit (...) of repetition, in cultivating the potential to recognise the aesthetic quality of formal language. Finally, we draw on some contributions from Gestalt theory, closely connected to twentieth-century phenomenology for chronological and conceptual reasons, applying the idea of gestalt wholeness to the mathematical product and proposing some reflections that may help to clarify some of the dynamics underlying the attribution of qualities of beauty to formulas or the detection of its lack. (shrink)

This paper is not primarily about the philosophy of beauty with regard to landscape evaluation. Neither is it basically about the place of aesthetics in environmental philosophy. Rather, its aim is to argue that while aesthetics has a clear role to play, it cannot form the basis of an adequate environmental philosophy without presupposing that natural processes and their products have no role to play independent of the human evaluation of them in terms of their beauty. The limitations, (...) especially of a subjective aesthetics, are brought out through examining the decision of the National Trust in the Lake District to restore Yew Tree Tarn, thereby 'to ensure its beauty will be permanent'. But should a landscape (an ecosystem for that matter) be 'frozen' against natural changes in order that its beauty be preserved 'permanently'? If not, what counter principle(s) can one invoke to argue against such a philosophy of management or at least to limit such intervention in its name? The National Trust is committed 'to preserving the beauty and unique character of the Lake District'. Its unique character includes its geological formations which make the area beautiful. But geological processes are dynamic. Should their products necessarily be subordinated to aesthetic considerations? If so, are they not in danger of being treated like a work of art, an artefact which we, humans, are entitled to preserve against change? In a conflict between the requirement of conserving beauty of the landscape on the one hand and natural processes at work which might undermine that beauty on the other, should aesthetic considerations always have priority? This paper will explore these related issues. However, the restoration of Yew Tree Tarn as opposed to the failure in Yosemite to intervene to prevent one of its lakes from drying out are merely used as handy examples to lead into such theoretical exploration which should, most certainly, not be interpreted as a general indictment of the overall management policies of the National Trust on the one hand, or endorsement of those of the Yosemite National Park on the other. (shrink)

In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on McAllister’s original (...) model and on further developments by Theo Kuipers in his “Beauty, a Road to the Truth?”. On the other hand, it is based on empirical findings about affection and emotion, and a naturalistic aesthetic theory. The new model is thus a naturalistic model with a wider explanatory range and much more internal consistency that McAllister’s. (shrink)

This paper considers fair betting odds for certain bets that might be placed in the situation discussed in the so-called Sleeping Beauty Problem. This paper examines what Thirders, Halfers, and Double Halfers must say about the odds as determined by various decision theoretic approaches and argues that Thirders and Halfers have difficulties formulating plausible and coherent positions concerning the relevant betting odds. Double Halfers do not face this problem and that is an important consideration in favor of Double Halfers.

Philosophical discussions on beauty have a long history. The discussions manifest the ambiguity of the concept; meanings of beauty and its role as an explanatory power of diverse tangible and intangible phenomena vary between disciplines and theoretical points of view. What is the essence of beauty? The notions of beauty comprises opposing qualities by being simultaneously a timeless idea penetrating all cultures and a profoundly historical concept, whose focuses, definitions, and contents change in the process (...) of time and vary between different cultural contexts. The significance of beauty for man is undeniable: it is a driving force in cultural production and creative thinking and a source of diverse emotions ranging from exhilaration to religious devoutness. Philosophies of Beauty on the Move investigates the essence of beauty by exploring its ontological and epistemological terms of existence in order to understand the paradoxes of beauty. (shrink)

The Stoa might be not the first philosophical school that comes to mind when considering the most important ancient contributions to aesthetics, yet multiple extant fragments show that the Stoics had a non-marginal theoretical interest in aesthetic properties. Probably the most important piece of evidence for the Stoic attempts to theorize beauty is the definition of beauty as summetria of parts with each other and with the whole. In the first half of this article, I present and (...) analyse the main evidence for this definition. Then I discuss Plotinus' critique of the definition and argue that it contains some pertinent remarks that, with support of additional evidence, lead to the conclusion that the Stoics conceptualized aesthetic properties as supervening on functional composition. (shrink)

The first book in English to attempt a full theoretical analysis of Hegel's philosophy of art, Beauty and Truth examines Hegel's central thesis: that both beauty and truth can be understood in terms of systematic coherence, and that art, as a purveyor of truth, embodies and reflects the beliefs of the societies from which it comes.

COVID-19 began to spread worldwide in early 2020. Various governments have taken measures such as isolation, travel bans, and evacuation, mandating people to wear masks and go out less, in an attempt to prevent the spread of the virus. Governments also restrict human contact service industries, including beauty and hair salons. When the pandemic was very serious, consumers had great doubts about going for hairdressing so the beauty industry was greatly affected. This study designed and developed an app (...) platform that considers the COVID-19 and is used for the psychological role of consumer safety. The methodology of this research is a qualitative study. Based on the Capability, Opportunity, Motivation, Behavior model, and presenting the context of capabilities, opportunities, and motives of the theoretical framework, this study investigates the factors that identify the demand for the development of the platform for the beauty industry app matching mechanism. Four groups of people including consumers, beauty technicians, store managers, and application development engineers all conduct interviews based on their ability, opportunity, and motivation after experiencing the using application of OpenBeautiful. The results found that all groups of people already had the knowledge and ability to avoid infection in a pandemic, so it was possible to establish the need and feasibility of using the app platform. The use of the beauty industry app platform can bring new consumption patterns and career opportunities, and can trigger more business behavior activities. Therefore, this study starts from the COM-B model, and then explores the user needs of the platform according to the COM-B model framework, and proposes the mechanism and platform of app matching. Finally, based on the conclusion of the study, we propose practices and suggestions for the future operation of the app matching platform. (shrink)

The role of judgments of beauty in scientific theory evaluation is the subject of significant debate in contemporary philosophy of science. This book advances that debate by broadening its scope. In Judgments of Beauty in Theory Evaluation, the author argues that judgments of beauty are a justified part of theory evaluation of all sorts: not only scientific theory evaluation, but also philosophical theory evaluation. The author argues for this thesis by providing an account of beauty—inherited from (...) Kant and Mothersill—on which the distinctive nature of judgments of beauty is that they are unprincipled, yet possible. The author then analyzes two important methods of theory evaluation—reflective equilibrium and simplicity—and argues that these methods require making judgments of beauty so understood. Finally, the author argues that these methods of theory evaluation are not anomalies, but that they point to a deeper lesson about the nature of theorizing and the necessity of using judgments of beauty to evaluate systems, like theories. This conclusion has implications for the debate in philosophy of science over judgments of beauty, but also prompts a reckoning in philosophy itself over the use of judgments of beauty in philosophical theory evaluation. (shrink)

In this dissertation, I give a reading of Kant's Critique of Judgment. I focus on the cognitive value of judgments of beauty. I argue that judgments of beauty indirectly contribute to theoretical cognition. My particular focus is on such judgments' contributions to cognition of the 'rules of skill' that apply when one attempts to affect the behavior of other humans through language-use, and which also apply to formation of the subject's 'empirical character.' ;I base my reading on (...) Rudolf Makkreel's work on Kant. This work suggests that judgments of beauty have a role to play in the furthering the subject's global cognition. I examine Makkreel's reading in light of somewhat different accounts of the Critique of Judgment, such as are given by Paul Guyer and Henry Allison. I attempt to show where these scholars agree---and, where they disagree, I attempt to show how Makkreel's position is the correct reading. I focus on the central role of the 'principle of purposiveness' in Kant's account of judgments of beauty and their value, showing how Paul Guyer at times incorrectly downgrades this role. ;I next further elaborate my views on the centrality of this principle. I start with the basic point that the 'principle of purposiveness' is a principle that requires us to view nature as if it were ordered with the cognitive interests of humans in mind. I focus on Kant's claim that judgments of beauty give an aesthetic presentation of the order we take to find in nature, as we follow the principle of purposiveness. I then attempt to show that judgments of beauty point us toward useful ways of conceiving of this order in nature, and ultimately spur us on toward developing models of nature. However, I emphasize that the judgments of beauty themselves never reveal truth or knowledge concerning nature. I further emphasize that whatever accounts of nature we develop based upon these judgments' inspiration, we must check the accounts' validity independently of the status of any judgments of taste. (shrink)

What place do experiences of beauty have in a meaningful life? A marginal one, at best, it would seem, if one looks at the current literature in analytic philosophy. Treatments of beauty within so-called “analytic existentialism” tend to suffer from four limitations: beauty is neglected, reduced to artistic production, saddled to theology, or taken as a mere application of a broader theoretical framework. These discussions fail to engage with the rich tradition of philosophical aesthetics. In this (...) essay, I begin by responding to the contention that experiences of beauty cannot lend life meaning because they are passive. Drawing on work in philosophical aesthetics, I then argue that encounters with the beautiful count as genuinely meaning-conferring because they have features commonly taken as marks of meaningfulness. (shrink)

In the Critique of the Power of Judgment, Kant claims that “the beautiful is the symbol of the morally good.” In this article I offer an interpretation of this claim. According to Kant’s conception of a symbol, the form of judgment operative in judgments of beauty can also be applied to morality. This parallel application highlights that we are directed at an end which cannot be determined by theoretical cognition. I argue that beauty’s symbolism of morality depends (...) upon the solution to the Antinomy of Taste, and Kant’s conclusion that judgments of taste are grounded in the concept of the supersensible. Such an interpretation renders intelligible Kant’s remark that judgment makes possible a transition from nature to morality. Namely, beauty demonstrates to us nature’s openness to transcendence, and thus is a symbol, a making-sensible of our own transcendence and practical determination of nature. (shrink)

In this groundbreaking interdisciplinary work, Frederick Turner presents a new theory of aesthetics based on the argument that beauty is an objective reality in the universe. He identifies the experience of beauty as a pancultural, neurobiological phenomenon. Drawing on recent work in a wide range of fields--ritual and dramatic performance, the oral tradition, paleoanthropology and human evolution, neurobiology, cosmology and theoretic physics, chaos theory and fractal mathematics--the book describes evolution as a self-organizing, emergent process that generates increasingly advanced (...) forms of self-reflection, and proposes that the experience of beauty is the recognition of this evolutionary process and the reward for participating in it. The experience of aesthetic beauty, Turner says, is an adaptive function that drives evolution through sexual selection. Those individuals most sensitive to beauty survived surface cultural changes, excelled in mating rituals, and were participants in the positive evolution of the species. Turner shows how, as a result, neurotransmitters in the brain respond to certain inherited systems by which we appreciate beauty. Turner also presents the implications for theories of art and literature that follow from his identification of the inherent genres of human aesthetic experience. Forms of art cannot be arbitrary but must be rooted in our biological inheritance. This calls into question theories about modern art, and suggests that modernist culture turned its back on beauty in an attempt to repress and avoid the shame of humanness and our biological nature. This book breaks radically with contemporary positions in psychology, sociology, philosophy, andart, and offers an alternative to present trends in literary and critical theory. It should be of interest to a wide variety of readers, including the artistic community, critical theorists, students of oral traditions, philosophers, and aestheticians. (shrink)

Hume often praises and appeals to the theoretical virtue of simplicity in his philosophy. Yet there has been relatively little scholarship done on Hume’s conception of theoretical simplicity. This paper will look to rectify this lacuna in the literature. In particular, it will look to answer three questions as they relate to Hume’s philosophy. First, what is theoretical simplicity? Second, why should we favour simpler theories over more complex ones? Third, can a theory be too simple, and (...) if so, how?The paper will argue that for Hume, theoretical simplicity concerns the causal explanation of phenomena in terms of the fewest possible causes. Second, simplicity has both epistemic and aesthetic value for Hume. While he does not follow his contemporaries in appealing to God to justify the truth-conduciveness of theoretical simplicity, some of his discussions of this virtue include elements suggestive of a meta-inductive justification of it. In addition, Hume also sees theoretical simplicity as having an intrinsic aesthetic value over and above its epistemic merit. Third, Hume recognises that there are both epistemic and aesthetic tradeoffs involved with theoretica lsimplicity, which might rule against an overly simple theory. (shrink)

Beginning with a powerful essay on the individually and globally therapeutic qualities of art and beauty by Elaine Scarry of Harvard University, this volume brings together a diversity of theoretically minded scholars, scientists, artists, and healers.

Live commerce is a phenomenally innovative form of social commerce in China. In this paper, the authors aim to explore the authenticity of live commerce. By employing a qualitative approach using in-depth interviews and grounded theory, 21 initial categories are classified into six core categories. Among them, authenticity-associated concepts are classified into explicit concepts and implicit concepts. Explicit concepts of authenticity are associated with objectively authentic cues, while implicit concepts of authenticity are associated with subjectively authentic experiences. Moreover, the study (...) explores the relationship between explicit concepts of authenticity and product commitment, as well as the relationship between implicit concepts of authenticity and affective commitment. Both of these paths are found to influence consumers' shopping-related behaviors. Although consumers can more easily perceive explicitly authentic cues than implicitly authentic experiences, this study suggests that the latter may be more effective in inducing shopping behaviors. In addition, the effect of streamer attractiveness on opinion leader building is addressed, while authenticity is found to be an alternative approach to attract consumers both for attractive and nonattractive streamers. Finally, the study addresses theoretical implications and practical implications as well as suggestions for future research. (shrink)

The role of aesthetic factors in science is often mentioned, but seldom discussed in a sustained and systematic way. This thoughtful book is James McAllister’s attempt to do so. McAllister’s treatment engages a broad range of issues, relating aesthetic criteria to such diverse issues as the history of astronomy and twentieth-century physics, theoretical ruptures, and architecture. Its core goals are two. One goal is to show that there is a role for aesthetic considerations in theory choice that is compatible (...) with the rationalist tradition. Here he defends the rationalist image against two recent competitors, a Kuhnian image of science in which the history of science is not incremental and is punctuated by revolutions, and another which holds that “nonrational” aesthetic criteria play a significant role in theory choice. The second goal of this book is to defend a specific account of the role of aesthetic factors in theory choice, what McAllister calls the “aesthetic induction.”. (shrink)

There are at least twelve major virtues of good theories: evidential accuracy, causal adequacy, explanatory depth, internal consistency, internal coherence, universal coherence, beauty, simplicity, unification, durability, fruitfulness, and applicability. These virtues are best classified into four classes: evidential, coherential, aesthetic, and diachronic. Each virtue class contains at least three virtues that sequentially follow a repeating pattern of progressive disclosure and expansion. Systematizing the theoretical virtues in this manner clarifies each virtue and suggests how they might have a coordinated (...) and cumulative role in theory formation and evaluation across the disciplines—with allowance for discipline specific modification. An informal and flexible logic of theory choice is in the making here. Evidential accuracy, according to my systematization, is not a largely isolated trait of good theories, as some have made it out to be. Rather, it bears multifaceted relationships, constituting significant epistemic entanglements, with other theoretical virtues. (shrink)

In his entire oeuvre Brentano defended a scientific conception of philosophy and advocated the adoption of a rigorous, scientific method. Given this background it might come as a surprise that in his reflections on aesthetics he firmly rejected the classic definition of aesthetics as the science of beauty. This must not be read as an expression of disinterest in – or a dismissal of – aesthetics, though. It is rather an expression of Brentano's view concerning the position of aesthetics (...) in his overall system. He conceived it – on a par with logic and ethics – not as a theoretical science, but as a practical discipline that was rooted in psychology: aesthetics, Brentano suggests, is not constituted by a set of intrinsically related propositions; it rather serves the practical purpose of instructing those who want to experience the beautiful with correct taste or to create works of art. The task of aesthetics is, in other words, to formulate a set of rules or instructions that teach us how to correctly experience beauty, how to come to prefer the more over the less beautiful, but also how to create beauty and how to produce works of art that have the power to bring about aesthetic pleasure in the beholder. (shrink)

The aim of this paper is to examine whether and, if so, how far, the Augustinian notion of pulchrum is related to Plotinus’ concept of beauty, as it appears in Ennead I. 6. The Augustinian notion of beauty will be analyzed by focusing on the De natura boni, considering plurality and unity in Augustine’s identification of bonum with esse, both in their ontological and axiological dimensions. Topics selected for special consideration will be, first, beauty as outcome of (...) modus, species and ordo naturalis, and, secondly, corruptio as cause of deformitas. The first part of the paper will attempt to explain the Augustinian identification of esse with bonum and pulchrum.The second part will analyze Plotinus’ notion of beauty, as spelled out in Ennead I. 6, considering the Plotinian identity of to kalon and to agathon. Topics selected for analysis will be, first, the concept of form as cause of beauty, and secondly, the notion of to aischron as partial or absolute lack of form. The second part of the paper will attempt to explain Plotinus’ concept of good as yielding the nature of beauty through an analysis of Plotinus’ reflections on being and unity. The third part of this paper will consider the differences between Plotinus’ and Augustine’s identity of ugliness and non-being, as related to the notion of matter. Topics selected for analysis will be, firstly, Plotinus’ identity of matter and to aischron, and, secondly, Augustine’s concept of matter as capacitas formarum. The conclusion will prove how Plotinus’ concept of matter as coinciding with ugliness shows a wide theoretical difference between Augustine’s and Plotinus’ ontological-axiological patterns. (shrink)

While Theodor Adorno is known for his philosophical reconstruction of aesthetic modernism, he also analyzes—and is critical of—the demotion of natural beauty in the hierarchy of aesthetic concerns following Kant. Recent scholars have acknowledged that natural beauty is important in Adornian aesthetics, but many do so in a manner that repeats the subordination of natural beauty and the aesthetic experience of nature to that of art. Against this tendency, in this article I demonstrate that not only does (...) Adorno contest the inferiority of the aesthetic experience of nature but his unconventional description and theoretical articulation of natural beauty is especially pertinent for our time of climate crisis. By unpacking his endorsement of Walter Benjamin's casting both nature and history in terms of transience, I argue that Adorno proposes an experience of natural beauty that is expressive of social historical content, offers a vision of a different relationship with nature, and discloses ethical claims on us to act in this world. (shrink)

Psychoanalysis: Its Image and Its Public is a perfect illustration of Tarde's claim that ‘beautiful’ should be reserved for ideas that lead to a discovery of more ideas and to an invention that we can judge as fruitful for the future. The article examines the influence of the book in geographical, historical and scientific contexts and traces the development and diffusion of the theory of social representations throughout four periods. The article highlights the difference between the first edition in 1961, (...) and the second one in 1976, and it examines the development of Moscovici's ideas over time. The first edition of Psychoanalysis, based on the criticism of sociology of knowledge, underlines common sense as a new object of study, attempting to capture complex social phenomena. It shows common sense as a legitimate object of study that interweaves social, cultural and individual dimensions in the constitution of social reality. The 1976 edition emphasises that language and communication and its role in the theory of social knowledge. The book has had manifold impact on new areas of study. An overview of international research in social representations shows how this work has inspired scholars all over the world, has lead to creating Schools of research and to innovative proposals not only in terms of domains that have been studied but also in terms of theoretical models and methodological concerns. (shrink)

I articulate an African view of personhood that combines beauty and goodness–aesthetic and moral features. I discuss the idea of communalism, which provides the social and moral values and belief system that give meaning to this view of personhood. I use ideas from some African ethnic traditions, or some people’s account of these traditions, as examples to illustrate this view. The similarities in these examples from different ethnic traditions indicate that it is reasonable to characterize this view as a (...) common theme that may plausibly represent many African cultures. This essay does not seek to provide an anthropological descriptive view, but a plausible philosophical stance on how we ought to understand the idea of personhood in African cultures. I do not suggest that all African cultures or traditions have exactly the same view or that they hold this view in the same way, extent or degree. Obviously, there may be minor differences that do not alter the essence of the view. Many of the authors quoted in this paper who have written on African philosophy use the phrase, ‘African culture’, ‘African tradition’, ‘African view’ or ‘African society’. Thus, it has become commonplace in African philosophical circles that when the prefix ‘African’ is used in the literature on African philosophy, it does not imply that Africa is a monolith or that its traditions are static. There is a recognition that some traditions have changed or are changing. The use of ‘African tradition’ usually indicates a generalizing theoretical abstraction about some enduring and dominant similar themes or ideas in many African traditions. It is also meant to contrast ‘African’ with ‘Western’ traditions, and to also respond to Western critiques of Africa as a group. It is used in a similar way in which the prefix ‘Western’ is used in the literature. This notion of ‘Western’, which is replete in the literature, does not suggest the West is a monolith, but rather, a reference to some similar dominant themes in Western thought. (shrink)

Should judgments of beauty play a guiding role in theoretical science even if beauty is not a sign of truth? In this paper I argue that they should in certain cases. If we analyze the rationality of theoretical pursuit using decision theory, a theory’s beauty can influence the utilities of the various options confronting the researcher. After considering the views of Pierre Duhem and Thomas Kuhn on aesthetics in science, I suggest that because we value (...) freedom of inquiry we rightly allow scientists some choice in how they value aesthetic properties of theories and thus some freedom to use beauty to guide their research program. (shrink)

This paper examined the relationship between coaches and youth athletes in China by comparing data collected before and after the lockdown. A total of 221 youth athletes aged 13-19 years in one professional football school completed coach-athlete relationship questionnaires. The rank-sum test was used to verify the differences in the data. The results of the Mann-Whitney U test showed that the mean value of the three dimensions of the coach-athlete relationship (closeness, commitment, and complementarity) increased after the COVID-19 lockdown. The (...) results also showed that athletes of different age categories showed different changes in the coach-athlete relationship after the lockdown, and the changes were not significantly related to the severity of the COVID-19 epidemic. The theoretical and practical implications are discussed. (shrink)

As an exploration of 'beautiful behavior' in theory and practice, this ground-breaking volume explores the incredible diversity and dynamism of Islam in Southeast Asia, both past and present. Amid the dazzling complexity of Islamic civilization, the concept of adab provides Muslims with a shared sense of sacred history, identity, and morality. In the context of Islamic ethics, adab defines the rules of personal and public etiquette: good manners, moral conduct, civility, humaneness, beautiful behavior. Spotlighting the interdisciplinary research of ten prominent (...) scholars, the book offers new perspectives on adab's multiple meanings and myriad applications for Muslim communities in Malaysia and Indonesia. The chapters examine a wide range of texts including the writings of key Muslim thinkers and contexts, focusing on the everyday experiences of lay Muslims. Drawing on a variety of theoretical and methodological lenses, the essays reveal how 'beautiful behavior' impacts local institutions, cultural practices, and religious imaginations via politics and law, spirituality and piety, ethics and experience. (shrink)

The article considers the changing status of natural beauty in the twentieth century. This situation is presented with reference to extreme changes of interest connected with this field of value. The article begins by exploring some current theoretical presuppositions concerning this field . The focus of the following sections is on a pioneering text, which ended a long period of indifference to natural beauty – namely, Ronald W. Hepburn’s “Contemporary Aesthetics and the Neglect of Natural Beauty” (...) . This famous essay is considered in relation to both the general problem of the distinction and the subsequent development of models of the aesthetic appreciation of nature in the second half of the twentieth century , which were profoundly anticipated by Hepburn. (shrink)

An expanded edition of Hickey's controversial and exquisitely written apologia for beauty--championed by artists, reviled by art critics, and as powerful as ever 30 years on 1993: the AIDS pandemic rages through yet another decade, leaving society and the arts devastated and bereft. Dave Hickey sits down to produce a slim volume, The Invisible Dragon. The book ignites a firestorm, and from its ashes "beauty" again rises as a dominant force in artistic life. Academics argue about theoretical (...) minutiae. Artists pass the book around like a samizdat. This 30th-anniversary edition brings back into print Dragon's four essays on beauty and commingles them with five previously uncollected essays. Hickey's 1974 profile of Dolly Parton anticipates Dolly's longevity as a cultural and feminist icon; his appreciation of Richard Pryor weaves an elegiac tapestry; his review of John Rechy's seminal gay novel Numbers outs its literary innovation in the face of a homophobia that otherwise ghettoized it; and his singular essay on Ed Ruscha, a paragon of arts writing by an extraordinary prose stylist, enjoins us to listen to art, not just look at it. An afterword by Hickey's friend and Dragon's editor "queers" the brash, heterosexual gambler as it situates the creation of Dragon squarely within the AIDS pandemic. The book was in part an attempt to make beauty visible under the looming presence of death and bodily decay. Only now can we fully appreciate how artists continue to harness beauty as a source of meaning and joy. Dave Hickey (1938-2021) was one of the preeminent arts and cultural writers of the turn of the 21st century. A MacArthur "Genius" Fellow known as the "beauty guy" in the popular press, Hickey opened A Clean, Well-Lighted Place gallery in Austin, Texas, in the 1960s, before becoming executive editor at Art in America magazine. In the 1970s, he was a songwriter in Nashville, Tennessee, where he coined and helped create the "Outlaw country" music movement. By the 1990s, Hickey had made a home in Las Vegas, from where he regularly traveled to speak with audiences worldwide. (shrink)

This Element examines the entirety of Kant's Critique of Taste with particular emphasis on its political and moral aims. Kant's critical treatment of aesthetic judgment is both an extended theoretical response to influential predecessors and contemporaries, including Rousseau and Herder, and a practical intervention in its own right meant to nudge history forward at a time of civilizational crisis. Attention to these themes helps resolve a number of puzzles, both textual and philosophic, including the normative force and meaning of (...) judgments of taste, and the relation between natural and artful beauty. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

A scientific theory, in order to be accepted as a part of theoretical scientific knowledge, must satisfy both empirical and non-empirical requirements, the latter having to do with simplicity, unity, explanatory character, symmetry, beauty. No satisfactory, generally accepted account of such non-empirical requirements has so far been given. Here, a proposal is put forward which, it is claimed, makes a contribution towards solving the problem. This proposal concerns unity of physical theory. In order to satisfy the non-empirical requirement (...) of unity, a physical theory must be such that the same laws govern all possible phenomena to which the theory applies. Eight increasingly demanding versions of this requirement are distinguished. Some implications for other non-empirical requirements, and for our understanding of science are indicated. (shrink)

Fearful Symmetry brings the incredible discoveries of contemporary physics within everyone's grasp. A. Zee, a distinguished physicist and skillful expositor, tells the exciting story of how today's theoretical physicists are following Einstein in their search for the beauty and simplicity of Nature. Animated by a sense of reverence and whimsy, the book describes the majestic sweep and accomplishments of twentieth-century physics. In the end, we stand in awe before the grand vision of modern physics--one of the greatest chapters (...) in the intellectual history of humankind. (shrink)

Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . (...) .Danto, it seems to me, needs to come to terms with beauty as a matter of theoretical damage control. beauty, narrowly conceived, has the potential to threaten the generality of Danto's theory of art. Therefore, Danto needs, so to speak, to contain it. (shrink)

This article discusses the theory of Western wind instruments from a philosophical perspective, aiming to explore the theory of Western wind instruments. It uses the humanistic values and essential motivations in Western wind instruments to explain the significance and daily life of Western wind instruments, and exposes the cultural essence of Western wind instruments. So from a philosophical perspective, we can see the diverse presentation methods of Western wind instruments, presenting their unique beauty in timbre. The artistic and spiritual (...) beauty created by their elegant and harmonious music is a unique aesthetic observation. Western orchestral music has played a key role in improving the comprehensive quality, personality charm, and humanistic complex of the appreciative audience, and has unique advantages throughout the entire process of modern aesthetic education. In this article, the unique beauty of Western wind instruments was first analyzed, followed by a study on the modern aesthetic education value of Western wind instruments. Attempting to reflect on Western wind instrument cultural theory through philosophical methods and exploring ways to express a stronger and more accurate understanding and feelings of Western wind instrument theory. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

I see two important turning points in environmental aesthetics. In a definitive article, 'Contemporary aesthetics and the neglect of natural beauty', R.W. Hepburn in 1966 laid out the field and its tasks; Harold Osborne demonstrated the problem of externality and its solution in his 1979 paper 'An intellectual crisis in aesthetics '. Within this framework, a dynamic and innovative field of research has developed and grown, the future of which lies in the interaction between theory and practice and co-operation (...) between the various parties involved. (shrink)

In this article I give a naturalistic-cum-formal analysis of the relation between beauty, empirical success, and truth. The analysis is based on the one hand on a hypothetical variant of the so-called 'mere-exposure effect' which has been more or less established in experimental psychology regarding exposure-affect relationships in general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989; (Ye 2000). On the other hand it is based on the formal theory of truthlikeness and truth approximation as presented (...) in my From Instrumentalism to Constructive Realism (2000). The analysis supports the findings of James McAllister in his beautiful Beauty and Revolutiorl in Science (1996), by explaining and justifying them. First, scientists are essentially right in regarding aesthetic criteria useful for empirical progress and even for truth approximation, provided they conceive of them as less hard than empirical criteria. Second, the aesthetic criteria of the time, the 'aesthetic canon', may well be based on 'aesthetic induction' regarding nonempirical features of paradigms of successful theories which scientists have come to appreciate as beautiful. Third, aesthetic criteria can play a crucial, schismatic role in scientific revolutions. Since they may well be wrong, they may, in the hands of aesthetic conservatives, retard empirical progress and hence truth approximation, but this does not happen in the hands of aesthetically flexible, 'revolutionary' scientists. (shrink)

The paper introduces a proof-theoretic semantics for adjectival modification as an alternative to the traditional model-theoretic semantics basing meaning on truth-conditions. The paper considers the proof-theoretic meaning of modification by means of the three traditional adjective classes: intersective, subsective and privative. It does so by introducing a meaning-conferring natural-deduction proof system for such modification. The PTS theory of meaning is not polluted by ontological commitments, for example, a scale for beauty and a yardstick for being beautiful. It only uses (...) syntactic artefacts of the proof language. The paper also defines, by suitable rules, iterated modification, shedding light on the relationship between iteration and adjectival classes. Modification via coordinated adjectives is covered too. An appendix delineates briefly the main ingredients of PTS. (shrink)

George McGhee’s book “Convergent Evolution: limited forms most beautiful” provides an extensive survey of biological convergence. This paper has two main aims. First, it examines the theoretical claims McGhee makes about convergent evolution—specifically criticizing his use of a total morphospace to understand contingency and his assumption that functional constraints are non-contingent. Second, it sketches a group of important conceptual challenges facing researchers interested in convergence.

Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...) Adorno’s mature thinking, in particular his Aesthetic Theory ([1970] 2002): whether or not it is coherent to believe that knowledge can have an aesthetic form. This essay is motivated by the thought that Adorno’s reflections are useful for understanding contemporary art as well, and the burgeoning paradigm of art-science represents a welcome occasion to ask the reverse question: can art become theoretical? The first aim of this essay is, accordingly, to consider how Adorno’s negative dialectic of philosophy and art might illuminate the field of art-science, how its works might express sui generis truths. In turn, an examination of how the aestheticisation theme in Adorno might be appropriated for the business of art-science critique, might tell us something about the relationship between artistic content and philosophical interpretation, beauty and truth, in Adorno. (shrink)