Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments (...) can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

After half a century, environmental aesthetics successfully expanded the scope of modern art-centred Western aesthetic discourse. I argue that further expansion is in order. First, we should explore the aesthetics of the constituents of the environment, namely artefacts, human activities and social relationships, which determine the quality of life and the state of the world. Second, we need to cultivate aesthetic literacy as well as a normative discourse to steer our aesthetic practice toward a better world-making. Finally, environmental aesthetics needs (...) to be globalised to include rich aesthetic traditions of nature and environment from diverse cultures. (shrink)

Background The principle of human dignity is woven into the ethical principles of the midwifery profession, noted as both an obligation and a human right. Research Objectives The aim of this study is to explore the experiences of midwifery students regarding threats to women's dignity during childbirth. Research Design This is a qualitative study with explorative design. Participants and Research Context: The research was carried out in 2022 at Kermanshah University of Medical Sciences, involving 32 midwifery students in individual interviews (...) that lasted between 30 and 90 minutes. These participants aged 21 to 28 years, with an average age of 23.5 years, provided their perspectives on the matter. Results Four key themes described the threats to women’s dignity during childbirth: 1) professional incompetence, 2) abuse of power imbalance, 3) caring only for physical and not mental health, and 4) structural issues within the healthcare system. Professional incompetence was characterized by outdated practices and lack of adherence to evidence-based medicine. Abuse of power imbalance was demonstrated in instances where the authoritative position of healthcare providers was misused, thereby disrupting the respectful care that women are entitled to receive. The disproportionate emphasis on physical health over mental health was evidenced by the disregard for mothers' psychological well-being during childbirth. Lastly, systemic structural issues emerged as significant impediments, revealing the need for system-wide changes. Ethical considerations: This study was approved by the Ethics Committee of the Research Deputy at Kermanshah University. Participation was voluntary and the confidentiality were maintained. Conclusion The findings underscore the role that unprofessional behavior, ethical lapses in medical practices, and systemic challenges play in undermining maternal dignity during childbirth. These threats necessitate urgent attention and must be adequately addressed in policy development and program implementation to safeguard the dignity of mothers during childbirth. (shrink)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

We often derive aesthetic pleasure from nature as well as from works of art. Although our experiences of both are analogous in some respects, there are some important differences. Since nature is not created specifically for aesthetic enjoyment it can be appreciated in more various ways than art. Hence, the distinction between aesthetic and non-aesthetic experience is crucial in examining the aesthetic appreciation of nature. ;An appreciation of any object is considered aesthetic if it is directed toward the sensuous surface (...) of the object for its own sake. This notion of the aesthetic, however, does not necessarily preclude the aesthetic relevance of various conceptual considerations. Examples are provided to illustrate how associated facts can modify our perception of the object's sensuous surface. Thus, a variety of aesthetic appreciations of the same object are possible. ;Among various possible appreciations of an artwork, the range of appropriate responses is limited by cultural, historical, and institutional determinations. In contrast, nature lacks such determinations; consequently, aesthetic considerations in most cases cannot show that certain responses toward nature are inappropriate. Neither can we claim that certain aesthetic responses toward nature are improper because they do not help justify the preservation of nature, hence are ethically undesirable. An aesthetic justification for preserving nature, therefore, presupposes its ethical justification. ;Contrary to a widely held view, such ethical considerations against destroying nature are not suggested by the traditional Japanese love of nature. The Japanese traditionally have appreciated nature for its psychological, aesthetic, and metaphysical values and thus their love toward nature lacks an ethical dimension. I suggest instead that the most fundamental reason for preserving nature concerns its functional unity which is indispensable to our health and survival. In this sense, the aesthetic appreciation of nature that incorporates the scientific considerations regarding such unity helps us develop an ecologically sensitive attitude toward nature. (shrink)

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.

The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations ha ve serious consequences which determine the quality of life and the state (...) ofthe world, for better or worse. This power ofthe aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a norma ti ve dimension to everyday aesthetics, 1 argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse. (shrink)

During recovery from psychosis (diagnosed as schizophrenia) things must often be done slower than normally expected. The tempo of the socially shared reality is often experienced as being too fast for the recovering person. We will describe how this impairment stems from the pre-reflective mental structure underlying psychosis and how it can be transferred into an active skill supporting recovery, often including social retreat. In this paper, co-written by a psychiatrist and a person experienced in psychosis (= participatory health research), (...) we will draw on personal experiences, (participatory) qualitative research and first-hand accounts for our arguments. We will sketch out the process and three crucial building blocks of recovery: laid-back situations, switch-off skills, places to talk. We will then describe the acquired skill of slowing-down as an amalgam of the building blocks ‘switch-off skill’ and ‘laid-back situation’, since slowing-down answers the situation in a laid-back manner and enforces a slow behavioral pace on it. While this might be okay in private and in some situations shared with others (i.e. during serene situations), it may be tantalizing for others in many everyday situations resulting in stigma or exclusion (i.e. during work). Slowing-down therefore challenges the surrounding others and demonstrates the necessity to synchronize private and public tempos. This is most challenging while living in two realities at once, being the second and often a long-lasting stage of recovery (stage of double realities). (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

This essay discusses how the aesthetics of body movements contributes to cultivating other-regarding moral virtues, such as respect and care. The moral and aesthetic assessment of body movements is commonly regarded as a matter of etiquette and manners, which is considered to be nothing more than a superficial convention or a means of maintaining social hierarchy. I argue instead that body movements often facilitate an aesthetic communication of social virtues. As such, body aesthetics is an indispensable ingredient of a good (...) society. The Japanese aesthetic tradition offers a particularly rich legacy of developing the moral character of a person through bodily practices in the artistic, religious, and everyday realms. I will present and analyze various examples from Japanese cultural tradition to illustrate the significance of body aesthetics as a vehicle of cultivating moral virtues. (shrink)

It is generally agreed that the prime mover of contemporary consumerism is aesthetics. However, today's consumer aesthetics often leads to decisions and actions that have negative environmental consequences. By taking apparel industry, represented by fast fashion, as a quintessential example of this problem, I argue that aesthetics can no longer claim immunity from environmental considerations—there needs to be a paradigm shift for consumer aesthetics. A proposed new environmentally minded consumer aesthetics promotes a paradoxical role for material ephemerality in enhancing an (...) object's longevity, and it places importance on the personal connection with an object's story, as well as our engagement with the material world more generally. (shrink)

Since the introduction of EMD by Dr. Shapiro in 1987, which led to the development of EMDR Therapy, clinical experiences and research contributed to a variety of protocols and procedures. While this dynamic evolution within EMDR Therapy is offering more options to treat a variety of patients suffering from various disorders, there is a greater risk of deviations from the core framework of this approach that would no longer be understood as EMDR Therapy. While research shows that following Shapiro’s standard (...) protocols and procedural steps is important to achieve positive treatment effects, it seems prudent to define the core elements in EMDR Therapy beyond adherence to the standard protocol given the complexity of clinical demands in a variety of treatment contexts. The author proposes that best practices requires not only an adherence to the fidelity of the model, but a willingness to adapt the model in order to best meet the needs of our clients in a variety of clinical contexts. Defining the core elements that constitute EMDR Therapy offers both a structure that has been well established and offers a foundation from which clinical adaptations can be made that are within the realm of what is widely accepted as EMDR Therapy. Such a structure could also be used to define research as well as clinical applications. Additionally EMDR Therapy as a comprehensive psychotherapy approach implies that the therapeutic relationship is an important component and should be considered a core element of this methodology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nihilism, Science, and Emptiness in NishitaniHase ShotoEmptiness and NihilismIt may be sufficiently known by now that the trunk line of Nishitani’s philosophy is the ‘idea of emptiness.’ Indeed, from his Philosophy of Primordial Subjectivity (1940) through his God and Absolute Nothingness (1948) and Nihilism (1949) right into Religion and Nothingness (1961), Nishitani’s thinking has fundamentally turned around the idea of emptiness. 1 Not that in the three works preceding (...) Religion and Nothingness the idea of emptiness is treated overtly as such. Rather, in those works the idea is continually growing, as it were, on an invisible underground level, to come finally to the surface in Religion and Nothingness. It is as if the emptiness that had grown strong by withstanding the pressure of the ‘rock’ of nihilism came into the open by overthrowing that rock.As it was the key to the solution of the problem of nihilism that had beset him in his youth, the idea of emptiness was more than a mere idea for Nishitani. It was something on which the possibility of existence entirely depended for him. Therefore, he did not speak of the idea of emptiness but of the ‘standpoint of emptiness.’ For Nishitani, nihilism was not simply a philosophical problem, a problem accidentally encountered in the course of his philosophical investigations. It was a problem he had been saddled with willy nilly as a result of his own nature and temperament as well as of the conditions of his time. He then decided to shoulder the problem as his particular task. In other words, nihilism assumed for him the nature of a destiny. Consequently, the ‘standpoint of emptiness,’ at which he arrived at the end of the arduous struggle for the solution of the problem of nihilism, took on for him the character of a reliable slab of granite discovered at the bottom of his own existence: something with a depth reaching all the way to the core of the earth and a solidity sufficient to carry the weight of nihilism. Of all this Nishitani himself was clearly aware. Let me reflect a few moments on Nishitani’s idea of emptiness in its relationship with nihilism.How did Nishitani view this nihilism that constituted the basic problem for him? He defined his own philosophical standpoint as, in the final analysis, “the overcoming of nihilism by way of nihilism.” In his own estimate, the nihilism he struggled with was an extremely “difficult” and “hard to solve” problem for philosophy—a problem wherein intellectual aporia and existential conundrum intertwine; not the [End Page 139] kind of problem that finds a solution provided one makes the necessary efforts; a problem that is hard to get hold of: the study of various thought systems appears only to circle around its periphery. Thus, “at a certain moment I decided to give up my philosophical efforts and to tackle the problem by Zen [meditation], away from all intellectual efforts. At that point, for the first time and little by little, a way to its solution came in sight.” 2This kind of patient struggling with one particular problem, as we see it in Nishitani’s case, may not be unheard of but is certainly not commonplace. If we may call this attitude or way of facing problems a ‘method,’ it appears to be described by Simone Weil, where she writes: “The method proper to philosophy consists in clearly seeing insoluble problems in their insolubility, and then to contemplate them, concentratedly and indefatigably, for years, without any hope in the waiting. According to this criterion, there are few philosophers. But ‘few’ may be saying too much. The passage to the transcendent is opened when the human faculties—intellect, will, human love—run into a limit, and then the human being stays on this threshold, beyond which it cannot put a single step—and this without turning away, without knowing what it desires, and concentrated on the waiting. It is a state of extreme humiliation. It is unachievable for anybody who is not capable of accepting humiliation.” 3We may say that, just like Simone Weil herself, who for many years struggled with the insoluble problem of ‘unhappiness... (shrink)