This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored (...) in the volume include: Can art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)
Polanyi insisted that scientific knowledge was intensely personal in nature, though held with universal intent. His insights regarding the personal values of beauty and morality in science are first enunciated. These are then explored for their relevance to engineering. It is shown that the practice of engineering is also governed by aesthetics and ethics. For example, Polanyi’s three spheres of morality in science—that of the individual scientist, the scientific community and the wider society—has parallel entities in engineering. The (...) existence of shared values in engineering is also demonstrated, in aesthetics through an example that shows convergence of practitioner opinion to solutions that represent accepted models of aesthetics; and in ethics through the recognition that many professional engineering institutions hold that the safety of the public supersedes the interests of the client. Such professional consensus can be seen as justification for studying engineering aesthetics and ethics as inter-subjective disciplines. (shrink)
Aesthetics is a vexed topic in philosophy, with a long history. For my purposes, an aesthetic experience is a foundational affective response to an object, to which terms such as “ugly”, “beautiful”, “pretty” or “harmonious” are applied. These terms are derived from a Discourse of aesthetics; some remain constant, others change from generation to generation. Aesthetics and ethics have been linked in Western thought since the days of Plato and Aristotle. This essay examines what is happening (...) to that link in contemporary experience. It emphasises the ways in which the popular media exploit aesthetic appeal to penetrate their market, and to exploit and frame intuitive responses to current and past events. Production values, the artfulness of editors and the financial interests of producers and directors thus do much to determine contemporary aesthetic and ethical judgements. That which is beautifully presented invites the ethical involvement of the audience. Events whose images are beautifully presented constitute “hyperevidence”, a pre-judged, reinforced and amplified illusion of reality and participation. Understanding how aesthetic excellence draws audiences into ethical relationship with what is presented becomes an important part of education in ethics, including bioethics. (shrink)
From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has (...) been given to the ways in which aesthetics and ethics are intertwined. In a series of paired essays and responses, a group of the English-speaking world's most distinguished thinkers consider this 'new' aesthetics, demonstrating its cross-disciplinary relevance in terms accessible to a non-specialist readership. (shrink)
Subtle bodies -- Difference -- Subtle subjects of desire -- "Seering" desire : the between -- Inhabiting sight -- Durée : the aesthetics of desired time -- An ethics of emptiness -- Witnessing : detached immersion -- An ethics of grace : the law of desiring angels -- Conclusion : the angelic ternary.
This essay shows that a sharp distinction between ethics and aesthetics is unfruitful for thinking about how to live well with technologies, and in particular for understanding and evaluating how we cope with human existential vulnerability, which is crucially mediated by the development and use of technologies such as electronic ICTs. It is argued that vulnerability coping is a matter of ethics and art: it requires developing a kind of art and techne in the sense that it (...) always involves technologies and specific styles of experiencing and dealing with vulnerability, which depend on social and cultural context. It is suggested that we try to find better, perhaps less modern styles of coping with our vulnerability, recognize limits to our attempts to “design” our new forms, and explore what kinds of technologies we need for this project. (shrink)
The writings of the Scottish physician and philosopher John Gregory play an important role in the modern codification of medical ethics. It is therefore appropriate to use his work as a historical example in approaching the question how elements of aesthetics were incorporated in 18th century medical ethics. The concept of a Gentleman is pivotal to the entire medical ethics of John Gregory as it provides him with the ethical source of the duty to patients. Gregory (...) makes the trustworthiness of the physician a central point of his medical ethics, and it is in this context that Gregory declares good manners as an essential moral quality of a physician. This paper delineates how good manners are ethically justified in Gregory's medical ethics and concludes with an exploration of the importance of Gregory's conception for present day reflection on the inherence of aesthetics in ethical determinations. (shrink)
We deal with five aspects of the intrinsic connection of logic, ethics, and aesthetics in Wittgenstein's Tractatus: (a) the indication of what Wittgenstein called the "higher" of the world and language; (b) the conveyance of values through an intuition "sub specie aeternitatis"; (c) the discussion of internal properties of volitional totalities; (d) the reference to the metaphysical subject as the subject of volition (the will) (e) the indication of a "happy life". This intrinsic connection supplements the idea of (...) the transcendental unity of logic, ethics, and aesthetics, and goes beyond it. (shrink)
This is a tricentennial riff on the Edwardsean idea that beauty is both the first principle of being and the distinguishing perfection of God. What is really distinctive about Edwards's view of beauty is that it is an ontological reality and consists in joyfully bestowing being and beauty more than in being beautiful, in creative and beautifying activity more than in being beautiful. Edwards was also a pioneer in the way he envisaged a lively universe created by God, not out (...) of nothing or out of something, but out of the very fullness of God's own life overflowing into a world as a self-enlargement of the divine life. Edwards dares to offer a vision of God as the animating soul of the universe who governs the universe by the attractive and creative power of God's own beautifying life. What might it mean for religious ethics to take this as a description of the context for its work? The answer, in part and in brief, is that a life of true virtue, grounded in the heartfelt piety of holy affections, is a beautifying life. My aim in spinning out some Edwardsean themes is to encourage the reader to think about religious ethics outside the box within which beauty and beautifying activity play no part in defining the agenda of religious ethics. Inspired by themes unique and central to Edwards in his time, we may learn things of importance to religious ethics in our time that Edwards neither knew nor believed. (shrink)
In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position (...) with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)
If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)
Contemporary professional restaurant reviews have consequences beyond the dinner plate. They now face challenges from the democratizing efforts of blogs and crowd-sourced reviews. Thus an analysis seems appropriate for determining how they are written and what might be lost should they be replaced. Restaurant reviews are presumed to be a species of art and literary criticism and as such have evolved as a rhetorical genre. Through genre analysis we inductively construct the form of the professional restaurant review and then apply (...) it deductively to recent reviews to discover any substantive and stylistic differences that have arisen in the evolution of this genre of writing. We conclude with a critique of this genre that reveals ethical implications for the uses of metaphors in professional restaurant reviews. (shrink)
Introduction: the literary function -- Being constructivist -- Rethinking the performative in pragmatics -- The literary function and the cartographic turn: performative philosophy -- The literary function and society, I: affirmation of immanent aesthetics -- The literary function and society, II: community and subjectification -- The reader and the event of fiction -- Conclusion: degrees of freedom.
The _Mahabharata _is at once an archive and a living text, a sourcebook complete by itself and an open text perennially under construction. Driving home this striking contemporary relevance of the famous Indian epic, _Mahabharata Now _focuses on the issues of narration, aesthetics and ethics, as also their interlinkages. The cross-disciplinary essays in the volume imaginatively re-interpret the ‘timeless’ classic in the light of the pre-modern Indian narrative styles, poetics, aesthetic codes, and moral puzzles; the Western theories on (...) modern ethics, aesthetics, metaphysics, psychoanalysis, and philosophy of science; and the contemporary social, ethical and political concerns. The essays are all united in their effort to situate the _Mahabharata_ in the context of _here _and _now _without violating the sanctity of the ‘written text’ as we have it today. The book will be of interest to scholars and students of Indian and comparative philosophy, Indian and comparative literature, cultural studies, and history. (shrink)
Sleepy Hollow : fearful pleasures and the nightmare of history -- Lacan and the beyond of language : from art to ethics -- Brown's Wieland and the ethical circumscription of death -- Heideggerian ethics : the voice of art and the call to being -- Levinas: art and the transcendence of solitude -- Endings : ethics, enigma, and address in The marble faun -- Riven : Badiou's ethical subject and the event of art as trauma.
Inasmuch as unmitigated pain and suffering areoften thought to rob human beings of theirdignity, physicians and other care providersincur a special duty to relieve pain andsuffering when they encounter it. When pain andsuffering cannot be controlled it is sometimesthought that human dignity is compromised.Death, it is sometimes argued, would bepreferred to a life without dignity.Reasoning such as this trades on certainpreconceptions of the nature of pain andsuffering, and of their relationships todignity. The purpose of this paper is to laybare these (...) preconceptions. The duties torelieve pain and suffering are clearly mattersof moral obligation, as is the duty to respondappropriately to the dignity of other persons.However, it is argued that our understanding ofthe phenomena of pain and suffering and theirrelationships to human dignity will be expandedwhen we explore the aesthetic dimensions ofthese various concepts. On the view presentedhere the life worth living is both morally goodand aesthetically beautiful. Appropriate``suffering with'''' another can help to maintainand restore the dignity of the relationshipsinvolved, even as it preserves and enhances thedignity of patient and caregiver alike. (shrink)
In response to Jürgen Habermas’s critical assessment of the import of Theodor Adorno’s aesthetics, I revisit Adorno’s aesthetics in the context of the question of whether and to what extent there can be an aesthetics of nature, and the potential ethical and social-political significance of such an aesthetics.
Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values and (...) moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)
What did wittgenstein mean when he said that 'ethics and aesthetics are one', Since these are generally contrasted than amalgamated? his "1914-1916 notebooks", The "tractatus", And the "lecture on ethics", Show that he regarded them as one because they shared a "sub specie aeternitatis" attitude. Study of his remarks reveals the implications of his account and shows that wittgenstein, In this phase of development, Belonged in the mainstream of ethical and aesthetic philosophy.
The aim of this article is to examine the usefulness of spirituality and aesthetics for generating new perspectives and understandings with regard to business ethics. Using an interpretive mixed-methods approach, data were collected through an online survey of 223 respondents and focus group interviews with 20 participants. Analysis of the quantitative and qualitative data suggests that the presence of aesthetic spirituality and religious spirituality, along with the factors of optimism, contentment, making a difference and interconnectedness, are significantly associated (...) with ethical practice in the workplace. These factors may be focused upon when considering the ethical climate of organizations. Although this research does not support universal conclusions, the relationship between ethics, spirituality and aesthetics identified in the Australian services sector might be replicated elsewhere. (shrink)
Moral properties such as being wrong or being obligatory are not brute but based on other kinds of properties, such as being a lie or being promised. Aesthetic properties such as being graceful or being beautiful are similar to moral properties in being based on other kinds of properties, but in the aesthetic cases it may be impossible to specify just what these grounding properties are. Does any single property ground poetic beauty in the way promising grounds obligation to do (...) the promised deed? If aesthetic properties do differ from moral properties in this way, may we conclude that, although ethics is like aesthetics in being a realm of intuitive and perceptual knowledge—or at least intuitive and perceptual sensitivity—it is unlike aesthetics because the latter lacks principles that connect grounding properties with aesthetic properties? Are there any such generalities in aesthetics, or even aesthetic generalities connecting aesthetic properties with other aesthetic properties? If there are, how much like or unlike rules and principles in ethics are they? This paper explores all these questions in the light of examples from the arts, with poetry as the main case study. (shrink)
In perceptions of their landscapes the Latvians have denied the existence of the sublime, elevating rural and natural aspects as beautiful and good. While Latvian landscape aesthetics and ethics are based on the profound transformation of nature-landscape attitudes that occurred in Europe during the second half of the 18th century, when ideas of the beautiful, sublime, and the picturesque were debated, the existence of sublime characteristics within the borders of Latvia has not been recognized. In part the attitude (...) derives from the lack of dramatic topography in Latvia. Part of it is due to historic contrasts of sublime wonders in foreign lands with the simple rural beauties and virtues of Latvia. Travelers' observations of rural beauty in specific places reinforced such attitudes. But it is also bound up with the complex history of Latvians as an underclass during colonial rule that began during the 13th century and did not truly end until 1991. As during the 19th century, Latvians began to develop their own national traditions; they used a voluminous collection of rural folk songs on which to build subtle literary and other artistic interpretations of what is moral and beautiful in rural life, work, and landscapes. A particularly important motif in Latvian writing is earth. The ethics of work, social responsibility, and care for living things are a powerful theme. If the sublime is mentioned, it is brought into the compass of the rural and the tame. Sublime elements of nature occur as metaphors for human actions. Thoroughly imbued with the above traditions, the author, at first unselfconsciously, discovered sublime aspects in Latvian landscapes and nature during the course of the past 11 years. It is his belief that as Latvians distance themselves from past colonial rule, they will begin to see their land in a less narrow fashion and recognize its sublime characteristics. (shrink)
Normal 0 21 false false false MicrosoftInternetExplorer4 This article will present an interpretation of Wittgenstein ’ s understanding of the relationship between ethics and aesthetics. In extension, it will inform recent discussions regarding a special kind of nonsensicality , which forms a central part of ethical and aesthetical expressions. Instead of identity between ethics and aesthetics, we should understand the relationship in terms of interdependence . Both attitudes provide a view sub specie aeternitatis and thus permit (...) a view of the world as a whole. Employing the vocabulary of Charles Taylor and Harry Frankfurt, it must be remembered that rather than a neutral view from nowhere, such wholeness arises out of strong evaluations that are made against the backdrop of a constitutive framework of intelligibility. At this point, the epistemic gain of actualizing Wittgenstein will reveal itself: it will put us in a position where it is possible to differentiate between ethical and aesthetical forms of identification that Taylor and Frankfurt neglect. However, in order to actualize Wittgenstein ’ s ideas, it is necessary to argue that Tractatus should not be understood in a Kantian fashion as suggested by Tilghman for instance. (shrink)