In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside (...) as well. (shrink)

This paper examines three accounts of the sleeping beauty case: an account proposed by Adam Elga, an account proposed by David Lewis, and a third account defended in this paper. It provides two reasons for preferring the third account. First, this account does a good job of capturing the temporal continuity of our beliefs, while the accounts favored by Elga and Lewis do not. Second, Elga’s and Lewis’ treatments of the sleeping beauty case lead to highly counterintuitive consequences. (...) The proposed account also leads to counterintuitive consequences, but they’re not as bad as those of Elga’s account, and no worse than those of Lewis’ account. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled (...) body? Is the constant effort to remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

The strong law of large numbers and considerations concerning additional information strongly suggest that Beauty upon awakening has probability 1/3 to be in a heads-awakening but should still believe the probability that the coin landed heads in the Sunday toss to be 1/2. The problem is that she is in a heads-awakening if and only if the coin landed heads. So, how can she rationally assign different probabilities or credences to propositions she knows imply each other? This is the (...) problem I address in this article. I suggest that ‘p whenever q and vice versa’ may be consistent with p and q having different probabilities if one of them refers to a sample space containing ordinary possible worlds and the other to a sample space containing centred possible worlds, because such spaces may fail to combine into one composite probability space and, as a consequence, ‘whenever’ may not be well defined; such is the main contribution of this article. 1The Sleeping Beauty Game2Groisman’s and Peter Lewis’s Approaches3Discussing Beauty’s Credences4The Principle of Equivalence's Failure5Making Sense of the Principle of Equivalence's Failure6Elga’s and Lewis’s Approaches7ConclusionAppendix. (shrink)

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...

Today, many people have realized that the climate change and biodiversity loss issues lie in how and to what extent humans consume products for their lives in the Anthropocene era. Consumerism has pushed natural resource exploitation to its peak, and the depletion of resources is becoming increasingly prevalent. The beauty and personal care industry has a large market and high profits, especially in the high-income segment. However, this advantage also carries the risk of facing scrutiny, investigations, and criticism from (...) civil society organizations, environmental activists, and consumers. More than anyone else, the industry is vulnerable to the perils of unfavourable societal assessments, particularly the repercussions of consumer-led boycott actions. In this discourse, we suggest that, given the current circumstances, it is imperative for multinational beauty corporations to take a proactive role in allocating resources towards the development of sustainable agriculture practices. This entails not only advocating for the widespread adoption of environmentally conscious production methods but also dedicating efforts towards conducting research and innovation in the area of nature-friendly manufacturing techniques. Doing so will help demonstrate their commitment to the environment and actively provide convincing evidence to consumers of their social responsibility through emission reduction and biodiversity conservation activities. (shrink)

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that (...) either literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

Prologue: on the weakness of education -- Creativity -- Communication -- Teaching -- Learning -- Emancipation -- Democracy -- Virtuosity -- Epilogue: for a pedagogy of the event -- Appendix: coming into the world, uniqueness, and the beautiful risk of education: an interview with Gert Biesta by Philip Winter.

Cian Dorr (2002) gives an argument for the 1/3 position in Sleeping Beauty. I argue this is based on a mistake about Sleeping Beauty's epistemic position.

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, (...) and Susan Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

I defend the suggestion that the rational probability in the Sleeping Beauty paradox is one third. The reasoning in its favour is familiar: for every heads-waking, there are two tails-wakings. To complete the defense, I rebut the reasoning which purports to justify the competing suggestion – that the correct probability is half – by undermining its premise, that no new information has been received.

Adam Elga takes the Sleeping Beauty example to provide a counter-example to Reflection, since on Sunday Beauty assigns probability 1/2 to H, and she is certain that on Monday she will assign probability 1/3. I will show that there is a natural way for Bas van Fraassen to defend Reflection in the case of Sleeping Beauty, building on van Fraassen’s treatment of forgetting. This will allow me to identify a lacuna in Elga’s argument for 1/3. I will (...) then argue, however, that not all is well with Reflection: there is a problem with van Fraassen’s treatment of forgetting. Ultimately I will agree with Elga’s 1/3 answer. David Lewis maintains that the answer is 1/2; I will argue that cases of forgetting can be used to show that the premiss of Lewis’s argument for 1/2 is false. (shrink)

We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I (...) identify three ways of responding to these questions: beauty advo- cacy, beauty skepticism, and beauty revisionism. Advocates connect an honorific sense of beauty with personal charac- ter. Skeptics focus on beauty standards, and primarily offer a social critique of beauty standards. Some skeptics suggest embracing other aesthetic ideals – even ugliness. Revision- ists critique beauty standards, but retain an honorific sense of beauty. Each position offers tools to evaluate personal agency as aesthetic agency, whether first-personally or through our appreciation of others' appearance. (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)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s (...) symbolism does not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

The rejection of beauty from a political standpoint is a significant part of the legacy of avant-gardism in contemporary art. In particular, Arthur Danto signaled that artistic activism should avoid beauty simply because beauty induces the wrong perspective on whatever it is desired to have an impact upon. While artistic beauty’s tendency would be to heal, he claimed, political protest needs anger as its trigger. This article challenges such an argument that opposes beauty’s emotional effects (...) on political action by examining the complex nature of both beauty and anger. I contest a mere contemplative view of beauty and, using Carolyn Korsmeyer’s account of “terrible beauties,” bound up with discomforting emotions, I defend that beauty can be compatible with anger albeit, in order to be politically truly effective, anger must move from the wish to punish toward more productive forward-looking thoughts. Though often being necessary as a source of motivation to fight for justice, I believe, with Martha Nussbaum and Myisha Cherry, that anger is truly politically effective and keeps its noble side when detached from revenge and directed by hope, a value related to beauty. (shrink)

The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.

In a very influential paper Rota stresses the relevance of mathematical beauty to mathematical research, and claims that a piece of mathematics is beautiful when it is enlightening. He stops short, however, of explaining what he means by ‘enlightening’. This paper proposes an alternative approach, according to which a mathematical demonstration or theorem is beautiful when it provides understanding. Mathematical beauty thus considered can have a role in mathematical discovery because it can guide the mathematician in selecting which (...) hypothesis to consider and which to disregard. Thus aesthetic factors can have an epistemic role qua aesthetic factors in mathematical research. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in (...) a life were prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

The Sleeping Beauty problem has attracted considerable attention in the literature as a paradigmatic example of how self-locating uncertainty creates problems for the Bayesian principles of Conditionalization and Reflection. Furthermore, it is also thought to raise serious issues for diachronic Dutch Book arguments. I show that, contrary to what is commonly accepted, it is possible to represent the Sleeping Beauty problem within a standard Bayesian framework. Once the problem is correctly represented, the ‘thirder’ solution satisfies standard rationality principles, (...) vindicating why it is not vulnerable to diachronic Dutch Book arguments. Moreover, the diachronic Dutch Books against the ‘halfer’ solutions fail to undermine the standard arguments for Conditionalization. The main upshot that emerges from my discussion is that the disagreement between different solutions does not challenge the applicability of Bayesian reasoning to centered settings, nor the commitment to Conditionalization, but is instead an instance of the familiar problem of choosing the priors. (shrink)

In the Sleeping Beauty problem, Beauty is uncertain whether the outcome of a certain coin toss was heads or tails. One argument suggests that her degree of belief in heads should be 1/3, while a second suggests that it should be 1/2. Prima facie, the argument for 1/2 appears to be stronger. I offer a diachronic Dutch Book argument in favor of 1/3. Even for those who are not routinely persuaded by diachronic Dutch Book arguments, this one has (...) some important morals. (shrink)

The Sleeping Beauty problem is test stone for theories about self-locating belief, i.e. theories about how we should reasons when data or theories contain indexical information. Opinion on this problem is split between two camps, those who defend the "1/2 view" and those who advocate the "1/3 view". I argue that both these positions are mistaken. Instead, I propose a new "hybrid" model, which avoids the faults of the standard views while retaining their attractive properties. This model _appears_ to (...) violate Bayesian conditionalization, but I argue that this is not the case. By paying close attention to the details of conditionalization in contexts where indexical information is relevant, we discover that the hybrid model is in fact consistent with Bayesian kinematics. If the proposed model is correct, there are important lessons for the study of self-location, observation selection theory, and anthropic reasoning. (shrink)

In this article I defend an account of beauty labor as a form of resistance that can enable individuals and communities to combat body oppression. Focusing on the “Fuck Flattering!” movement, a social-media-driven movement in which fat people purposefully wear unflattering clothing to resist antifat fashion and oppressive body standards, I first set three criteria necessary for an act of beauty labor to count as one of resistance. I argue that (1) the agent in question must be situated (...) as a less ideal candidate for attributions of beauty, (2) the agent must have some level of knowledge or awareness of the norms (defined in light of dominant groups) and their harms, and (3) that knowledge or awareness of the harms of said norms must inform the agent's act of beauty labor. Based on this account of beauty labor as resistance, I argue that beauty labor can combat larger systems of oppression and incite meaningful change insofar as it enables individuals to claim and reclaim space (both digital and physical) from which fat people have been historically excluded, while affording an opportunity for education and unpacking of oppression and bias, and expanding the fashion industry. (shrink)

Provides an account of what it is for works of academic philosophy to be beautiful in their content or in their mode of expression.

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that (...) either literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within (...) and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

The Sleeping Beauty problem is presented in a formalized framework which summarizes the underlying probability structure. The two rival solutions proposed by Elga and Lewis differ by a single parameter concerning her prior probability. They can be supported by considering, respectively, that Sleeping Beauty is “fuzzy-minded” and “blank-minded”, the first interpretation being more natural than the second. The traditional absent -minded driver problem is reinterpreted in this framework and sustains Elga’s solution.

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.

Terence Horgan defends the thirder position on the Sleeping Beauty problem, claiming that Beauty can, upon awakening during the experiment, engage in “synchronic Bayesian updating” on her knowledge that she is awake now in order to justify a 1/3 credence in heads. In a previous paper, I objected that epistemic probabilities are equivalent to rational degrees of belief given a possible epistemic situation and so the probability of Beauty’s indexical knowledge that she is awake now is necessarily (...) 1, precluding such updating. In response, Horgan maintains that the probability claims in his argument are to be taken, not as claims about possible rational degrees of belief, but rather as claims about “quantitative degrees of evidential support.” This paper argues that the most plausible account of quantitative degree of support, when conjoined with any of the three major accounts of indexical thought in such a way as to plausibly constrain rational credence, contradicts essential elements of Horgan’s argument. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...) rather than philosophical necessity. I conclude that a robustly cognitive notion of the aesthetic remains an option for us. (shrink)

What do mathematicians mean when they use terms such as ‘deep’, ‘elegant’, and ‘beautiful’? By applying empirical methods developed by social psychologists, we demonstrate that mathematicians' appraisals of proofs vary on four dimensions: aesthetics, intricacy, utility, and precision. We pay particular attention to mathematical beauty and show that, contrary to the classical view, beauty and simplicity are almost entirely unrelated in mathematics.

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and (...) enhancing interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some (...) guidance as to why a symposium on beauty merits attention in 1999. (shrink)

Argues for the "thirder" solution to the Sleeping Beauty puzzle. The argument turns on an analogy with a variant case, in which a coin-toss on Monday night determines whether one's memories of Monday are permanently erased, or merely suspended in such a way that they will return some time after one wakes up on Tuesday.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common (...) view that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non-conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition. (shrink)

The distinction made by Kant between 'moral' and 'beautiful' actions is relevant to efforts to counteract the current ecological crisis. Actions proceeding from inclination may be politically more effective than those depending on a sense of duty. Education could help by fostering love and respect for life.

This survey chapter focuses on two questions concerning the nature of beauty. First, can “beauty” be defined, and if so, how? Second, what is the relation between beauty and the mind; for example, between being beautiful and being judged beautiful, or between being beautiful and being the object of pleasure?

I analyze the Brazilian novelist Clarice Lispector's novella, The Hour of the Star, in terms of the entwinements of beauty with economic mobility and abandonment, . . . with constructions of cultural citizenship and liminality.

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for (...) flawlessness and glamour are both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being. (shrink)

Beauty was once the main or even exclusive topic of aesthetics. Now, two hundred years after Karl Rosenkranz’s Aesthetics of Ugliness and a formidable development of fine arts in which many atmospheres beyond the edge of beauty were produced, it may be time again to ask the fundamental question of what the beautiful is like. But putting this question we notice that since the 18th century our aesthetical experience has deeply changed, so that the concept of traditional (...) class='Hi'>beauty must be changed itself. (shrink)

Aesthetics has typically been regarded as an arena where claims about truth cannot be made as questions about art seem to involve more matters of taste than knowledge. In _Real Beauty_, however, Eddy Zemach maintains that beauty, ugliness, gracefulness, gaudiness, and similar aesthetic properties are real features of public things and argues that whether these features are present is a matter of fact that can be empirically investigated. By examining the opposing nonrealistic views of Subjectivism, Noncognitivism, and Relativism, Zemach (...) attempts to show how antirealistic interpretations of art generate absurd results and leave the realistic reading as the only cogent semantic interpretation of aesthetic statements. By discussing what inclines most people to hold nonrealistic views in aesthetics, such as the fluctuations of taste in fashion, Zemach argues that Realism can account for these fluctuations. He proposes that the aesthetic value of some things is due to their relations to other things and that relation may be temporal, resulting in the need for a temporal point for the correct temporal angle from which to view things. Zemach concludes that great art reveals significant truths about reality and that significantly true statements are aesthetically valuable, hence truth is an aesthetic merit. (shrink)

Arthur Danto's The Abuse of Beauty was a significant contribution to the acclaimed return of beauty that had been taking place since Dave Hickey's 1993 manifesto announced that beauty would be the defining problem of the next decade. One of the most original and important aspects of Danto's look at beauty is that he thought about it as a contribution to art criticism. External aesthetic qualities would be as meaningless as natural beauty intended to play (...) role in conveying a work 's meaning, constitute the aesthetic dimension of the work. For Danto, elegiac beauty can provide political role for the aesthetic quality, but the impossibility of what could be termed an “angry beauty,” capable of outraging people, seriously limits the option of beauty in “angrily political” contemporary art. Danto thought that activist art will try to inflect works with an angry mood in order to turn people against what they are about. (shrink)

Personal appearance and physical beauty are becoming increasingly important in our societies and, as a consequence, enter into the realm of medicine and health care. Adequate and just health care policies call for an understanding of this trend. The core question to be addressed concerns the very idea of beauty. In the following, a conceptual clarification is given in terms of beauty's meaning, value and function (i.e. beauty that is used instrumentally, and beauty that is (...) attained). Furthermore, some relevant distinctions are drawn between physical and artistic beauty, and physical beauty in a human sense. The core idea for this is formed by a Kantian notion of the beauty concept. It is argued that beauty judgements should be understood as relative to persons and their contexts. Physical beauty should be taken seriously when it is understood in this deeper sense of being related to the shaping of a person's identity. (shrink)

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the (...) body have been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

The traditional solutions to the Sleeping Beauty problem say that Beauty should have either a sharp 1/3 or sharp 1/2 credence that the coin flip was heads when she wakes. But Beauty’s evidence is incomplete so that it doesn’t warrant a precise credence, I claim. Instead, Beauty ought to have a properly imprecise credence when she wakes. In particular, her representor ought to assign \(R(H\!eads)=[0,1/2]\) . I show, perhaps surprisingly, that this solution can account for the (...) many of the intuitions that motivate the traditional solutions. I also offer a new objection to Elga’s restricted version of the principle of indifference, which an opponent may try to use to collapse the imprecision. (shrink)