EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

This volume of lectures on aesthetics, given by Adorno in the winter semester of 1958–9, formed the foundation for his later Aesthetic Theory, widely regarded as one of his greatest works. The lectures cover a wide range of topics, from an intense analysis of the work of Georg Lukács to a sustained reflection on the theory of aesthetic experience, from an examination of works by Plato, Kant, Hegel, Schopenhauer, Kierkegaard and Benjamin, to a discussion of the latest experiments of John (...) Cage, attesting to the virtuosity and breadth of Adorno's engagement. All the while, Adorno remains deeply connected to his surrounding context, offering us a window onto the artistic, intellectual and political confrontations that shaped life in post-war Germany. This volume will appeal to a broad range of students and scholars in the humanities and social sciences, as well as anyone interested in the development of critical theory. (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays addressing (...) questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

Scientific cognitivists argue formalist aesthetics of nature are (i) inadequate for appreciating the full range of nature’s aesthetic values and (ii) too subjective to be useful for defending nature conservation. I argue that (i) is false because moderate formalists can appreciate nature for its performances, not merely objects and vistas. I argue (ii) is false because moderate formalists can argue that appreciation of beauty (including natural beauty) is a constitutive good of human flourishing, whose realization relies on access to a (...) rich and diverse array of aesthetically rewarding experiences throughout a lifetime. On these grounds, moderate formalists (among others) can justify conserving distinctive natural entities and environs for our own and future generations’ good. (shrink)

Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected to (...) modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image’s haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders’ bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders’ oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version. (shrink)

Aesthetics and metaphysics I: the mimetic schema -- Aesthetics and metaphysics II: from Kant to Adorno -- Aesthetics at the limit of metaphysics: intimations of the hypersensible -- Metaphor beyond metaphysics? -- Literature: Proust, Hölderlin -- Sculpture: Chillida.

This volume explores the relationship between Kant's aesthetic theory and his critical epistemology as articulated in the Critique of Pure Reason and the Critique of the Power of Judgment. The essays, written specially for this volume, explore core elements of Kant's epistemology, such as his notions of discursive understanding, experience, and objective judgment. They also demonstrate a rich grasp of Kant's critical epistemology that enables a deeper understanding of his aesthetics. Collectively, the essays reveal that Kant's critical project, and the (...) dialectics of aesthetics and cognition within it, is still relevant to contemporary debates in epistemology, philosophy of mind, and the nature of experience and objectivity. The book also yields important lessons about the ineliminable, yet problematic place of imagination, sensibility and aesthetic experience in perception and cognition. (shrink)

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...) and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization of art as social (...) policy -- Morality and the artist : toward an ethics of art -- Getting along beautifully : ideas for a social aesthetics. (shrink)

Bence Nanay introduces aesthetics, a branch of philosophy that explores the nature of art, beauty, and taste. Looking beyond traditional artistic experiences, he defends the topic from accusations of elitism, and shows how more everyday experiences such as the pleasure in a soft fabric or falling leaves can become the subject of aesthetics.

Mencius’ aesthetics unfolded around the ideal personality in his mind. Such an ideal personality belonged to a great man who was sublime, practical and honorable, and it was presented as the beauty of magnificence or the beauty of masculinity. Mencius put forward many propositions such as the completed goodness that is brightly displayed is called greatness, nourishing one’s grand qi 气 (the great morale personality), only after a man is a sage can he completely suits himself to his own form, (...) the saints only apprehended before me that of which my mind approves along with other men, being conscious of sincerity on self-examination, and flowing abroad, above and beneath, like that of Heaven and Earth, all of which described an ideal personality through the course of its formation and its psychological experience. As a prominent school before the Qin dynasty, Mencius’ aesthetics greatly developed the Confucian teaching of internal sage. It shared many similarities with Zhuangzi’s thought and was also an aesthetic mode opposed to the latter. Both kinds of aesthetics were prominent: Mencius’ teaching was like imposingly towering and muscularly overflowing majestic mountains; Zhuangzi’s thought was like gracefully flowing water with an air of femininity. In real life though, Mencius’ teaching has greater practical significance in addressing the unbearable lightness of being, a disease of modernity. (shrink)

Aesthetics in a Multicultural Age examines a variety of significant multidisciplinary and multicultural topics within the subject of aesthetics. Addressing the vexed relation of the arts and criticism to current political and cultural concerns, the contributors to this volume attempt to bridge the two decades-old gap between scholars and critics who hold conflicting views of the purposes of art and criticism. By exploring some of the ways in which global migration and expanding ethnic diversity are affecting cultural productions and prompting (...) reassessment of the nature and role of aesthetic discourse, this volume provides a new evaluation of aesthetic ideas and practices within contemporary arts and letters. (shrink)

The theme of Aesthetics in Present Future concerns the new chances the arts have and the deep changes they are undergoing, due to the new media, and the digital world in which we are growingly immersed. That this world is to be understood from an aesthetic point of view, become clear if we think of how much of what we produce, and observe and study is offered through images in particular and perceptual means in general.

This book focuses on a dimension of art which the philosophical tradition has consistently overlooked, such was its commitment – explicit or implicit – to mimesis and the metaphysics of truth it presupposes. De Beistegui refers to this dimension, which unfolds outside the space that stretches between the sensible and the supersensible – the space of metaphysics itself – as the _hypersensible_ and show how the _operation_ of art to which it corresponds is best described as _metaphorical_. The movement of (...) the book, then, is from the classical or metaphysical aesthetics of mimesis to the aesthetics of the hypersensible and metaphor. Against much of the history of aesthetics and the metaphysical discourse on art, he argues that the philosophical value of art doesn’t consist in its ability to bridge the space between the sensible and the supersensible, or the image and the Idea, and reveal the sensible as proto-conceptual, but to open up a different sense of the sensible. His aim, then, is to shift the _place_ and _role_ that philosophy attributes to art. (shrink)

Traditional aesthetics is often associated with the appreciation of art, Allen Carlson shows how much of our aesthetic experience does not encompass art but nature. He argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that scientific understanding of nature can enhance our appreciation of it, rather than denigrate it.

This series of interpretations of selected classics examines premodern Japanese literature from the perspective of conflictual ideologies. Professor Marra's analysis of such works as the Ise Monogatari, the Hojoki, and Tsurezuregusa highlights the existence of discontent in the authors of the so-called high tradition and explains the means these authors used to express their social dissatisfaction in literary texts. His aim is to recover the validity of the historicist approach in literary studies by focusing on the importance of the context (...) in the formation of the text. The text is seen as a product of ideological manipulation on the part of those who, by reading, writing or editing, appropriate it according to specific and private concerns. Professor Marra displays both sensitivity to the texts and a comprehensive grasp of Japanese and Western scholarship in making his argument that aesthetics and politics in premodern Japanese literature are mutually defining. (shrink)

This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of _appearing_. _Appearing_ bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, _appearing_ plays its part everywhere in the aesthetic realm, in all aesthetic activity. In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in continental as well (...) as analytical thinking have been more and more separated in the recent decades. Within Seel's framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is _appearing_ is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we (...) are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

Secular Millenialism: The Train of Aesthetics from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett combines the perspectives of intellectual history, literary history, and political history in order to illuminate the operation of the idea of aesthetics, and of the historical actualization of that idea, in the background of twentieth-century totalitarianism.

The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature and value of (...) natural beauty, the relationship between art appreciation and nature appreciation, the role of knowledge in the aesthetic appreciation of nature, the importance of environmental participation to the appreciation of environments, and the connections between the aesthetic appreciation of nature and our ethical obligations concerning its maintenance and preservation. This volume is for scholars and students focussed on nature, landscapes, and environments, individuals in areas such as aesthetics, environmental ethics, geography, environmental studies, landscape architecture, landscape ecology, and the planning and design disciplines. It is also for any reader interested in and concerned about the aesthetic quality of the world in which we live. (shrink)

La brillantezza di molti edifici contemporanei può essere espressa attraverso l'immagine di uno specchio che riflette ciò che sta intorno, impedendo ogni contatto tra interno ed esterno. Ciò porta verso uno scenario articolato e ambiguo, che rappresenta il punto di contatto tra la riflessione architettonica e le formule sempre più spettacolarizzanti della comunicazione mediatica. L'estetica che prende forma da questo “paradigma dello specchio” perde il suo riferimento a una nozione pubblica e condivisa di bellezza, a favore di una sua considerazione (...) come oggetto di scambio individuale. Il concetto di “i-Aesthetics” prova a sintetizzare tale quadro, che diventa sempre più influente in riferimento al giudizio sull'architettura e al legame complessivo che instauriamo con lo spazio. (shrink)

Aesthetics and Nature offers a clear and accessible introduction to the field of nature aesthetics. Glenn Parsons explores the current debates in the field, providing the reader with a thorough overview of the subject. The book situates nature aesthetics in relation to two principal influences: aesthetics' traditional project of understanding the value of art and current thought on the ethics of our relationship with nature. The book outlines five major approaches to understanding the aesthetic value of nature and explores the (...) aesthetic appreciation of nature as it occurs in wilderness, in gardens, and in the context of appreciating environmental art. The book also includes a study of the idea that conserving nature's beauty provides a compelling reason to preserve wilderness. This highly topical idea has deep implications for the importance of aesthetic value in our relationship to nature, and for the fate of nature itself. Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, Aesthetics and Nature is a valuable contribution to contemporary aesthetics. (shrink)