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)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...) with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

In _The Meaning of the Body_, Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic _Metaphors We Live By_. Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and (...) metaphors—that are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. He concludes that the arts are the culmination of human attempts to find meaning and that studying the aesthetic dimensions of our experience is crucial to unlocking meaning's bodily sources. Throughout, Johnson puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. “Mark Johnson demonstrates that the aesthetic and emotional aspects of meaning are fundamental—central to conceptual meaning and reason, and that the arts show meaning-making in its fullest realization. If you were raised with the idea that art and emotion were external to ideas and reason, you must read this book. It grounds philosophy in our most visceral experience.”—George Lakoff, author of _Moral Politics_. (shrink)

Classic expression theory identified the emotional content of works of art with the feelings of their creators or recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A solution to this dilemma — one which the Polish aesthetician Henryk Elzenberg was among the first to propose — was suggested by the idea that physical, sensual objects can themselves possess emotional qualities. Thanks to Bouwsma and (...) Beardsley, this concept — of expressiveness as a quality — became common in Anglo-American aesthetics from the fifties onwards. At the same time, these authors demanded that the term “expression” be expunged from the language of aesthetics. However, the widespread tendency to conceptualise the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation — interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictive subject, the “work’s persona”, conceived by Elzenberg in 1950/1960. This paper discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the seventies and eighties, but only in the nineties did it become more fully developed and widely discussed. (shrink)

This e-book written in Hungarian seeks to reconstruct “the aesthetic” in the modern sense of the word, from the mid-17th century to the 1730s, through the texts of mainly British authors such as John Dennis, Lord Shaftesbury, Joseph Addison, Richard Steele, Francis Hutcheson, George Berkeley, sometimes using their Spanish and French predecessors for contextualization. It assumes that “the aesthetic” is an unprecedented type of experience that had to be discovered, or rather invented; it is therefore more than a (...) discussion of some old, always existing quality or sensibility in a new theoretical guise. If the words “(school) philosophy”, “art” and “criticism” can be associated with the mostly systematic theories of aesthetics that emerged in the wake of Alexander G. Baumgarten as a loose characterisation, then the words “(popular) theology”, “nature” and “exercise” are even more so with the earlier texts that are on the table here, which played a role in the formation of “the aesthetic”. It seems that in this period, “the aesthetic” is understood above all as a new and intimate link between the sensual and the supernatural or spiritual, in which the former is not just an apropos or disposable means to the latter, but an indispensable and ever-present component that provides a constitutive framework for experience. Its unprecedented modernity lies in its nisus to capture the divine in the sensual and to make it present as sensual. In this new experiential form, both the “nature” of the transcendence and the spiritual economics of the beholder are reconfigured. The new “aesthetic” is connected to and associated with the full experience of life, the joy of existence, the openness to the transcendent through the sensuality of the natural or everyday world, the interplay of external determination and internal spontaneity, the enchanted state of mind experienced in a waking dream, the reinterpretation of the relationship between reality and fiction, the intense existential experience of spiritual and emotional movement provided by walking, wandering, boating or cheerful imagination. (shrink)

Mullā Sadrā appeared in the philosophical field when the prevalent philosophical questions were principality of existence and principality of quiddity. Although he first held the theory of principality of quiddity, later in a cognitional rotation he accepted the theory of principality of existence. Such a rotation gradually causes a wide revolution in the realm of philosophy, and consequently it yields principles such as unity of existence, analogicity of existence, and intensification of existence. He propounds external objectivity of existence, knowledge, (...) beauty and other qualities of perfection as his philosophical principles. Thus, due to Mullā Sadrā’s basic principles, we can attain to principles such as principality of beauty, unity of beauty, analogicity of beauty, and intensification of beauty. (shrink)

This article examines the phenomenon of atmosphere in the aesthetics of the German philosopher Gernot Böhme. It explores the connection between his ideas and those of Hermann Schmitz’s “New Phenomenology” and Martin Heidegger’s ontology. The atmosphere is analyzed through Schmitz’s concepts: the space of human corporeality, and the categories of “contraction” (Enge) and “expansion” (Weite)). Key points of Schmitz’s phenomenology are identified: the absolute space of the felt body, its independence from geometric space; the description of the body's dynamics through (...) bodily impulses and vectors of “contraction” (Enge) and “expansion” (Weite)); the critique of the internal arrangement of feelings; the understanding of feelings and atmospheres as external “forces.” Böhme illustrates illustrated this concepts using the example of the sublime atmosphere in the temple space. Through light and shadow, silence and lines, the atmosphere of the sublime is created. It captivates, astonishes, and directs human corporeality towards spaciousness, providing a perception of the dynamics of human corporeality. Böhme’s description of the atmosphere includes the problem of the subject perceiving the atmosphere. The phenomenon of atmosphere is understood based on the concepts of mood and disposition of a person, derived from Martin Heidegger’s concept of Dasein. Mood is revealed in two ways: as the attunement, the tonality of a person’s own place, and as the tonality of the places in which they reside. It is concluded that perceiving the atmosphere means perceiving the mutual attunement between a person and the world. The final point is the analysis of the concept of ecstasies in Böhme’s aesthetics. The transition from Schmitz’s concept of semi-things to the problem of ecstasies is shown. Ecstasies in Böhme’s aesthetics describe a special space where various qualities of things spread. The radiance of light, the filling of the space with color, the play of light and shadow, the weight of sound—these qualities create an atmosphere. The mood of the place is created by the manifestation of these things, their “resonance,” giving a special aesthetic to the space. It is concluded that the perception of atmosphere includes: the perception of the place of the living body, affected by the mood of the place; the perception of one’s own relationship to the place, the world, and oneself; the perception of how the place reveals its own resonance and mood through the ecstatic properties of things and their ability to fill the entire space. (shrink)

This paper problematizes current thinking about education by arguing that the question of educational purpose is not simply a socio-political question concerned with what the ends should be and why, but can also be understood as a structural question, concerned with the way we understand education’s directional impetus. We suggest that it is possible to understand education as something other than a curricular instrument designed to facilitate a purpose external to itself. We challenge such an instrumental view by arguing (...) that education is an emergent phenomenon with its own unique aesthetic qualities (like art or music); a phenomenon, moreover, that does not simply serve a purpose, but generates the purpose it serves. In this paper we lay down the groundwork for such a non-instrumental understanding of education by combining the notion of emergence with ideas from Cassirer’s Philosophy of Symbolic Forms, Aristotle’s teleological notion of the ‘ideal’ as self-generated and the Greek notion of ‘paideia.’ This provides an opportunity to theorise education’s directional impetus as the ongoing and open-ended coordination of three realms of human life: the symbolic, the individual and the political. Given the acute political and social dilemmas that instrumental understandings of education bring forth in multicultural, and so called ‘democratic’ and ‘inclusive’ societies, we hope that by opening the possibility to theorise education as a non-instrumental phenomenon, it may become possible to have more fruitful discussion regarding education than endless political debate about what the curricular ends of education should be. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

PREFACE One of the most difficult yet sadly neglected questions in the extant spectrum of contemporary aesthetic analysis is the relationship between ...

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 75-86 [Access article in PDF] Defending Logocentrism Clive Stroud-Drinkwater Postmodernists sometimes seem to think that they can find,support for their antirationalism and anti-objectivism in the work of Wittgenstein, Davidson, and Kuhn. 1 Even opponents of postmodernism occasionally see its central assumptions as allied somehow to the ideas of these three philosophers. 2 Given the revolutionary character and general difficulty of the thought of these (...) three philosophers, it would be hard to prove that all postmodern readings of their works are ungrounded. Davidson 3 does claim that the concept of reference is merely a "theoretical construct" and, at best, an "inscrutable" one within a holistic Tarski-style theory of a language. Wittgenstein 4 does suggest that rules are not like rails that guide us, but rather that they are holistic constructs out of rule-following action. And Kuhn 5 does argue that revolutionary changes in scientific outlook are not determined by rational scientific method.Elsewhere 6 I have expressed doubt about some of these specific views, but in this paper I shall not be directly concerned with either the validity of these ideas themselves, or the possible support such views offer for postmodern attacks on reason and objectivity. My concern will be to show that other, quite central ideas of these thinkers are directly inimical to the postmodern campaign against reason and objectivity. Since postmodernism accords with the poststructuralist assimilation of all language to literature, I shall begin with some remarks on literary criticism itself, setting out the foundation for a Wittgensteinean perspective on traditional issues in the field. [End Page 75] I The New Critics wished to regard a literary text as an object with secondary qualities in it. This theoretical assumption was regarded by some metacritics as hopelessly naïve, partly because different readers find different secondary qualities in the same text, and because it was thought that relativity to a subject is incompatible with externality. However, Einstein's theory of the relativity to a point of view of the primary properties of mass and length, which are clearly external properties, shows that externality and relativity are not necessarily incompatible properties. That purely logical point helps to prepare the conceptual ground for a theory of the externality of certain secondary qualities that exist only relative to a subject. Once the general logical compatibility of externality and relativity is established, what is then needed is a reason for thinking that the relevant secondary qualities in certain texts not only could be but also actually are outside us.Elsewhere 7 I have argued in favor of the externality of the secondary qualia of color by appealing to Grice's causal theory of perception, 8 but my argument there also appeals to the phenomenological givenness of the qualia of color, and hence it would not apply to the aesthetic secondary qualities that concern literary critics. There is, however, another sort of reason to suppose that certain aesthetic qualities not only could be but actually are outside us and in texts. The argument is Wittgensteinean; I believe that it supplies for certain aesthetic qualities that which my argument supplies for certain phenomenological qualities. Very roughly, my argument says that the qualia of color are in objects because that is where the causal story of their existence locates them, and therefore there is no better place to locate them; and, very roughly, the Wittgensteinean argument says that an aesthetic quality such as beauty is in a text because that is where the language game of literary criticism locates it, and there is no better place. For example, we say things like "There is dramatic irony in chapter 4," or "Line 37 is particularly lovely," and if a metaphysician asked, "Where is the loveliness or the irony really?," with special emphasis on the words "really" and "where," then we should answer, "I have already said--it is in chapter 4 and in line 37." If the metaphysician then said, "But different readers find different qualities in the same work--how can there be different aesthetic or literary qualities in the same text?", then we should... (shrink)

To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say (...) that an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)

Je sais que la poesie est indepensable, mais je ne sais pas a quoi. [I know poetry is indispensable, but I don’t know what for.]A crucial characteristic of any aesthetic education is to understand the nature of aesthetic quality, that is, how to determine whether one artwork is superior to another. For example, I want to say that J. S. Bach’s Sixth Suite for Unaccompanied Cello performed by YoYo Ma is superior to “Thriller,” composed by Rod Temperton and (...) performed by Michael Jackson. I would also suggest that the oeuvre of Wallace Stevens is superior to that of Robert Service. Finally, anything done by Rembrandt is superior to anything done by Thomas Kinkade. Now, one might agree or disagree with my assessments of... (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)

Die Pflegequalitätsprüfungen nach § 114 ff SGB XI und die Begehungen der FQA (ehemals Heimaufsicht) wurden mit Abklingen der Pandemie wieder aufgenommen. Trotz der Einführung eines neuen Prüfinstruments führt dies weiterhin zu Irritationen und auch ethisch gerahmten Problemen in der Praxis. Dies war ab Sommer 2021 Gegenstand eines Beratungsprozesses im Ethikbeirat der Hilfe im Alter gGmbH der Inneren Mission München, Diakonie München und Oberbayern und führte zu einer Bearbeitung in der Frühjahrssitzung 2022 mit Vertretern des StMGP (Staatsministerium für Gesundheit und (...) Pflege, heute StMGPP) und des MDB (medizinischer Dienst Bayern, der im Auftrag der gesetzlichen Kranken- und Pflegeversicherung tätige medizinische und pflegerische Beratungs- und Begutachtungsdienst), sowie zu einem konsentierten Papier des Beirats. Die Ziele der Prüfung, die Prozesse dazu in den Einrichtungen und ihre Auswirkungen auf die pflegebedürftigen Menschen und das Pflegepersonal wurden darin unter ethischen Gesichtspunkten thematisiert. Auch wenn die Notwendigkeit einer externen Kontrolle nicht grundsätzlich in Frage gestellt wird, ist der Aufwand für die Indikatorenerhebung, die Herausforderung des Fachgesprächs und die Art und Weise der Ergebnisformulierung weiterhin kritisch zu diskutieren und weiter zu entwickeln. Es zeigt sich die organisationsethische Relevanz der Pflegequalitätsprüfung sowohl hinsichtlich der strukturellen Verankerung im einrichtungseigenen Qualitätsmanagement als auch hinsichtlich der Notwendigkeit einer Beteiligungskultur der Betroffenen. Damit wurde einmal mehr evident, wie wichtig das Anliegen des Ethikbeirats „Betroffene zu Beteiligten zu machen“ für die Mitarbeitenden und die Kultur der Einrichtungen ist, aber auch für alle anderen Ebenen der Versorgung und politischen Willensbildung, die hierfür verantwortlich Entscheidungen treffen. (shrink)

There is widespread view among numerous aestheticians that aesthetic and value properties are response-dependent. According to some philosophers the dependence has a rich and multilayered structure: value qualities (e.g. beauty) depend on our response to aesthetic properties (e.g. harmonious), which in turn depend on our response to a pattern of primary and secondary qualities (shapes and colors). Secondary qualities are themselves response-dependent. The basic dependence relation is thus iterated. The resulting structure is one of iterated (...) response-dependence. The integral part of such a position is a relational view, best captured by the response-dispositional analysis: My states of being appeared to magnificently in front of a painting manifests the disposition of painting to induce such experience in the normal viewer.There are two main objections against the dispositional analysis: (1) argument from circularity and (2) argument from introducing two kinds of quality, one categorical, for experiential states, and one dispositional for objects. In this paper we will suggest the arguments against second objection. (shrink)

After describing a constantly changing aesthetic environment in which artistic and architectural works are created and destroyed, this paper asks how legal judgments are made to preserve such works. Specifically the paper addresses legal standards for art preservation such as "recognized quality," "serious artistic value," and "historic, artistic or aesthetic interest." The discussion surveys many of the laws which require "quality" in art, the court opinions which interpret these laws and legal standards, the rules of evidence, and suggestions (...) for how to make legal decisions about art preservation in an age whose motto may become ars brevis, vita longa. (shrink)

My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for (...) those aesthetic qualities that conform to it. (shrink)

This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas’s project that deals with ethical an-archaeology. Despite Levinas’s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its (...) ethical anti-aestheticism Levinas’s “noncontemporary” thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas’s emancipatory past. (shrink)

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

INTUITIVELY, WE RECOGNIZE at least two broad ways in which we talk about musical performances. On the one hand, we talk about them as lasting twenty minutes, having a tempo of 120 quarter notes per minute, being a string quartet, loud or soft, sounding like a trumpet rather than a cornet, and out of tune. These descriptions refer to the nonaesthetic properties of musical performances. On the other hand, we talk about musical performances as being expressive of sorrow, sounding thematically (...) unified, having a swinging rhythm, portraying the harshness of living under economic distress, representing the howling of a wolf, and placid. These descriptions refer to the aesthetic qualities of musical performances. (shrink)

Joseph Margolis, a relativist with respect to aesthetic qualities, has argued that nonrelativists must produce a theory of perception capable of providing a basis for the distinction between an object’s actually possessing a specified aesthetic quality and an object’s only seeming to possess it. Although I think Margolis is probably right on the point, my concern is not with the need for the non relativist to produce such a theory; rather, it is with the need for the (...) relativist to give an account of the perception of aesthetic qualities. (shrink)

Microphenomenology (the refelctive reconstruction of attentional processes operative in perception) explicates the distinction between aesthetic and nonaesthetic qualities in a way that avoids traditional objections. aesthetic qualities are identified as phenomenal manifestations of a specific sort of spontaneous attentional event. particular aesthetic qualities are show to fall within any of six different categories of features attributable to this event. some aesthetic predicates strictly imply such features while others only 'suggest' them.

K. Mitchells; IV—Aesthetic Perception and Aesthetic Qualities, Proceedings of the Aristotelian Society, Volume 67, Issue 1, 1 June 1967, Pages 53–72, https://do.

This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas?s project that deals with ethical an-archaeology. Despite Levinas?s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its (...) ethical anti-aestheticism Levinas?s?noncontemporary? thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas?s emancipatory past. nema. (shrink)

It is argued that the application of such predicates as 'is lovely' and 'is somber' to works of art must be construed relativistically. it is first argued that interpretations of works of art bear important similarities to scientific theories, such that the application of aesthetic predicates cannot proceed independently of these interpretations. it is then argued that there are important differences between scientific theories and works of art, such that relativism is precluded with respect to the former but demanded (...) with respect to the latter. hence, relativism is demanded also with respect to aesthetic predicates. (shrink)

This study presents a substantial and often radical reinterpretation of some of the central themes of Locke's thought. Professor Alexander concentrates on the Essay Concerning Human Understanding and aims to restore that to its proper historical context. In Part I he gives a clear exposition of some of the scientific theories of Robert Boyle, which, he argues, heavily influenced Locke in employing similar concepts and terminology. Against this background, he goes on in Part II to provide an account of Locke's (...) views on the external world and our knowledge of it. He shows those views to be more consistent and plausible than is generally allowed, demonstrating how they make sense and enable scientific explanations of nature. In examining the views of Locke and Boyle together, the book throws light both on the development of philosophy and the beginnings of modern science, and in particular it makes a considerable and original contribution to our understanding of Locke's philosophy. (shrink)

Ship design needs to respond to and attract an ever more design conscious society. However, little research has been conducted into perceptions of beauty and pleasure and how such perceptions can be usefully absorbed into ship design. Aesthetic consideration, is seen as a distraction from the bespoke nature of the ship design process and is often avoided, second guessed or left for external consultancy. The ship design discipline requires the nurturing of its own aesthetic methods, for future (...) development, and to adapt some of the aesthetic ideals found in architecture, art and design. This paper argues that philosophy can be effective in interpreting what the passenger finds attractive and pleasurable. To illustrate the philosophical approach proposed, the `Elbe SWATH’ and the `Oasis of the Seas’ are investigated and compared using theoretical resources from the culturally focused philosophy of `Functional Beauty’. Conclusions suggest that the interpretation of the end users most valued appreciations can lead to design directives that deliver subjective qualities of beauty - beauty similar to those seen in the pure aims of the Elbe SWATH’s purposeful work craft, or comparable to nature’s beauty and purity in aim. (shrink)

Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they (...) differ over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)