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)

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)

Most critical studies of consumerism denounce the deceptive images produced by commodities, but what happens when consumer goods are rejected as waste? Instead of considering garbage disposal as a merely technical and hygienic issue, this article investigates the “aesthetics of disappearance” of waste. The structural reasons for the invisibilization of waste and the political effects of its manifestation will be analyzed through Jacques Rancière’s notion of “distribution of the sensible.” The central thesis is that material consumer culture, based on (...) a continuous process of devaluing and replacing items, needs organizing the perceptual field to make waste disappear and thus create the illusion that, once discarded, an object vanishes. Therefore, making waste visible is interpreted as a rapture of the normative configuration of the sensible, disturbing habitual modes of experiencing and signifying reality. This hypothesis is investigated through a paradigmatic artistic work: Matta-Clark’s Garbage Wall (1970). The American artist exposes waste in the public space to challenge the established distribution of spaces and functions in the urban context, displaying waste’s stubborn resistance to the imperative to disappear. (shrink)

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

The new concerns facing aestheticians in the twenty-first century require serious attention if the discipline is to maintain continued viability as an intellectual discipline. Just as art changes as cultures develop, so must aesthetics. In support of this view is a personal account of evolving engagement with aesthetics and the factors that led to embracing change and a plurality of practices as essential to the health of aesthetic today. A brief examination of the state of aesthetics as (...) it has evolved in the American Society for Aesthetics since its inception in the 1940s will follow. These two lines of development, one idiosyncratic and personal, and the other focusing on the aims and outcomes of one prominent national society, will perhaps offer some useful background for understanding the current state of aesthetics and the problems confronting the discipline today. Following these considerations will be a look at some of the main concerns reflected in the social and political aesthetics and the expansion of aesthetics to include the popular arts which again challenges aesthetics to move beyond its historic boundaries. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s (...) context of creation. I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

The author reviews two symposia: 'The Video Arts: Demonstration and Discussion', The American Society for Aesthetics, New York City, 28 Oct. 1978, and 'The Aestheticians Look at Television', National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts (...) of individual artists, commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Monroe RememberedAesthetics: Problems in the Philosophy of Criticism on Its Fiftieth AnniversaryPeter Kivy (bio)When I proposed this symposium for the 2008 annual meeting of the American Society for Aesthetics, the title "Monroe Remembered" already in place, it was with the intention of commemorating not just the philosopher but the man as well. All who were privileged to know him personally—particularly those, like myself, just beginning their (...) careers as philosophers of art—will always remember not only the keen-edged mind of the true philosopher but the kindness and consideration of the true teacher as well. In all the years that I knew Monroe Beardsley, he never responded in anger or annoyance to any question asked of him, no matter how stupid or silly it was. Nor did he ever fail to offer assistance to any young aspirant. He was, in the best sense of the word, a "gentleman," with emphasis on the gentle. It was one of the great experiences of my life to have known him.But the other purpose of this symposium, and the principal one, is to commemorate Monroe Beardsley's work as a philosopher of art. For it is very hard to imagine that the philosophy of art, and the American Society for Aesthetics, would have prospered, as soon and as successfully as they did, were it not for Beardsley's philosophical presence in person and in his magnum opus, which is the subject of this symposium.It is altogether appropriate, for two reasons, that the papers comprising the Beardsley symposium be published in the pages of the Journal of Aesthetic Education. First, Beardsley and his book were mainly instrumental in the education of a whole new generation of philosophers of art in the 1960s who changed the face of the discipline in America and Britain. And second, no one interested in the implications for education of art and the aesthetic can afford not to be acquainted with Beardsley's imposing contribution to our understanding of both. It is our hope that the present papers will help to make this apparent and be a fitting tribute to Beardsley—both the man and his work. [End Page 1]Peter Kivy Peter Kivy is Board of Governors Professor of Philosophy at Rutgers University and a past president of the American Society for Aesthetics.Copyright © 2010 Board of Trustees of the University of Illinois... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my (...) senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of (...) animals, and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; (...) and cover songs as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of (...) these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bilingual Aesthetics:A New Sentimental EducationJane DuranBilingual Aesthetics: A New Sentimental Education, by Doris Sommer. Durham and London: Duke University Press, 2004, 254 pp.Doris Sommer's new work Bilingual Aesthetics is the sort of book that takes one by surprise—and for good reason. Filled with punning twists, and itself a valorizer of word games and magic, this work has not a lot to do with bilingualism (in the (...) standard sense), not a lot to do with aesthetics (again, in the standard academic sense), but a great deal to do with both. Whether the title is read (and Sommer's point is to forward the notion of alternate readings) as the aesthetics of bilingualism or as an account of what a bilingual might make of aesthetics, there is a startling amount of content in the work.Briefly, Sommer essays to make the case that our multicultural society is distinctly better off for being multicultural and multilingual (or at least, in some threatening sense, emergently bilingual) because the literal bilingual has a distinct advantage over her or his monolingual counterpart. The bilingual can play language games, and those games shock, amuse, or jolt—whatever it is that they do, they rouse us out of any state of intellectual torpor into which we might have fallen and they serve to make us all individuals who, in Du Bois' memorable phrase, have "double consciousness."Thus Sommer does in fact mean for her title to be read in at least two ways: Her work attempts to valorize and vindicate a sort of unofficial bilingualism (one of the blurbs on the back of the paperback edition begins by saying "Knowing a second language entails some unease... "), while she also attempts to let us in on the notion that there is an aesthetic that develops from the use of more than one code. Sommer plays remarkably on all these concepts: She is familiar with the standard, overt scholarship on bilingualism—she can cite work by sociolinguists and others. At the same time, as an author known for previous work on literature, especially with regard to Latin America, she is also familiar with much of the standard historical work in aesthetics, including Kant. Citing thinkers such as Kenji Hakuta, William J. Bennett, Wittgenstein, and Elena Poniatowska, Sommer leaves the reader somewhat bedazzled and breathless but better off for having read her work.Her overall thesis, if one may attempt to employ such a phrase, is that bilingualism and code-switching create for us the same sort of uneasiness and inevitable access to the unconscious that works of art and literature produce—and that the edginess that is a concomitant of code-switching is beneficial. Her first chapter "Choose and Lose" reminds Americans that the United States has always been a multilingual place and focuses on how much can be gained from attempting to forward the notion. If there is any difficulty to Sommer's work, it is that she practices what she preaches. Every page demands much of the reader, since every page itself engages in the [End Page 121] sort of rapid-fire twisting and switching that Sommer is trying to support as the ground for a new aesthetic consciousness.Early on, Sommer gives us the following:Complaints about the danger to national coherence [of multi- or bilingualism] can be downright funny.... [One irate journalist wrote:] "How can immigrants identify with America if they can't read Lincoln's words in the language in which they were spoken?(out of many, one) to a multicultural boarding house,...?" No need to be upset at this harangue. It's obviously a joke, even if the author missed it (a common asymmetry in bilingual humor). Notice that the translation from Latin assumes that English-only citizens don't understand the very slogan they hold dear.(p. 26)But of course the joke is to some extent on Sommer and on all of us, as she no doubt intends. It is highly unlikely that the journalist did get the humor, and the only funny part of the entire tirade is that we—assuming we have enough formal education—may be able to make something out of it... (shrink)

Agricultural ethics looks at the philosophical, social, political, legal, economic, scientific, and aesthetic aspects of agricultural problems and provides guidance for decisions about these problems when they involve competing values.

The following response is divided in two parts. The first addresses some general issues about my Latin American Philosophy: From Identity to Radical Exteriority, which was the topic of a session at the 2015 meeting of the Society for Phenomenology and Existential Philosophy. The second takes up in depth a point from each speaker: the question of developing “situated thought” as a way to undo and overcome the exclusion of non-Westernized thought and experience ; and the introduction of (...) a “decolonial aesthetics” and an “aesthetic of liberation” as fundamental for decolonizing thought and opening spaces from other senses of existence, knowledge, and intersubjectivity. (shrink)

Society has historically not taken a benign view of genetic disease. The laws permitting sterilization of the mentally re tarded~ and those proscribing consanguineous marriages are but two examples. Indeed as far back as the 5th-10th centuries, B.C.E., consanguineous unions were outlawed (Leviticus XVIII, 6). Case law has traditionally tended toward the conservative. It is reactive rather than directive, exerting its influence only after an individual or group has sustained injury and brought suit. In contrast, state legislatures have not (...) been inhibited in enacting statutes. Many of their products can be characterized as hasty, unnecessary, ill-conceived, and based on the heart rather than the head. Moreover the lack of expert consultation sought has also been remarkable. One state legislature, for example, has advocated immunization for sickle cell anemia! Many others have enacted laws for the screening of inborn errors of metabolism, e.g., phenylketon uria, but have poorly defined the lines of responsibility to secure compliance. A spate of specific disease-related bills has emerged in the u.S. Congress, each seeking recognition and appropriations. Sickle cell anemia, hemophilia, Cooley's anemia and Tay-Sachs disease have been among the front-runners for support. Finally, in 1975, Congress has begun to examine an omnibus bill concerning all forms of genetic disease. The bill, termed the National Genetic Diseases Act is, however, still far from being enacted. (shrink)

Comments on Thi Nguyen’s Games: The Art of Agency, delivered at the 2021 American Society for Aesthetics Annual Meeting in Montreal.

Moby-Dick has long served as an index of contemporary events and changing paradigms. Yet despite its long and varied history of interpretation, an analysis of the novel’s reception history demonstrates a striking unanimity of purpose. In nearly every instance, Ahab’s excesses and inhumanities are identified and prohibited in the name of ensuring that the novel can aid in the work of furthering the aesthetic education of man. In the process, the artwork’s integrity, achievement and essential irreducibility are subordinated to the (...) demand that artworks provide essential moral instruction. The present essay reconstructs this common task through a close reading of the novel’s reception history, tracking its development from the time of Melville’s contemporaries to more recent debates between Donald E. Pease and William V. Spanos. Through Theodor W. Adorno’s work on aesthetics and society, this critical reinterpretation of Moby-Dick tries to better understand the “wicked book” its author first recognized, and for whose infernal birth he felt, in his own words, “as spotless as the lamb.”. (shrink)

Aesthetic definitions of art face difficulties in dealing with art that is nonaesthetic. This has led some to suggest that if aesthetic theories of art are to apply to all art, then they must be disjunctive. In such a case, something would be art if and only if it either satisfied certain aesthetic criteria, or satisfied other, nonaesthetic, criteria.Nick Zangwill offers the Aesthetic Creation Theory. He considers ways that his theory could account for nonaesthetic art, and ultimately adopts a disjunctive (...) theory that makes use of the notion of second-order art—art that gains art status by referring to first-order art that satisfies the Aesthetic Creation Theory’s conditions.I will examine Zangwill’s theory and his response to the problem of nonaesthetic art with the aim of showing that the idea of second-order art may be unnecessary. There is hope for a non-disjunctive account of the nature of art, I claim, if we reconsider the attempts to deal with nonaesthetic art that Zangwill himself rejects. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium Art and Aesthetic Education in Times of Terror: Negotiating an Ethics and Aesthetics of Answerability Deanne Bogdan University of Toronto Claudia Eppert Louisiana State University Candace Yang Louisiana State University Charlene Morton University of Prince Edward Island The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in the western world. Some educators have maintained that any discussion ofthese (...) events so soon after they have happened threatens to dishonor the memory ofthe victims and is too difficult because ofour emotional unsettlement. These concerns are warranted; any discussion would indeed need to be mindful ofthem. The predominant position ofthis symposium, however, is that these events have created such chaos and uncertainty that we are faced with the immediate challenge not of disavowing or deferring discussion but rather of determining the initial terms of an ethical answerability. Thesymposiumparticipants seek to initiate such a difficult conversation in the hope that aspects of it might offer a productive resource forclassroompracticeanddailylivingas we find our way through grief and moral confusion. Thediscussion centers ontheroleaesthetics and aesthetic education haveplayed and continue to play in responding to these events and their aftermath. In particular, it considers the terms on which the arts might variably serve as a vehicle for consolation and healing, for honoring the victims of this event, and for educating present and future generations about what happened and about the requirements ofpeace. Furthermore, the challengefacedbythearts andaestheticeducation in addressingNorthAmerica's psychic and social needs is increased in recognition that these challenges are occurring in a context heavily infused with senseless violence and nationalist rhetoric. This context makes evident the need for artists and educators to help map an ethical and spiritual terrain for re-evaluating the "American way of life," national identities, and democracy itself. It is amappingthat shouldnot takeplace outsidethe arena ofthe political, but should respond to and intervene in it. It is a mapping, therefore, directed toward helping find"a wayofdevelopingapraxis ofeducational consequence that opens the spaces necessary for the remaking ofa democratic community " (Maxine Greene, The Dialectic ofFreedom [New York: Teachers College Press, 1988], 126). The papers in this symposium were originally presented as a panel discussion at a special session of the Philosophy of Education Society (PES) annualmeeting,Vancouver,BritishColumbia, in April 2002.©Philosophy ofMusic Education Review 10, no. 2 (Fall 2002): 124-139.... (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including (...) Vogel herself, questioning the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

I first provide an introduction to a neglected topic in contemporary aesthetics: intellectual beauty. I then review James McAllister’s critique of autonomism and reductionism regarding the relation between empirical and aesthetic criteria in scientific theory evaluation. Finally, I critique McAllister’s “aesthetic induction” and defend an alternative model that emphasizes the holistic coherence of aesthetic and other theoretical virtues in scientific theorizing.

A brief overview of _A Philosophy of Cover Songs_, highlighting some of the main themes in the book. The first part addresses the nature of covers and makes some important initial distinctions. The second part addresses the appreciation and evaluation of covers. The third part addresses covers as a clue to the ontology of songs. Written to introduce a session at the American Society for Aesthetics Rocky Mountain Division meeting in Santa Fe, New Mexico (July 13, 2024).

The general issue to be addressed in a Mandel Lecture is how (or whether) art promotes human evolution or development. I shall understand the term "art" in its broadest connotations--perhaps broader than the American Society for Aesthetics would normally recognize: I shall understand art to include all artifice, all human invention. What I shall say will a fortiori include art in the narrower sense, but I don't intend to draw particular attention to the way my thesis applies (...) to it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking to Learn: Museum Educators and Aesthetic EducationNancy Blume (bio), Jean Henning (bio), Amy Herman (bio), and Nancy Richner (bio)IntroductionMuseum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, we are often asked these questions, and we ask them ourselves. “What do you DO?” is probably the (...) most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do we address the project’s reliance on technology? And how do these questions relate to the social studies and visual arts standards, [End Page 83] another major component of the project? How does the project relate to the work we do in our own museums? Writing collaboratively implies that we have certain areas of commonality; but we also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Our focus will be the domain of museum education as that is what we know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies.Art Museum Education HistoryThe history of art museum education begins with the founding of museums in the United States during the commercial and industrial expansion that took place after the Civil War, between 1870 and 1929. The principles guiding American museums have always mirrored the values of American society. From the beginning of this country’s history, the fine arts have been viewed as elitist and thus of no value to the larger society. “To America,” Ben Franklin wrote in the late 1700s, “one school master is worth a dozen poets, and the invention of a machine or the improvement of an implement is of more importance than a masterpiece of Raphael.”1 Given such longstanding and deep-seated suspicion of art among Americans, it is not surprising that both the champions and the staff of art museums insisted on the practical educational benefits museums provided to the public.By the late nineteenth century, at the height of immigration and the emergence of a strong working class and labor movement, a social dimension was added to the mission of museum education. Art museums, like public libraries, were seen as venues for achieving social balance. By the early twentieth century an aesthetic agenda was finally joined to these social and pragmatic ones.2While museums have responded to the needs created by cyclical changes in social, economic, political, and intellectual life, today’s art museum educators still deal with the tension among the museum’s aesthetic, educational, and social missions; only the context and delivery modes of museum education have changed. Yet despite the shifting directions and priorities in museum education, there are certain basic and commonly accepted premises that museum educators have shared since the late nineteenth century. The 1984 Museums Commission on Museums for a New Century stated what has been the continuing premise of museum education since the late nineteenth century: learning in museums is based on objects and involves not only developing the ability to synthesize ideas and form opinions but also shaping an aesthetic and cultural sensibility.3 Another fundamental [End Page 84] assumption is that museums are institutions of visual instruction. Although each of the museum educators writing here represents a unique institution with unique approaches to looking at and finding meaning in art, we all agree on the importance of the original work of art as the basis for our work. It is the complexity of original artworks that enables them to play a dual role. One role is pragmatic, which requires meeting standards set by state and national governments for teaching critical thinking skills and improving literacy. The second role is aesthetic—namely, ways of helping students develop habits for aesthetic encounters that are an integral part... (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the (...) class off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, (...) 2011), The Artful Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language (...) does? To answer this question, we must first ask in what ways language functions as a philosophical medium. At a very general level, the answer to this question is fairly straightforward, if uninteresting. Language functions as a philosophical medium in that we use language to identify, articulate, clarify, and inter-relate what are viewed as philosophical issues, and to deepen our understanding of these issues and of the things that others say about them. What we take to be the significant philosophical issues, however, and what we take to be a contribution to deepening our understanding of these issues, may differ according to the philosophical tradition in which we work. If, for example, we think that the most fundamental philosophical issue is asking the question of Being, then our judgment as to when the linguistic medium is being used to ‘do philosophy’ is likely to differ substantially from the judgment we would make if we think that philosophers are best occupied analyzing everyday discourse or tending the separate gardens of the sciences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Louise Pascale, “Dispelling the Myth of the Non-Singer: Embracing Two Aesthetics for Singing”Maya HooverLouise Pascale encourages a redefinition of the word "singer" and suggests ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. In (...) order to fully understand the problem and incorporate her suggestions, it is helpful to look at the issue as a symptom of a larger philosophical problem and to examine her proposed aesthetics from a non-philosophical perspective. [End Page 202]A Philosophical Approach to an Ethnographic StudyPascale specifies the current definition of singer as one understood in terms of values set by a white, middle class, American society. She argues that this definition is a direct result of the actions of the church in the 1600s, which has influenced and effected how North Americans (specifically people from the United States) perceive and experience singing. She refers to the manner in which this definition is significantly rooted in history and has only strengthened with time as a "taproot" in music education.Pascale's main argument revolves around the fact that we in the United States have adopted and ascribe to the Western European value system of singing. She notes that in the quest to extract the highest form of singing, we tend to sort out the very best and tell everyone else not to bother. This elitist attitude is a serious problem and she is quite right to point it out. Although there is nothing wrong with classical studies revolving around a canon, we are often taught that anything else is not worthy of study or practice. As a result, we have a very narrow perception of singing due to the guidelines set by the "taproot philosophy," which greatly limits musical expression on many levels.The issue of Western European elitism in the United States is a big one that many scholars and educators like to avoid for fear of offending tradition. In Onika's case, she becomes completely redefined as a non-singer by these elitist constraints. Pascale hints at this concept at other points in her essay, but Onika's story stands out as a blatant example of subjugation.Pascale's story about her own trials in trying to learn about African dance and drumming reinforces the idea of Western elitism. She refers to Christopher Small's idea about the Western value of timing and rhythm, which is linked to "a more logical relationship between pitch and harmony."2 It is important to note that while Pascale was frustrated with her Western background, she was still encouraged by her Ghanaian instructor. She may have felt incompetent, but she was by no means subjugated, as Onika had become.Pascale relates both experiences to the link between culture, society, and the construction of belief systems. However, there is a deeper connection here that deals specifically with American society and its attitude toward those with a different belief system. Looking at other cultures shows how societies can encourage the exploration of their music by giving participants permission to be imperfect and accepting the interest in their culture with grace. This poses a question that is much larger than Pascale's original one, but one that is intricately linked to it: Why do we, as members of American society, continue to perpetuate the subjugation of anyone from outside of our established network of beliefs? [End Page 203] The problem of singers versus non-singers seems only to be a symptom of a much larger illness that is well deserving of a much deeper exploration.The Second Aesthetic from a Scientific Vantage PointPascale explores how the phenomenon of the "non-singer" translates into the music classroom. She argues that there must be a way to maintain the classical tradition while simultaneously allowing everyone to participate, trained or not. There must also be a way to allow every classroom teacher to feel comfortable singing with her/his students, and likewise to allow every student to feel comfortable enough to participate.She suggests incorporating... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and (...) others had said similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

This book investigates the scope and significance of Stanley Cavell’s lifelong and lasting contribution to aesthetic understanding. Focusing on various strands of the rich body of Cavell’s philosophical work, the authors explore connections between his wide-ranging writings on literature, music, film, opera, autobiography, Wittgenstein, and Austin to contemporary currents in aesthetic thinking. Most centrally, the writings brought together here from an international team of senior, mid-career, and emerging scholars, explore the illuminating power of Cavell’s work for our deeper and richer (...) comprehension of the intricate relations between aesthetic and ethical understanding. The chapters show what aesthetic understanding consists of, how such understanding might be articulated in the tradition of Cavell following Wittgenstein and J. L. Austin, and why this mode of human understanding is particularly important. At a time of quickening interest in Cavell and the tradition of which he is a central part and present-day leading exponent, this book offers insight into the deepest contributions of a major American philosopher and the profound role that aesthetic experience can play in the humane understanding of persons, society, and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:KARL ASCHENBRENNER, 19x 1-1988 Karl Aschenbrenner was born in Bison, Kansas, on November 20, 1911. He received the A. B. degree from Reed College in 1934 and his graduate degrees at Berkeley (M. A., 1938; Ph.D., 194o). After two years as an instructor at Reed College, he served in the U.S. Naval Reserve (Lieutenant in Meteorology ) from 1943 to 1946. From 1946 to 1948, he taught in the (...) Department of Speech at Berkeley and thereafter in the Department of Philosophy until his retirement in 1978. His teaching was devoted mainly to aesthetics and to the history of philosophy, most notably his course on Kant. For many years he was active as a trustee of the American Society for Aesthetics, and from 1961 as a member of the Journal's founding executive committee and, after incorporation, of the Board of Directors. Karl's first two years of attachment to theJournal coincided with service as chairman of the Department of Philosophy. This conjunction enabled him to be extraordinarily helpful in dealing with problems of bringing the Journal to birth--problems of funding, editorial appointments, publication policies, and business arrangements with the University of California Press. He welcomed the opportunity offered the Philosophy Department of collaborating in the publishing venture recommended by a special committee of the American Philosophical Association in 1958. The recognition early won by the Journal for its articles and reviews answered to his hope and work for success. At the annual meeting of the Board of Directors in San Francisco in 1987, the twenty-fifth birthday of the Journal was celebrated as was his twenty-seven years of diligent care for theJournafs excellence. Karl was a regular contributor to the philosophy series published by the University of California prior to three books issued by D. Reidel: The Concepts ofValue(1971), The ConceptsofCriticism(1974) and AnalysisofAppraisiveCharacterization (1983). He received Guggenheim, Fulbright, and NEH fellowships. Despite a physically disabling stroke in 1979, he continued his trips to Budapest which he began in 1972. He was concerned to study a non-IndoEuropean language spoken by people of European culture and had selected the Magyar tongue spoken in Hungary. He learned the language to test theories he advanced about appraisive concepts. He discovered in the structure of Magyar a mode of valuing embodied in verb usage differing significantly [333] 334 from the special appraisive vocabularies of English and German. Besides his lectures in Hungary, he responded to invitations to lecture received from universities in England, Austria, Poland, Bulgaria, and Romania. Shortly after his return to Budapest on his eleventh trip, he died of a massive stroke on July 4, 1988. He is buried there in a city he loved, especially for its music. He is survived by Marie, his wife of fifty-one years, and three children: Lisabeth, an attorney in Los Angeles; Peter, a judge in Fairbanks; and John, a composer in New York. E. W. STRONG... (shrink)

This article arises from selected issues on interpretation raised in a session entitled ‘Danto on Margolis/margolis on Danto’ at the Eastern Division meeting of the American Society for Aesthetics, April 25, 1989, at the University of Arts, Philadelphia. In Part I, principally for dialectical purposes, I recapitulate some of Arthur Danto’s and Joseph Margolis’s points in an attempt to idealize two opposing views: constructionist and realist. It should be said at the outset that the constructionist and realist (...) positions need not be opposed, as Margolis ramifies the matter in his extensive writings. Also, as Danto expounds in numerous places, his theory of art is anti-realist. Nevertheless, as regards the practice of art history and art criticism he is realist—at least as represented in the present exchange. So the idealizations of constructionism and realism here presented should be understood to range over designated concerns and should not be read as idealizations of these authors’ more developed positions as presented elsewhere. In Part II, I adjust the initial characterizations, offer some criticisms of each of these positions, and indicate some points at which there might be some promise for reconciliation between them. In Part III, I shall make some strategic suggestions to advance the discussion. (shrink)

My association with Denis Dutton began almost exactly thirty years ago, at the 1981 American Society for Aesthetics (ASA) conference in Tampa, although in an inverse sort of way: he deliberately chose not to meet me.Let me explain. In late October 1981, I was a housewife living in Sri Lanka who certainly did not have the means to travel from South Asia to central Florida. The previous year, I had published a paper in the summer issue of (...) the Journal of Aesthetics and Art Criticism.1 Soon afterward, I received a letter in a somewhat shaky hand from a gentleman in New York, David Mandel, who identified himself as a former labor lawyer who was passionate about the subject of art and evolution, to the extent that he .. (shrink)