There are indications of a positive trend in education. International comparative investigations on academic achievement (Programme for International Student Assessment, PISA) and longitudinal studies on life courses prove the need for and the importance of children’s high intellectual knowledge. At the same time, new research initiatives and projects comply with the demand that aesthetic/cultural education1 be “more” than a marginal complement to intellectual education and instead be “fundamental for thinking and acting.”2 Aesthetic education is to provide soft skills, to shape (...) children’s characters, and to improve their social competences, representing “the Other of school.”3 The text below deals with poetry for .. (shrink)

The classical distinction between leisure and work is often used to define features of the emancipated life. In Aristotle leisure is defined as time devoted to purposeful activity, and distinguished from the labour time expended merely to produce life’s necessities. In critical theory, this classical distinction has been adapted to provide an image of emancipated life, as purposively driven, fulfilling and meaningful activity. Aspects of this adapted definition undermine the classical leisure/work distinction to the extent that the demand for meaningful (...) work, i.e., a leisure-work conjunction, is now used as a critical perspective on unfulfilling, oppressive labour. Rancière, however, is critical both of this idea of an extended franchise for leisure and of its dependence on craft and artisanal labour as the model of satisfying, skilled work. Instead of Aristotelian leisure, or ‘fulfilling’ work, Rancière identifies in the state of reverie an alternative marker for the emancipated life. The theme is consistent across the scattered archival, historiographical, philosophical, literary and aesthetic contexts his writing treats. But since reverie is defined as disengagement from action, the position raises a number of difficulties. This article examines how Rancière connects reverie to emancipation. It focuses on two questions: the nature of the relation between his definition of reverie and the classical, Aristotelian concept of action; and, whether, given the constitutive non-relation between reverie and action that he outlines, Rancière’s position can address the persistent problem in critical theory of the motivation for the emancipated life. It is argued that his highlighting of the potential communicative significance of modes and scenes of emancipated life is relevant to this problem. The key argument is that rather than developing a ‘theory’, his approach to emancipation focuses on and values communicable experiences of emancipation, and that states of reverie are one such type of valued experience. (shrink)

This paper aims to trace the evolution of Bachelard's thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

This paper aims to trace the evolution of Bachelard's thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

This essay argues that an alternative conception of time to that underlying the ideology of productivism and growth is not only possible, but desirable. The creation of this time requires what I refer to as the practice of refusal via taking time: the self-determined arrangement of the nexus of time, action and utility that begins with the a-synchronous insertion of unproductive time into the synchronous horizontal time of productivism. The essay is divided into three sections. The first offers the reader (...) a discussion of Jacques Rancière’s notion of time as a social and political medium that partitions and distributes actions and utility. The subsequent section of the essay elaborates in aesthetic terms an account of unproductive time that is indifferent to the time of productivism. In the final section, I discuss examples that show how taking time to do ‘nothing’ can elicit an emancipatory politics that seeks to liberate us from the hegemony of productivism. I conclude that political theory should attend to time as a political medium and to the possibilities of its occupation, and that picturing the taking of time in terms of stopping the force of productivism’s normalized horizontal time by entering the unproductive time of reverie and aesthetic experience, provides a promising perspective from which to apprehend a time for thriftless refusals, deliberate dis-identifications, and the forging of cooperation among people(s) and with nature. (shrink)

Despite the very obvious differences between looking at Manet’s _Woman with a Parrot_ and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special (...) contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions. Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art. (shrink)

By decision of the World Council of Peace, progressive mankind marked, on October 5, 1963, the 250th anniversary of the birth of an outstanding representative of the French Enlightenment, Denis Diderot. Diderot occupies an honored place in the history of world thought on esthetics, as one of the greatest theoreticians of realist art. The esthetic theory founded by Diderot, calling for the representation of nature, was directed against the feudal, theological world view and against the aristocratic art of the court. (...) Diderot's esthetics, like his philosophy, served the cause of ideological preparation for the bourgeois revolution at the end of the 18th century in France. "Each age has its distinctive spirit," said Diderot. "The spirit of our age is the spirit of freedom.". (shrink)

This book investigates the significance of Wittgenstein’s philosophy for aesthetic understanding. Focusing on the aesthetic elements of Wittgenstein’s philosophical work, the authors explore connections to contemporary currents in aesthetic thinking and the illuminating power of Wittgenstein’s philosophy when considered in connection with the interpretation of specific works of literature, music, and the arts. Taken together, the chapters presented here show what aesthetic understanding consists of and the ways we achieve it, how it might be articulated, and why it is important. (...) At a time of strong renewal of interest in Wittgenstein’s contributions to the philosophy of mind and language, this book offers insight into the connections between philosophical-psychological and linguistic issues and the understanding of the arts. (shrink)

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

This thesis consists of four essays on aesthetic cognitivism. Aesthetic cognitivism says that artworks can have significant cognitive value and that the arts constitute a significant body of understanding. This thesis formulates and defends aesthetic cognitivist positions on central debates in philosophical aesthetics and works towards a comprehensive aesthetic cognitivist account of our aesthetic practices. In essay one, ‘Aesthetic Communication’, I defend the view that the purpose of a central form of aesthetic communication is sharing an aesthetic understanding of (...) the distinctive aesthetic character and value of artworks (and inculcating this aesthetic understanding in others). I argue for this view by setting out a novel account of the nature of aesthetic communication and of the criteria of communicative success in aesthetics. In essay two, ‘Aesthetic Cognitivism and Aesthetic Normativity’, I set out an aesthetic cognitivist answer to three normative questions. Why appreciate artworks? What does appreciation aim at? Which artworks is there weightiest reason to appreciate? Aesthetic cognitivism says that there is weightiest reason to appreciate artworks that are aesthetically valuable in virtue of the rich perspectives they bear to their subject matters. It says that the appreciation of these artworks aims at the sensitive exploration of their distinctive aesthetic value (i.e., of the rich perspectives they bear). It says there is reason to appreciate these artworks because they are aesthetically valuable. In essay three, ‘The End of Pleasure in Aesthetics: Aesthetic Cognitivism Revived’, I argue for an aesthetic cognitivist account of what it is to be responsive to aesthetic value. I argue that aesthetic responsiveness consists in a motivationally self-sustaining cognitive exploration of the distinctive aesthetic value of an artwork. I contrast my account with a pleasure theoretic account. In essay four, ‘Artistic Honesty’, I describe how honesty serves as a standard that guides and governs the creative process and provide an account of the property we attribute to artworks when we judge them to be honest. I argue that for an artwork to be honest is for it to confront a truth that it is epistemically and/or emotionally difficult for us to confront (individually and as a community). (shrink)

These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. -/- What is art? Must art be beautiful? Must art be politically or culturally significant? How does art differ from other products of human activity? Joseph Margolis has spent decades thinking through these and related questions. In this book, he introduces his reader to the field of Aesthetics by thinking through the most fundamental philosophical questions (...) about art in a way that is engaging and accessible. This book could be used alongside a textbook of classic readings in Aesthetics, or as a stand-alone text in Aesthetics. THE WADSWORTH PHILOSOPHICAL TOPICS SERIES presents readers with concise, timely, and insightful introductions to a variety of traditional and contemporary philosophical subjects. With this series, students of philosophy will be able to discover the richness of philosophical inquiry across a wide array of concepts, including hallmark philosophical themes and themes typically underrepresented in mainstream philosophy publishing. Written by a distinguished list of scholars who have garnered particular recognition for their excellence in teaching, this series presents the vast sweep of today's philosophical exploration in highly accessible and affordable volumes. These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. (shrink)

The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically _asks_ a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily _lose the sense of herself_, while enabling her to _gain a sense of the other_. Due (...) to an artwork’s particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of _losing the sense of oneself_, while _gaining a sense of the other_, and of _achieving selfhood_. In his book, Hilgers spells out the nature of this process by means of rethinking Kant’s and Schopenhauer’s aesthetic theories in light of more recent developments in philosophy–specifically in hermeneutics, critical theory, and analytic philosophy–and within the arts themselves–specifically within film and performance art. (shrink)

Review of Mortiz Schlick's "Basic Problems of Aesthetics in the Light of Evolutionary Theory" and "On the Meaning of Life." From these, the paper suggests an aesthetic theory that describes art-making as play. This theory may be useful to identify artworks from non-artworks.

The paper argues that much of Kant’s largely formalistic account of aesthetic appreciation stands on the idea that the judger is able to engage with the object of her judgment purely sensibly and hence non-conceptually or non-cognitively. This is to say that the judger must be able to ground her judgment on the immediate sensory affection by the object or on the object’s sensible form. The paper also argues that these two purely sensible grounds, accessible in the aesthetic examination of (...) objects, underlie the feeling involved in such judgments. In broader terms, the paper outlines how Kant’s account of aesthetic judgment suggests what might be called a contemplative model of perception. (shrink)

Readers of Kant’s Critique of Judgment (1790) have understandably been stumped trying to decipher Kant’s views on the relation between beauty and art.1 At §43 Kant ends his discussion of “free natural” beauties such as flowers and birds of paradise and begins to formulate a theory of fine art, according to which fine art has as its purpose the expression of “aesthetic ideas.” This theory of fine art, perhaps because it is saddled with examples of second-rate art (including a poem (...) by “the great king” Frederick) and is sketchier than the theory of beauty, has not been given the attention accorded the four “moments”. However, Kant’s theory of fine art is not as “unsophisticated” and “unenlightening” as one commentator thinks.2 It is rough and unfinished, but even so, it lays claim to being, along with Aristotle’s account of the “philosophical” implications of literature, one of the great pre-Hegelian statements on the capacity of art to express ideas. At least, the fact that the Critique of Judgment contains such a theory should stand as a warning to those who blame Kant for “neutering” the capacity of art to have any practical effect by reducing art to a contrivance for producing an enemic “disinterested” pleasure.3 On the contrary: Kant himself may in fact have thought his theory of fine art the capstone of his aesthetics. For at §51 he writes, “We may in general call beauty (whether natural or artistic) the expression of aesthetic ideas.” And here is where the puzzle begins, for it is not at all clear how or why beauty should even apply to the expression of aesthetic ideas — let alone apply in a way such that “we may in general call beauty … the expression of aesthetic ideas.”. (shrink)

A theory of aesthetic normativity states what makes it the case that the fact that an item is beautiful is reason to appreciate it. Aesthetic hedonists characteristically hold that the fact that an item is beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure. Bernard Bolzano was an aesthetic hedonist who is best interpreted as offering a mixed theory of aesthetic normativity. The fact that an item is beautiful is reason to appreciate it (...) because anyone always has reason to do what yields pleasure and because anyone also has reason to do what fosters virtue, the capacity to act well. The argument for this interpretation knits together Bolzano’s aesthetics, his ethics, and his philosophy of science. In doing so, this argument opens up a new perspective on aesthetic normativity. (shrink)

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

Wittgenstein offers three objections to the idea of aesthetics as a branch of psychology: (i) Statistical data about people’s preferences have no normative force. (ii) Artistic value is not instrumental value, a capacity to produce independently identifiable – and scientifically measurable – psychological effects. (iii) While psychological investigations may bring to light the causes of aesthetic preferences, they fail to provide reasons for them. According to Wittgenstein, aesthetic explanations (unlike scientific explanations) are poignant synoptic representations of aspects of a (...) work, and the criterion of success of an aesthetic explanation is that it satisfies the addressee. He repeatedly remarked that they resemble philosophical explanations, which also try to dispel puzzlement or confusion. The difference, however, is that whereas in philosophy we deal with general conceptual problems, aesthetic explanations typically concern individual responses to particular works of art. (shrink)

Abstract:Peirce held a convergence theory of moral truth, as James Liszka persuasively argues in Charles Peirce on Ethics, Esthetics, and the Normative Sciences (2021). Here I emphasize: (1) that Peirce's convergence theory follows from the application of the maxim of pragmatism to the concept of moral goodness or rightness; (2) that in connection with Peirce's account of the ethical summum bonum, morally right action can be understood as action that conforms or contributes to the growth of concrete reasonableness; and (3) (...) that, for Peirce, the growth of concrete reasonableness seems to be a movement or development toward "God". While I broadly agree with Liszka's approach, I highlight some disagreements. As do many readers of Peirce, Liszka seems to regard the convergence of beliefs and habits as necessarily a convergance among the "indefinite community" of distinct persons or inquirers; however, there is sufficient evidence that Peirce came to think that, if any given person were to live long enough, they would come to the same conclusions or rest in the same habits on their own. With respect to morality, even the most evil person would eventually come around to the moral truth. (shrink)

Essays in Honour of Lars-Olof Åhlberg 25 Essays, Aesthetics.

The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...) present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality. (shrink)

It would therefore be reasonable to undertake a description and appreciation of this book precisely in its character as a dialectical dictionary or magazine of aesthetic issues and arguments. One could conduct a guided tour, stopping to admire the fullness of information, or fertility of invention, and the nicely graded series of the ideas collected in this locus or that, or in some area where one happened to be well enough informed, noting the omissions. One might even raise a theoretical (...) question about this whole aspect of the work, starting with the author's bald assertion: "What I have written is, simply and literally, a guide to aesthetics—a guide to the structure and problems of the subject, not to its literature." His "approach," he says, "is systematic, not historical." He "mentions names," but he says he is "not concerned much with who first said what," and his references are not always to the "earliest or best exponents of the views they illustrate". Much of the literature he says he has not read and does not mean to read. One who has himself not read all of the aesthetic literature can hardly object to this very strenuously. (shrink)

This paper examines the iconic conception of aesthetic education in the work of Friedrich Schiller, with the aim of elucidating Schiller’s unique innovation of this notion in understanding i) the relationship between aesthetic and ethical value and ii) the transformative possibilities within a collective, social dimension of aesthetic experience. The paper provides an overview of the Kantian origins of Schiller’s aesthetic programme (Section 1). It then considers Schiller’s critique of the perceived failings of the Kantian and Enlightenment republican models of (...) ethical value and political emancipation (Section 2) before turning to his positive alternative aesthetic programme (Section 3). The paper concludes (Section 4) with some evaluation and reflection on Schiller’s original contributions. (shrink)

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud (to whom reference was made in the course on aesthetics) between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As (...) very little is known of Wittgenstein's views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his Tractatus and Philosophical Investigations a little formidable. (shrink)

Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an aesthetic judgment cannot be grounded on the (...) testimony of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)

에서 선험적 규정은 의지와도 인식과도 관련되지 않는다. 그것은 판단 자체를 다룬다. 그것은 어떻게 무언가가 판단되어야 하는가를 확립한다. 미적 판단은 유쾌함과 불쾌함을 다룬다. 유쾌함은 단순한 감각이 아니라 감정이다. 미적 판단은 나의 본성과 관련되는 판단이지 오성이나 의지와 관련된 것이 전혀 아니다. 그것들은 나로부터 나오는 것이지 자연 자체로부터 나오는 것이 아니다. 그것들은 나로부터 나오지만 유비적인 것들이다. 나는 그것들을 구상하지만 이 일은 마치 나의 자연(본성)을 누군가가 구성하기라도 한 것처럼, 자연이 그것을 구상할 수 있었기라도 한 것처럼 일어난다. 그런 이유로 그 판단들은 반성적인 것이지 규정적인 것이 (...) 아니다. 이 글에서 나는 두 문제를 제기할 것이다. 하나는 단순한 반성으로서의 미적 판단이 어떻게 또한 규정적이고 선험적일 수 있는가? 다른 하나는 단순한 규정적 판단들이 문제가 되든, 아니면 반성적 판단들과 규정적 판단들 사이의 구분이 문제되든, ‘비판’이라는 말은 동일한 의미를 가지는가? 하는 것이다. 나는 과 사이에 칸트 철학의 구조적인 변화가 있다는 것을 보여줄 것이다. (shrink)

In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity to attract (...) aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)

This collection of essays takes as its focus Mitscherling’s comprehensive phenomenological analysis of embodiment, aesthetic experience, the interpretation of texts, moral behavior, and cognition, and exemplifies subsequent work in the field of realist phenomenology being conducted by an international collection of active scholars influenced by Mischerling’s Aesthetic Genesis.

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections (...) of one of his major untranslated works, Kritische Wälder. These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view. (shrink)