This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive (...) scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged. (shrink)

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...) and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a ‘situated aesthetic’ in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value. (shrink)

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...) expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

In his 1934 book Art as Experience John Dewey explores the relationship between human experience and art. His theory builds on the conception of experience inspired by Darwinian biology as the dyna...

This article unravels the process of objectification by empirically examining a social context where it occurs almost incessantly: fashion modeling. Drawing on an ethnography of fashion modeling in Amsterdam, Paris and Warsaw, I argue that objectification is neither ubiquitous nor one-dimensional: it takes place in specific social contexts and unfolds itself differently under different social conditions. Moreover, objectification is not unidirectional: it is done by and happens to both men and women. By taking an experiential perspective which involves models’ subjective (...) responses to being objectified, I call into question theoretical arguments of objectification pertaining to disempowered subjects, and the assumption that objectification is inherently negative or immoral. Instead, I argue that objectification is socially rooted in institutions and specific situations and that this matters considerably for its varying forms, levels of intensity and the emotional and practical responses it evokes in people. This does not imply that objectification is less compelling as a process, or easy to avoid. Objectification might be all the more effective exactly because the process is embedded in different social contexts, and adapts itself accordingly. (shrink)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for (...) the perspective of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

This paper argues that moral judgment is suffering at the hands of instrumental rationality and identity thinking, concepts from the tradition of the Frankfurt School of Critical Theory that help explain degradations in human relations. These concepts are not new, but they are realized in novel ways, and the implications continue to be significant, contributing to human suffering and prominent anti-intellectual sentiment. Working through the shared intellectual ground of Adorno, Edmundson, Stivers, and Ellul, the paper takes a critical look at (...) our culture through the objectification of genuine human relations that comes with techno-rational prioritization. The endpoint of such a culture is the compromise of human subjectivity in the service of efficiency, objectivity, and measurability. Extending the analysis to educational practice, Joas’s notion of situational creativity and Dewey’s aesthetics are proposed as possible points of resistance, highlighting positive actions to be taken to remediate these narrow and dehumanizing phenomena. (shrink)

This essay explores important intersections between the thought of John Dewey and Michel Foucault, with special attention to the distinction between emancipation versus practices of freedom. The complex relationship between these thinkers is, at once, complementary, divergent, and overlapping. The author however stresses the way in which both Dewey and Foucault portray situated subjects as improvisational actors implicated in unique situations, the meaning of which turns on the extemporaneous exertions of these implicated agents.

Diverse Nations, Diverse Responses provides a rich overview of the historical, demographic, and political forces that shape social cohesion. It also provides a comparative analysis of the policy goals that have been pursued, the programs that have been implemented, the ways that social cohesion has been defined and measured, and the effects of such issues on immigrants, minorities, and host communities. The volume provides a cross-national conversation on approaches to social cohesion and will appeal to researchers, policy-makers, and practitioners interested (...) in immigration, diversity management, and the factors that affect policy choice, diversity, and outcomes. (shrink)

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)

Our lives are filled with aesthetic choices, that is, choices of objects for aesthetic experience. Choice is crucial to having a fulfilling aesthetic life. Our immediate satisfaction and long term flourishing require the ability to generate rewarding aesthetic opportunities. A good aesthetic life is one of good aesthetic choices. Given the centrality of choice to a good aesthetic life, aesthetic theory is in need of an account of choice. However, aesthetic choice has gone unexamined. This paper considers how choice helps (...) to make us who we are as aesthetic persons. I situate aesthetic choice within debates in contemporary choice theory. The paper also examines whether the recommenders on websites like Amazon or Netflix pose a risk to our aesthetic flourishing. Aesthetic choice is mostly constructive and conditional, in other words, ad hoc and easily influenced. Aesthetic choices tend to be small choices, with low stakes and relaxed deliberation. The effect of our choices is cumulative, and the import of individual choices is best judged by seeing them in the context of other choices, especially the plans to which they belong. (shrink)

Summary This paper presents and contextualizes the construct of Aesthetic Relational Knowing (ARK), as the intuitive experience of the therapist that emerges from the phenomenological field created in a meeting between therapist and client. The concept of isomorphism is considered as an epistemological turning point and a possible bridge connecting Gestalt therapy, Gestalt theory and Neurosciences. An example of the clinical consequences of this change of perspective is given. Moreover, a validation pilot study has shown that ARK is described by (...) three factors: empathy, resonance and bodily awareness. The ARK can be defined as a three-dimensional construct that supports the positive use of the therapist’s perception in terms of aesthetic knowing of the phenomenological field of the therapeutic situation. The construct of Aesthetic Relational Knowing can be considered a phenomenological, aesthetic and field-oriented contribution to psychotherapy training, supervision and research. (shrink)

Traces of many past events are often layered or superposed, in brain, body, and world alike. This often poses challenges for individuals and groups, both in accessing specific past events and in regulating or managing coexisting emotions or attitudes. We sometimes struggle, for example, to find appropriate modes of engagement with places with complex and difficult pasts. More generally, there can appear to be a tension between what we know about the highly constructive nature of remembering, whether it is drawing (...) on neural or worldly resources or both, and the ways that we need and use memory to make claims on the past, and to maintain some appropriate causal connections to past events. I assess the current state of work on situated affect and distributed memory, and the recent criticisms of the ‘dogma of harmony’ in these fields. I then deploy these frameworks to examine some affective dimensions of place memory, sketching a strongly distributed conception of places as sometimes partly constituting the processes and activities of feeling and remembering. These approaches also offer useful perspectives on the problems of how to engage – politically and aesthetically – with difficult pasts and historically burdened heritage. In assessing artistic interventions in troubled places, we can seek responsibly to do justice to the past while fully embracing the dynamic and contested constructedness of our present emotions, memories, and activities. (shrink)

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

This article explores John's Muir's writings in order to construct a Muirian environmental aesthetics. To this end, I draw out three key features. First is the aesthetic category of sublimity as it emerges in his explorations of Yosemite. Second, a distinctive, pluralistic environmental aesthetics is found through his interweaving of aesthetic, religious, and scientific ideas. Third, his journals from the Thousand‐Mile Walk reveal an active and situated aesthetics, shaped by his practice of exploring and communing with nature. (...) Together, these features support a perspective that is quite contemporary, in tune with environmental and everyday aesthetics, as well as with recent work in environmental ethics. (shrink)

Preface -- Introduction -- The burden of English -- Who claims alterity? -- How to read a "culturally different" book -- The double bind starts to kick in -- Culture: situating feminism -- Teaching for the times -- Acting bits/identity talk -- Supplementing Marxism -- What's left of theory? -- Echo -- Translation as culture -- Translating into English -- Nationalism and the imagination -- Resident alien -- Ethics and politics in Tagore, Coetzee, and certain scenes of teaching -- Imperative (...) to re-imagine the planet -- Reading with Stuart Hall in "pure" literary terms -- Terror: a speech after 9/11 -- Harlem -- Scattered speculations on the subaltern and the popular -- World systems and the creole -- The stakes of world literature -- Rethinking comparativism -- Sign and trace -- Tracing the skin of day. (shrink)

Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to countryside to wilderness, this book discovers (...) in the aesthetic perception of environment the reciprocity that constitutes both person and place. (shrink)

Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count (...) as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be “extracted” from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism. (shrink)

The article explores Adorno's theoretical efforts to think through the relationship of art and society, treating it as a significant part of his aesthetic theory. The emphasis of the article is placed on those writings that explicitly theorize the link between art and society. The essay therefore traces Adorno's theoretical statements and arguments from his 1932 essay on the situation of modern music to his late Aesthetic Theory, focusing on his methodological and aesthetic concerns: methodologically his persistent critique of (...) empiricism and quantitative research, aesthetically his preoccupation with the concept of aesthetic autonomy as the precondition of modern art. As it turns out, with in terms of its basic concepts such as commodity and reification, even his late work ( Aesthetic Theory ) remains committed to the Marxist tradition that defined his early writings. (shrink)

Immanuel Kant’s Critique of Judgment, Thierry de Duve argues in the first volume of Aesthetics at Large, is as relevant to the appreciation of art today as it was to the enjoyment of beautiful nature in 1790. Going against the grain of all aesthetic theories situated in the Hegelian tradition, this provocative thesis, which already guided de Duve’s groundbreaking book Kant After Duchamp (1996), is here pursued in order to demonstrate that far from confining aesthetics to a stifling (...) formalism isolated from all worldly concerns, Kant’s guidance urgently opens the understanding of art onto ethics and politics. Central to de Duve’s re-reading of the Critique of Judgment is Kant’s idea of sensus communis, ultimately interpreted as the mere yet necessary idea that human beings are capable of living in peace with one another. De Duve pushes Kant’s skepticism to its limits by submitting the idea of sensus communis to various tests leading to questions such as: Do artists speak on behalf of all of us? Is art the transcendental ground of democracy? Or, Was Adorno right when he claimed that no poetry could be written after Auschwitz? Loaded with de Duve’s trademark blend of wit and erudition and written without jargon, these essays radically renew current approaches to some of the most burning issues raised by modern and contemporary art. They are indispensable reading for anyone with a deep interest in art, art history, or philosophical aesthetics. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own self-interest. (...) This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement. (shrink)

The essay addresses the issue of the relationships between everyday aesthetics and ethics from the point of view of tact. Tact is understood as an attitude towards behavior that guides action and thinking, and combines aesthetics with ethics. Tact and tactlessness may manifest themselves in action and speech but also in objects produced and used. I will argue that although tact is often pursued, tactful behavior will necessarily result in conflicting situations in which one is only in step (...) with certain things and in conflict with many others. However, the principle of tact tries to hide its conflictual aspects, unlike, for example, confrontation-based political thinking. Still, within the framework of tact, the contrast between pursuing harmonious behavior and yet necessarily creating conflicts cannot be avoided, which emphasizes the special tragic nature of tact. This kind of tragedy also often characterizes everyday aesthetics. I will approach the theme both through theoretical concepts and concrete examples. (shrink)

This book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: First, within the (...) culture of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

We have studied aesthetic field theory in the case where all invariants constructed from Γ jk i and involving g ij are zero. We studied such a “null” theory in 1972, but the cases we cited were plagued with singularities. By introducing complex fields the situation with respect to singularities improved. Complex fields are consistent with the basic “aesthetic principles” we outlined earlier. Within our null theory we see in two-dimensional spacetime a scattering of particles that was more involved (...) than what we had seen before (regardless of dimensions). We see creation and annihilation of particles out of the vacuum. We also see a three-particle system within a small region of spacetime. In three spacetime dimensions we see a bound two-particle system. Another solution suggests a bound three-particle system. As well as we can tell the particles stay together (confinement) and do not give problems with attenuation. We observe in three dimensions one of the bound systems moving along a definite path in time. The four-dimensional spacetime results are not clear at this point. Whether “topological” bound systems of three particles exist has yet to be determined. A map in the four-dimensional case indicates a planar three maxminima confluence and the suggestion of a second such confluence. (shrink)

Kendall Walton’s “Categories of Art” seeks to situate aesthetic properties contextually. As such, certain knowledge is required to fully appreciate the aesthetic properties of a work, and without that knowledge the ‘correct’ or ‘true’ aesthetic properties of a work cannot be appreciated. The aim of this paper is to show that the way Walton conceives of his categories and art categorization is difficult to square with certain kinds of aesthetic experience—kinds of experience that seems to defy this claim of category-dependence (...) for aesthetic properties. The argument will be advanced for category-free aesthetic experience by considering Barry C. Smith’s account of wine-tasting and his description of his wine drinking ‘epiphany’. (shrink)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is (...) that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Unconscious Dimension of Thinking, Situations, and La Vida:Reflections on Bethany Henning's Dewey and the Aesthetic UnconsciousGregory Pappasthis book is doing different related and valuable things. First, Bethany Henning explores a neglected dimension of Dewey's thought. In particular, the book inquires into the dimension of the unconscious and tries to develop what she considers an "implicit" "theory of the unconsciousness" or of the "aesthetic unconscious" in Dewey's philosophy. Then, (...) based on all of the above, it provides a diagnosis and possible solution to a problem with philosophers and with American culture.The neglected dimension of Dewey's thought that Henning explores highlights the ways in which Dewey foresaw what feminist thinkers have said, and recent scientific accounts of human life and thinking are confirming: What we "feel" (what is "qualitative," "ineffable," and "noncognitive") is key to how to think and how to live (guidance and meaning). It has therefore been puzzling to me (along with John McDermott, Tom Alexander, Mark Johnson, and a few others) why even Dewey scholarship has to a large extent neglected exploring this aspect of his thought. Frustrated with Bertrand Russell, Dewey says that "Mr. Russell has not been able to follow the distinction I make between the immediately had material of non-cognitively experienced situations and the material of cognition—a distinction without which my view cannot be understood" (LW 14:33; emphasis added).More importantly, by neglecting this insight and these aspects of his thought, we have failed to utilize one of the most important resources to diagnose sociopolitical-moral problems today! This is what I have been trying to do in recent years, and I see Dr. Henning as trying to do the same. She is not just providing a theory of the unconscious for the sake of speculation, but she does so with instrumental intent, in the hope that it will help us better approach a concrete social-cultural problem we suffer in our society, a topic to which I will return. [End Page 84]My reading of Dewey and the Aesthetic Unconscious has provoked a few questions:(a). Is there, in Dewey, a conception of aesthetic and religious experience that can be understood as an "implicit theory of the unconscious"?(b). Even if there is one, do we need one? For what purpose?(c). What would we miss if we were to say what needs to be said and explored by Henning by using different terms/concepts and avoiding the possible misunderstanding and dangers of making reference to "the unconscious"?(d). Would Henning agree that the problematic aversion or repression in American culture that concerns us is more than that of the unconscious, the qualitative, body, and nature that form the focus of her book?(e). Henning agrees that we need more than art and "deep" psychology to ameliorate the problems that concern us. What is this "more"? How?In regard to (b), I can think of one good purpose, which Henning develops in Dewey and the Aesthetic Unconscious: to engage in a dialogue with psychoanalysis and contemporary philosophies that draw from psychoanalysis and feminism (e.g., Kristeva) or, in general, other academics concerned with the same problems. I also wondered as I was reading the book why Henning does not put Carl Jung in dialogue with Dewey as well, just as a matter of curiosity. But I wonder, if we need to develop a "theory of the unconsciousness" or of the "aesthetic unconsciousness" to both make a contribution to the "depth" of lived experience (La Vida) and also deal with the social-cultural problems that concern us.There are dangers with talking about or making reference to "the" unconsciousness or "the" aesthetic unconsciousness and theorizing about them. The problem is that it comes across as a noun, and not as way of participating in La Vida or nature, that is continuous in a significant way with what is more conscious and more cognitive: we are at any time more or less conscious. But Henning seems aware of all of this. She is careful enough to make clear that she is acknowledging continuity, but I confess to "feeling" uncomfortable sometimes with her reference to that... (shrink)

A fetish is a specific emotionally loaded object, body part, or situation that draws our attention and desire, and sexual fetishism is the sexual arousal that a person experiences when in contact with such a loaded object. Until now, psychology has had trouble understanding the distinctive lust objects and the orchestration of urges in the world of fetishism, so fetishism has therefore fallen into the category of perversions and abnormal behavior. In this study, fetishism is moved to the field (...) of aesthetics, and a new theory is presented: Fetishism is the attraction to certain species-specific key stimuli that are perceived as especially beautiful and exciting. A topic or an object that contains important key stimuli automatically becomes apower object or a fetish.Therefore, we have to look into the innate sensibilities on which our aesthetics are based and into the micro-processes of the aesthetic impulse to understand why something captivates and fascinates us in a fetishist way. (shrink)

«What does art mean in a world where urgency predominates, a world that now exhausts its annual quota of renewable resources in July?» (Bourriaud [2021]: 7; my translation). The climate crisis (which began in the last century, but whose consequences have become increasingly worrying in recent years), the Covid 19 pandemic that struck the planet in 2020 and the recent conflict between Russia and Ukraine in the heart of Europe are epoch-making phenomena that are inevitably reshaping the present and future (...) of human societies. With respect to this situation, is art being called into question or, on the contrary, is it an essential tool for rethinking the world of tomorrow? More specifically, is public art today a lost cause or an opportunity? In this article, I will try to place these questions within the framework of what we might call eco-aesthetics, which has an essential connection to the category of “relations”. (shrink)

Ewa Ziarek fully articulates a feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. She examines the contradiction between women's transformative literary and political practices and the oppressive realities of racist violence and sexism, and she situates these tensions within the entrenched opposition between revolt and melancholia in studies of modernity and within the friction between material injuries and experimental aesthetic forms. Ziarek's political and aesthetic (...) investigations concern the exclusion and destruction of women in politics and literary production and the transformation of this oppression into the inaugural possibilities of writing and action. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly the writing of Virginia Woolf and Nella Larsen, along with feminist theories on the politics of race and gender. By bringing seemingly apolitical, gender-neutral debates about modernism's experimental forms together with an analysis of violence and destroyed materialities, Ziarek challenges both the anti-aesthetic subordination of modern literature to its political uses and the appreciation of art's emancipatory potential at the expense of feminist and anti-racist political struggles. (shrink)

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

One challenge faced by aesthetics is the development of an account able to trace out the continuities and discontinuities between general experience and aesthetic experiences. Regarding this issue, in this paper, I present an enactive model of some raw cognitive dynamics that might drive the progressive emergence of aesthetic experiences from the stream of general experience. The framework is based on specific aspects of John Dewey’s pragmatist philosophy and embodied aesthetic theories, while also taking into account research in ecological (...) psychology, cognitive sciences, and dynamic systems theory. The model focuses on dynamically relevant nodes at the pre-reflective and the reflective side of experience that would work as nested rhythmic constraints at different cognitive timescales with the potential to shunt experiences toward the aesthetic in everyday situations. My proposal constitutes a way to explore aesthetic experiences from an enactive perspective that regards them as transformative events in which cognitive processes entrain and are entrained by changes taking place in the environment, the brain, and the body. (shrink)

Our aesthetic practices, by which we aim for better well-being, are intertwined with fostering sustainability. This article focuses on Yuriko Saito’s aesthetics of sustainability, an idea denoting a new kind of aesthetic sensibility informed by and featuring both environmental and cultural sustainability. Saito’s idea is based on our aesthetic relationship with everyday experiences. In this article, I defend the idea, on the one hand, by considering the immanence of change as a sense of contemporary everydayness and, on the other (...) hand, by regarding mindfulness as a practice. Situating the discussion in the European context emphasises the aesthetics of sustainability as a sustainability transformation, that is, an ongoing societal change powered by the continuous cultivation of aesthetic sensibility. (shrink)

In this book, Grant Tavinor, well known for his influential work on the aesthetics of videogames, offers the first focused study of the aesthetics of virtual reality media. When reading the first pages, one cannot help but notice Tavinor’s enthusiasm about virtual reality (VR) in the vivid descriptions of his explorations of virtual haunted houses, distant planets, and ancient Rome. These descriptions also reveal Tavinor’s refreshing aim to focus on present uses of VR media, instead of the so-called (...) “perfect virtual realities” (virtual realities that are indistinguishable from the actual world) that are often the focus of philosophical discussions. When talking about VR, philosophers indeed often target hypothetical situations in which people are brains in vats, hooked up to experience machines, or living in a world that is, unbeknownst to them, merely a simulated one. Tavinor, however, intends to avoid metaphysical or ontological questions about hypothetical virtual realities, instead focusing on our aesthetic experiences of concrete VR media. With this, he generally refers to “immersive, interactive, and computable VR technologies” (p. 15), such as the HTC Vive, the PlayStation VR, and the Oculus, which depict virtual environments through head mounted displays. Tavinor’s aim is to show how these systems are media that allow for “a technologically fancy kind of picturing” (p. 12), and to contextualize them in the history of representational media alongside of painting, photography, and film. (shrink)

The paper dwells on the tragic personality, the scapegoat, whose role is tied to the redemption of the people and cleansing of the land by metaphorically sacrificing himself during “““Olofun”gbogho””. This is another act in the fertility drama and it is instrumental in the regeneration of the land. The tragic hero is central to the cleansing, fertility and other allied ceremonies. The paper attempts an examination of the functions of the scapegoat during ““Olofun”gbogho”” and situates the tragic hero within a (...) selfless desire to redeem the land from accumulated sins. The tool of analysis is aesthetics and the paper uncovers the underlying imperatives in the performance and situates them within art and the fulfilment of the people’s desire for entertainment. (shrink)

In The Aesthetics of Decay, Dylan Trigg confronts the remnants from the fallout of post-industrialism and postmodernism. Through a considered analysis of memory, place, and nostalgia, Trigg argues that the decline of reason enables a critique of progress to emerge. In this ambitious work, Trigg aims to reassess the direction of progress by situating it in a spatial context. In doing so, he applies his critique of rationality to modern ruins. The derelict factory, abandoned asylum, and urban alleyway all (...) become allies in Trigg's attack on a fixed image of temporality and progress. The Aesthetics of Decay offers a model of post-rational aesthetics in which spatial order is challenged by an affirmative ethics of ruin. (shrink)

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...) testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. (shrink)

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

The famous definition of landscape by Joachim Ritter unmistakably names the aesthetic act of construction that makes landscape vision possible: “Landscape is nature that is aesthetically present in the sight for a feeling and sensing observer”. Landscape is an aesthetic construct, in whose act of construction, however, social, cultural, individual and other constitutional factors flow. Following Karl Popper’s 3-world theory, a physical landscape (world 1), an individual landscape (world 2) and a social landscape (world 3) can be distinguished. In each (...) case, aesthetic and other constitutional factors are interconnected in a complex and complicated way. In addition, this situation is aggravated by the fact that different scientific basic positions (essentialism, positivism, constructivism) find their way into corresponding analyses (partly unreflected) and make scientific understanding difficult. Finally, this scientific starting position produces different paradigms, theories and terminology, which are often played off against each other and can lead to unfruitful dissent in science. The lecture counters this with a “neopragmatic” approach that can show that and how different paradigms, theories and conceptualisations can be related to each other in such a way that unfruitful dissent can be avoided and instead the advantages of the scientific plurality of theories, concepts and paradigms can be used and made fruitful for concrete research goals. (shrink)

This chapter contains sections titled: Some Varieties of Aesthetic Properties The Aesthetics of Fiction What Properties are Aesthetic? Mind Aesthetics? Number Aesthetics?

What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this (...) paper I explore the relationship between such episodes and the broader issue of ethical constraints on aesthetic activity and appreciation. Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events? I think it does – but in a very particular, almost ecological way. The subsequent discussion focuses on ethical constraints as they operate on the aesthetic appreciation of objects and events within the natural environment. (shrink)