This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which (...) allows for some such analogies at the epistemological level, is too quick to ground aesthetic judgements in perceptual experiences alone. Further, it is held that aesthetic justification can, contra the objectivist theory under scrutiny, be based on an appeal to generally available justifying reasons without overthrowing the non-inferential character of aesthetic judgements. This possibility relies on a clearly established delineation between (i) aesthetic perception and aesthetic judgement, (ii) justifying reasons and explaining reasons, and (iii) judgement-making and judgement-justification. (shrink)

This doctoral thesis is an examination of the possibility of ascribing objectivity to aesthetic judgements. The aesthetic is viewed in terms of its being a certain kind of relation between the mind and the world; a clear understanding of aesthetic judgements will therefore be capable of telling us something important about both subjects and objects, and the ties between them. In view of this, one of the over-riding aims of this thesis is the promotion of an ‘ (...) class='Hi'>aesthetic psychology’, a philosophical approach, that is to say, which emphasises the importance of the psychological processes involved in the making of aesthetic judgements. One of the aims of this thesis is to develop a revisionary account of the distinction between objectivity and subjectivity in the domain of value. This revision will undertake to dismantle some of the assumptions implicit in a metaphysical framework which traditionally ascribes objectivity only to judgements about facts, and not to judgements about values and other concerns such as norms and emotions. Further, the thesis examines the intricate ways in which aesthetic properties, the focus of aesthetic judgements, depend on the (emotional and other) responses of the subjects of experience. The particular role played by first-hand experience in the making of aesthetic judgements is among the things critically investigated in the interests of reaching a clearer understanding of the manner in which aesthetic judgements may be objective in the sense of being justifiable. Eventually, a defence is outlined of the view that aesthetic judgements can be supported by good reasons, but not in the same way as ordinary cognitive judgements. Finally, I outline the main tenets of a proposed ‘reasonable objectivism’ for aesthetic judgements, an objectivism grounded on justifying reasons. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is (...) due to the fact that aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

n this book, Fred Seddon critically examines the views of Ayn Rand and some of her fellow Objectivists on several of the major figures in the history of philosophy, viz., Plato, Augustine, Hume, Kant and Nietzsche. There is also a chapter dealing with Rand's aesthetics, as well as three appendixes, two on Plato and one detailing the philosophy of Ayn Rand.

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as (...) employed by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

This article argues that, propaedeutic to the construction of an Objectivist aesthetics, scholars must refute the irrational/immoral philosophical premises that have been destroying the philosophy of art. Due to the troubling combination of its contemporaneity, extremism, and considerable influence, poststructuralism, which, since the 1960s, has served as the default philosophical foundation for philosophers of art, is the target of this article. This article contends that the road to an Objectivist aesthetics must first be cleared of philosophical debris like poststructuralism before (...) we can hope to go back to the world of art. (shrink)

Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending together (...) a cognitivist account of aesthetic judgment with an objectivist account of beauty, and that she builds an account of aesthetic normativity on this cognitivist and objectivist basis. I contend that her subtle and unified account of aesthetic demarcation and normativity has advantages over other competing hedonist and Kantian views and, as such, merits further consideration in contemporary debates. (shrink)

By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of (...) charting a fruitful path for the future of art criticism. (shrink)

Hepburn argues that all education, and so Arts Education, educates a person's subjectivity, his or her Lebenswelt; though the sciences take the ‘objectifying way’ they too educate our subjectivity. I show why there can be no decision procedures, involving the use of logical operators for interpreting a work of art, but argue that Hepburn's view that music etc. can furnish ‘authoritative imaginative realisations’, nevertheless presupposes a ‘soft’ objectivist position. Whilst Hepburn is right in thinking that the subjective provides the context (...) for objectifying procedures in education (and more generally), it cannot be the case, as he implies, that aesthetic criteria could have a role in the selection of preferred scientific explanations and theories. It is, however, argued that the aesthetic can be generative of objectifying ways, or theoryenabling. (shrink)

The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic (...) appreciation, according to which correctness means the adequation of the experi- ence to properties of the object. My aim in the article is to claim that it is necessary to endorse an aesthetic standard of correctness that takes into consideration the subjective character of aesthetic appreciation. An aesthetic standard of correct- ness implies universal assent, or validity for everyone in Kantian terms, in place of an objectivist notion. This notion of correctness permits the inclusion of expressive perception of nature as an essential form of aesthetic appreciation. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population (...) were asked whether they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

In this article, firstly, I begin by articulating four logically different positions Kant has been argued to hold concerning the nature and meaning of ‘aesthetic judgement’ so that, secondly, I may endorse the alternative that has been almost entirely neglected: that is, aesthetic judgement should be understood to be both ‘internalist’ in that the pleasure of taste is a constitutive element of the judgement itself (rather than its external effect or prior referent) and ‘objective’ insofar as the pleasure (...) of taste not only reflects the mental state of the judging subject but discriminates features or properties of the object judged. Ultimately I believe that this ‘internal objectivism’ is a compelling meta-aesthetic position in its own right with interesting parallels to recent trends in aesthetic theory, but presently I am concerned to demonstrate that one way to get clear about how such judgements are possible and to become comfortable with their significance is to see how this position arises and is resisted in the Critique of Judgment and, accordingly, in the contemporary scholarship on Kantian aesthetics. (shrink)

I outline and defend a version of the aesthetic argument for the existence of God, according to which theism explains our capacity for subjective aesthetic experience better than its major competitor, naturalism. I argue that naturalism fails to adequately explain the nature and range of our aesthetic experiences, since these are amenable neither to standard Darwinian explanation nor to explanation in terms of more complex sociobiological mechanisms such as sexual selection or between-group selection. I concede that (...) class='Hi'>aesthetic experience may be an evolutionary spandrel but argue that the conjunction of this thesis with naturalism is highly improbable given the prevalence of beauty in the natural world. Theism, on the other hand, furnishes a robust personal explanation of aesthetic experience, since on theism God has both good reasons to bring such experiences about and the power to do so. I address an objection to the theistic explanation from broadly negative aesthetic experiences, arguing that God plausibly has many reasons to allow these. I contend that this formulation of the argument is superior to other extant versions, since it does not depend on controversial probability judgments, dubious analogies between natural phenomena and human artefacts, or objectivism about aesthetic values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 1-18 [Access article in PDF] Aesthetic Inquiry in Education:Community,Transcendence, and the Meaning of Pedagogy Hanan A. Alexander What does it mean to understand education as an art, to conceive inquiry in education aesthetically, or to assess pedagogy artistically? Answers to these queries are often grounded in Deweyan instrumentalism, neo-Marxist critical theory, or postmodern skepticism that tend to fall prey to (...) the paradoxes of radical relativism and extreme subjectivism. 1 This essay offers an alternative, communitarian account of education as an art and a neo-Kantian approach to aesthetic inquiry in education that avoids these difficulties.I begin by examining the emergence of aesthetic inquiry in education in the context of the larger qualitative revolution in educational research. The struggle to justify the qualitative turn in educational thought was initially framed in terms of two influential doctrines: that cognition and affect on the one hand, and truth, beauty, and goodness on the other, can be clearly distinguished from one another. Qualitative methods were conceived as an alternative research paradigm — a new epistemology — in keeping with Thomas Kuhn's influential book The Structure of Scientific Revolutions. 2 Qualitative research, on this account, is a cognitive endeavor aimed at discovering a form of knowledge no less valid and reliable than that produced by quantitative methodologies. This way of framing the discussion led to the dichotomizing of positivist and postpositivist epistemologies, one embracing absolutism, objectivism, and rationalism, the other relativism, subjectivism, and romanticism. 3 This approach succeeded in pointing to some serious flaws in the prevailing positivist account of social research, yet it left qualitative inquiry dependent on versions of epistemological relativism and subjectivism that philosophers of knowledge have shown to be self-contradictory and incoherent. 4 [End Page 1]Conceiving of pedagogy in aesthetic terms challenges the prevailing positivist epistemology on a deeper level because it questions the accepted distinctions between thinking and feeling, and between truth, beauty, and goodness. If art can be conceived as a form of cognitive inquiry in addition to affective expression, then the appreciation and assessment of education as art requires not merely a new research paradigm or an alternative epistemology. Rather, it entails a reshuffling of our very conception of the relations between science, art, and ethics.These concepts can be reconceived to avoid the paradoxes of radical relativism and extreme subjectivism if we recognize with Iris Murdoch that sovereignty belongs to communal conceptions of a transcendent good. Educational arts empower people to express, appreciate, and critique collective conceptions of goodness, and artistic criticism of pedagogy celebrates a sacred dimension in educational thought and practice. 5 This approach occasions a fresh look not only at the practice, appreciation, and assessment of pedagogy, but also at the very meaning of the concept of education and the sorts of inquiry that can fruitfully inform its practice. Two Dogmas of Educational Research Two dogmas have dominated educational research for most of this century: the idea that there exists a clear disjunction between the cognitive and affective domains; and the supposed radical independence from one another of truth, beauty, and goodness. 6 According to a popular view rooted in these doctrines, the search for truth is a cognitive affair governed by science, while ethics and the arts are tied to the emotions and the humanities. Inquiry into the former is objective — reliability depends on method not researcher — and into the latter, subjective — results can vary according to interpreter. In this attitude, the cognitive domain dominates the public arena through the influence and prestige of science and measurement. 7Until the middle 1970s, behavioral and social research in education expressed these dichotomies in the distinction made between quantitative and qualitative research. The former was thought to be scientific and objective, the latter, humanistic and subjective. As qualitative inquiry came into its own in the 1980s, its proponents sought justification and legitimization in accord with cognitive dominance. 8 First, they argued that qualitative research methods had checks against error as rigorous as its quantitative counterparts. 9 Later, the cognitive domain... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Islamic Aesthetics: An IntroductionSulejman BostoIslamic Aesthetics: An Introduction. By Oliver Leaman. Edinburgh: Edinburgh University Press. Pp. 216. Hardcover £55.00. Paper £16.99.IIf Islamic Aesthetics: An Introduction by Oliver Leaman falls into your hands,1 you may well find it hard to curb your curiosity and resist the challenge, given that "Islamic [End Page 502] topics" are so much in the forefront these days, especially in relation to global politics, but (...) no less in the widely diverse cultural, theological, philosophical, sociological, and other fields of strictly academic interest. With this conjuncture—along with the inflationary interest of the market in everyday politics and journalism, which is shaped by the crisis that has engulfed the world and the globalization of discord, by ideological conflicts and clashing worldviews, by the economic and political struggle for dominance and power, and by the simplifications resorted to by the media culture of today as it promotes a new type of instant, fast-generated, and easily digested knowledge—issues are frequently vulgarized, reducing serious, unresolved questions of understanding cultures and civilizations to the superficial discourse of stereotypes and prejudices and their manipulation in and by everyday politics.The counter or alternative to this conjuncture and its mundane political motives, which are highly diverse and often marked by opposing interests, ought to be an entirely new cognitive and hermeneutic strategy designed, with regard to the sociocultural and spiritual sciences falling within the term humaniora, both to ensure academic objectivity and methodological dependability and to further a nonviolent hermeneutic openness to the Other—the existential, social, and historical connections and interactions between individuals, societies, cultures, knowledge, belief, and so forth—in which our human lives run their course. This hermeneutic need, however, is not convertible with the new and mutually contradictory developments in globalization—to the extent that globalization means not merely interconnection and political, technological, and economic standardization, but also a leveling down designed to obliterate difference and lead to bland uniformity. To the contrary, this hermeneutic does not mean aspiring to eradicate differences, but rather necessarily involves a dialectic of recognition based on the premise of a nonviolent will for understanding and entente. What is needed, in fact, is a new culture of mutual recognition, for which neither mere spontaneous sympathy for today's much-vaunted "dialogue" nor the moralistic incantations by which public discourse pays lip service to it will be sufficient. Such a culture demands the ability critically to reassess established orders of knowledge, a critique of prevailing clichés and stereotypes, and a positive, systematic knowledge of and familiarity with the material being presented and discussed. In other words, a culture of recognition inevitably presupposes a culture of knowledge, from which alone one may expect cognition, exchange, understanding, and concord.Clearly, knowledge acquired in the domain of historical, cultural, spiritual, or humanist studies, the domain of the social sciences, is not of the same nature as the positivism and objectivism of the natural sciences, nor does it share the latter's universality, since matters concerning our past existence and our creations and inventions, with their historical mutability and temporal nature, their historical, social, or cultural relativity, are resistant to absolute objectivization and reduction to the cognitive norm of unambiguity. If the hermeneutic task, in its encounter with the current historical material of human thought and formation, is faced with the dangers of an adverse, relativistic infinity in which everything is convertible with [End Page 503] everything else, then, in the absence of a uniform criterion of truth and knowledge and its purposes, one must conclude that "unity of sense" or "unity of meaning" is impossible. Despite this danger, the hermeneutic experience—with, as its basis, the unity of experience of understanding to be found in the postulate of human historicality and finitude, which suggests to us the bond between us in the open human "communication through historical time"—invokes the indispensable openness and free flow of the most diverse human expressions, works, and meaningful acts, in which people in their diverse historical groupings and circumstances, social environments and differing experiences, and languages and cultures meet in the same historical, existential play—the transformation of primal chaos into... (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population (...) were asked whether they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

_ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. (...) Then a rough sketch of the ontology of art works and art practices is made in order to provide sufficient complexity for the changing aspects of value from different points of view and assumptions. Finally, a case study is given, in the creation of a market of African slingshots in the 1908s, and the theory is tested. The article closes with a plea to take aesthetic value seriously, as a requirement of ideological discussion. (shrink)

ABSTRACT. In this paper, I defend a strong version of actual intentionalism. First, I argue against meaning subjectivism, conventionalism and contextualism. Second, I discuss what I take to be the most important rival to actual intentionalism, namely hypothetical intentionalism. I argue that, although hypothetical intentionalism might be acceptable as a definition of the concept of utterance meaning, it does not provide an acceptable answer to the question of what determines an utterance’s meaning. Third, I deal with the most serious objection (...) against actual intentionalism, namely the failure objection. I argue that the failure objection can be overcome within a framework of full-blown actual intentionalism if one distinguishes between categorial and semantic intentions. Moreover, I show how this version of actual intentionalism accounts for the possibility of innovative metaphors and other implicatures. Finally, I demonstrate that actual intentionalism – thus construed – makes it possible to distinguish between communicative failures and the intentional breaking of conventions. (shrink)

It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative (...) conceptions do relate to specific experiences in a non-trivial way, especially that of aesthetic excellence. Now certain analytical aestheticians ascribe truth values to aesthetic judgements of various kinds. Such ascription would evidently have a bearing on the problem of aesthetic experience’s relevance for evaluation, as we may in the end be better off neglecting the experiential altogether in virtue of treating aesthetic values in objectivist ways, as natural properties, or as reducible to such properties, descriptions of which will then indeed be true or false.1 However, I think that it is too early yet to bury subjectivism. So let us instead defend it and try to get a better grasp on its suppositions. In this we may profit from ideas advanced by David Wiggins, who neither denies the role played by objective properties, nor neglects the subjective import. According to him, aesthetic values are somehow kinds of relations, which are established by an elaborate process of criticism and refinement of perceptions of, and feelings toward specific natural properties.2 The argument in this paper suggests that the analysis of a paradigmatic pair regarding ‘aesthetic excellence’ provides us with inter-. (shrink)

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always (...) beautiful (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Natural beauty has often been viewed as a somewhat vague and subjective matter. Even theorists who view disputes concerning the aesthetic value of artworks as involving correct and incorrect judgements have argued that, in many disputes concerning natural beauty, there are no correct or incorrect judgements. In this essay, I consider recent attempts to develop a more objectivist view of nature appreciation based on the role of scientific knowledge in such appreciation. In response to recent criticisms of this approach, (...) I argue that, when developed, it does provide a viable conception of objectivity for nature aesthetics. (shrink)

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del (...) gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction. (shrink)

Axel Barceló has extended the objectivist apparatus for handling color terms that I develop in my book Roads to Reference, so that the extension covers also some aesthetic predicates. In this note I argue that Barceló’s extension probably attempts to go too far.

Introduces the philosophical thoughts of Ayn Rand with overviews of her life and intellectual development, then covers her objectivist epistemology, giving attention to both her theory of perception and to her original theory of concepts. Other subjects covered include objectivist ethics, Rand's moral theory and politics, and her aesthetics.

Mark David Henderson's book, The Soul of Atlas, defends the view that there is more common ground than is usually believed between Christianity and Objectivism. Despite some minor aesthetic difficulties, the book is well written, making it easily accessible as an introductory text to the Christian/Objectivist debate. After making some minor recommendations as to how the book could have been improved, the author concludes that The Soul of Atlas's place in the Objectivist literature is one of a "conversation (...) starter," not a "groundbreaking" work of Christian/Objectivist synthesis. (shrink)

Ever since the eighteenth century, when Kant opened the floodgates of subjectivism in aesthetics, common men and philosophers alike have despaired of finding a basis for judgments about beauty. This book provides a comprehensive theory that encompasses beauty in art and nature, as well as intellectual, utilitarian, and moral beauty. The author argues that the beauty of objects can be reduced to the beauty of properties of those objects, which in turn can be understood in terms of "properties of qualitative (...) degree." The theory, developed first with respect to color, is then extended to include all sensory and non-sensory qualities. The author shows how the theory explicates and resolves disagreements about what is beautiful and discusses its relevance to the traditional notions of harmony and sublimity. His is an objectivist theory of beauty, and it enables him, in conclusion, to demonstrate why we enjoy perceiving beauty. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

There has long been a need for a work on the philosophy of beauty treating fundamental problems against the background of the history of aesthetics--ancient and medieval as well as modern and contemporary. This book answers that need with the comprehensive presentations of an objectivist philosophy of beauty to balance the currently popular aesthetic subjectivism. It includes a synopsis of views and theories expressed on the various questions about beauty by philosophers down through the ages. Kovach's acquaintance with relevant (...) literature from the ancient Greeks to twentieth-century authors is staggering. He draws on the observations of thinkers from ancient times--Plato, Aristotle. Philo of Alexandria, Cicero, Plotinus, Augustine, Dionysius the Areopagite, and others; from medieval times--Alexander of Hales, John of la Rochelle, Thomas of York, Bonaventure, Albert the Great, Thomas Aquinas, Dionysius the Carthusian, and others; from modern times--Descartes, J. Addison, Kant, Hegel, Schopenhauer, Nietzsche, Tolstoi, Santayana, Croce, Maritain, Sartre, H. Read, Thomas Munro, and others. With delicate precision Kovach systematically discusses the philosophy of beauty and the problems it raises. Whether or not one agrees with Kovach's objectivist position, no one in the field can afford to be without this book. (shrink)

These essays discuss various ontological and epistemological questions in moral philosophy, drawing on ideas from Platonic-Aristotelian ethics, the later Wittgenstein, and Iris Murdoch, though without seeking to weave these into any unified system. The general approach is realist or objectivist, paying some attention to the role of imaginative literature (especially the novel) in ethical formation. The method used can be broadly described as phenomenological; the phenomena in question extend to value-perception on the one hand and to practical reason, including political (...) deliberation, on the other. A common theme is the lived experience of the socially situated subject, including our capacity for engagement with the values present in an inherited tradition or ‘form of life’. Such engagement, once raised to consciousness, may contain elements both of affirmation and of cultural critique. In the book as a whole, the critical theme predominates, with a certain emphasis on discourses of social disruption. But it is always assumed that the right place to stand as an observer of the domain of value is within that domain, and that moral critique will be immanent with respect to the culture addressed—that is, it will make do with just the conceptual and linguistic resources available to ordinary participants in moral, political, or aesthetic conversation. (shrink)

The paper aesthetically examines the connection, that is inseparability between art and ‘madness’. Madness as a psychological and psychiatric term does not exist, and it is a social construct and a qualification that is often used to by the social majority to disqualify social minority or individuals who deviate from values majority cares about. In this paper, I interpret how art, in this sense given, is madness because to have an original artistic creation, it is necessary to have eccentricity that (...) often leads to condemnation. Madness in art is considered in two primary ways. The first way is on the level of objectivistic aesthetics where madness is a theme or the object of artwork, and the second way is on the level of subjectivistic aesthetics where madness is the subject, i.e. the author of artwork. I will refer to many masterpieces from renown world artists who suffered from certain mental illnesses, from which they gained ever greater inspiration. I conclude that art in both objective and subjective terms is a necessary eccentricity inseparable from madness, which is thereby a presupposition for artwork. (shrink)

Jochen BRIESEN verteidigt in diesem Buch einen Dispositionalismus in Bezug auf ästhetische Eigenschaften und eine „hybride“ Auffassung in Bezug auf ästhetische Urteile: Er vertritt die Ansicht, dass mit jedem ästhetischen Urteil zwei Sprechakte vollzogen werden, nämlich ein expressiver und ein assertiver Sprechakt. Mit dem assertiven Sprechakt wird dem Gegenstand eine ästhetische Eigenschaft zugeschrieben. Die ästhetische Eigenschaft ist eine dispositionelle Eigenschaft, nämlich die Disposition, unter bestimmten (idealen) Bedingungen in einem Rezipienten einen bestimmten mentalen Zustand zu verursachen. Dieser mentale Zustand ist die (...) Manifestation der ästhetischen Eigenschaft. Der expressive Sprechakt soll genau jenen mentalen Zustand ausdrücken, in dem sich die dispositionelle Eigenschaft manifestiert. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

Shaftesbury's philosophy combined a powerfully teleological approach, according to which all things are part of a harmonious cosmic order, with sharp observations of human nature (see section 2 below). Shaftesbury is often credited with originating the moral sense theory, although his own views of virtue are a mixture of rationalism and sentimentalism (section 3). While he argued that virtue leads to happiness (section 4), Shaftesbury was a fierce opponent of psychological and ethical egoism (section 5) and of the egoistic social (...) contract theory of Hobbes (section 6). Shaftesbury advanced a view of aesthetic judgment that was non-egoistic and objectivist, in that he thought that correct aesthetic judgment was disinterested and reflected accurately the harmonious cosmic order (section 7). Shaftesbury's belief in an harmonious cosmic order also dominated his view of religion, which was based on the idea that the universe clearly exhibits signs of perfect divine design (section 8). According to Shaftesbury, the ultimate end of religion, as well as of virtue, beauty, and philosophical understanding (all of which are turn out to be one and the same thing), is to identify completely with the universal system of which one is a part. (shrink)

By demonstrating the uniformity and universality of the principles of valid interpretation of verbal texts of any sort, this closely reasoned examination provides a theoretical foundation for a discipline that is fundamental to virtually all humanistic studies. It defines the grounds on which textual interpretation can claim to establish objective knowledge, defends that claim against such skeptical attitudes as historicism and psychologism, and shows that many confusions can be avoided if the distinctions between meaning and significance, interpretation and criticism are (...) correctly understood. It provides perhaps the first genuinely comprehensive account of hermeneutic theory to appear in English and the first systematic presentation of the principles of valid interpretation in any language. Mr. Hirsch, associate professor of English at the University of Virginia, is the author of _Wordsworth and Schelling _and _Innocence and Experience: An Introduction to Blake._ “Here is a book that brings logic to the most unruly of disciplines, literary interpretation. Viewing this subject within the tradition of hermeneutics, Mr. Hirsch is able to trace its origins and development with brilliant insight. The result is a lucidly systemic and authoritative account of the premises and procedures applicable to the interpretation of a literary text. Mr. Hirsch has performed a monumental service thereby that of reinstating the credentials of objectivism and defining the limits of the aesthetics of truth. This study is a necessary took for anyone who wants to talk sense about literature.”—_Virginia Quarterly Review_ “Professor Hirsch demonstrates convincingly that objectivity is attainable in humane studies, and that it is not identified with the subject but with the evidence. A valid interpretation is not necessarily a correct one, but one which is more probably than any other on the basis of existing evidence. He makes a subtle and important distinction between a text’s ‘meaning’ and its ‘significance’, and brilliantly relates meaning to understanding and interpretation to explanation…” In short, this is a work which future students of literary theory cannot afford to neglect.”—_Notes and Queries_ E.D. Hirsch, Jr., is professor of English at the University of Virginia. (shrink)

David Kelley discusses the relationship between philosophy and sense of life and explains why he and William Thomas do not consider sense of life essential to the explanation of why art is a major human value, though it is essential to explaining how people create and experience art. Kelley also challenges the claim by Kamhi and Torres (in their article, "Critical Neglect of Ayn Rand's Theory of Art? Journal of Ayn Rand Studies, Fall 2000) that aesthetics, as a branch of (...) philosophy, is logically prior to ethics and on a par with epistemology in fundamentality. (shrink)

This paper explores the possibility that Zhuangzi can be fruitfully interpreted as a fictionalist. It proceeds in four parts. Part one discusses two distinct and very general types of fictionalism—force and content—that might prove useful for an interpreter of the Zhuangzi. The former type of view would have it that the expressions in question—that is, the expressions that Zhuangzi is held to advocate using and interpreting non-literally—are not best seen as used in a way that aims at, e.g., truth, whereas (...) the latter type of view would have it that the expressions in question are best seen as used in a way that aims at truth, if in a non-literal fashion. Part two surveys evidence in favor of the claim that Zhuangzi can be interpreted in terms of one or the other of these two types of fictionalism and argues that he is better characterized as endorsing a version of the former. Part three explains how interpreting Zhuangzi as a fictionalist can help to resolve notable tensions in the text and briefly explores a few additional merits of this reading of the Zhuangzi: namely, that it can give us a clearer idea of what Zhuangzi’s positive project is, unify seemingly disparate scholarly interpretations of it, and reconcile objectivist and non-objectivist strands in his work. Finally, part four concludes by gesturing toward how the interpretation proposed here might bring the Zhuangzi into productive dialogue with two longstanding philosophical questions: specifically, the question of how we should respond to skeptical arguments, and the question of how aesthetic features of works of art—and in particular, literature—might be related to their cognitive or epistemic value. (shrink)

Discusses the question of the objectivity or subjectivity of moral judgments, hoping to illuminate it by contrasting moral and aesthetic judgments. In her critical assessment of the nature of moral judgments, Foot concludes that some such judgments (as e.g. that Nazism was evil) are definitely objective. The concept of morality here supplies criteria independent of local standards, which function as fixed starting points in arguments across local boundaries, whereas, by contrast, aesthetic truths can ultimately depend on locally determined (...) criteria. More problematic is the apparently different relation of moral and of aesthetic judgments to rational choice. Individuals may have no reason to choose what is beautiful, but we think that they must always have reason to choose what is morally right, which raises one of the most difficult problems in moral philosophy. (shrink)

This serves as an introduction to this section on Beck and as a standalone essay. In it we see that the writers in this section understand Beck's risk as modernity itself. And in this context risk's reflexive modernity is understood as ‘indeterminate modernity’. The essay thematizes a radically subjectivist reading of Beck's risk. It sees reflexivity as opposed to the objectivism and positivism of Kant's critique of pure reason, and instead in terms of the subjectivity of Kant's third (...) class='Hi'>aesthetic critique. Thus, Beck's subjectivist risk and indeterminate modernity focuses not on Kantian and positivist first-modernity ‘cause’ but instead on second and indeterminate-modernity ‘consequence’. This entails significant levels of anxiety on the part of individuals as well as the possibility of enhanced happiness. The latter is understood in terms of, again, the subjectivist psychology of Daniel Kahneman's behaviouralist economics. This is a substantivist economics and dovetails with Weber's Methodenstreit between the substantivism of the Historical School and the formalism of neoclassical economics. The essay closes with a look at how this radically subjectivist and substantivist reflexivity is the basis for a panoply of non-normative institutions in Beck's vision of global cosmopolitanism. (shrink)

Notions of space and place are often used interchangeably in everyday speech, but they are distinguished both conceptually and historically. When put in relation to space and place, beauty reveals all its vitality and ties to socio-political issues, like: why do we consider a place beautiful and another place ugly? How do taste judgments about places influence planning, tourism, heritage policies, urban, and landscape architecture? I will develop my argument in four points. First, I will shortly pin down the main (...) tenets of a concept of beauty that is inherently spatial, by rephrasing Roger Scruton’s insights on the beautiful and Ed Casey’s notion of ‘implacement’. Second, I will address the interconnection between the modern emergence of a quantitative and objectivist concept of space and a non-relational idea of beauty. Third, I will expose the relationship between the concept of place, idiographic and qualitative, and the emergence of a site-specific, phenomenologically based concept of beauty. In conclusion, I will show how non-relational conceptions of beauty risk to colonize aesthetic experience and I will take a stand for a relational conception of beauty against the risk of standardization of both landscape appreciation and planning. (shrink)

ABSTRACTNietzsche’s work is filled with references to taste. He frequently expresses his own judgements of taste and criticizes or praises individuals and groups on account of their taste. Some recent attempts to account for Nietzsche’s understanding of taste argue that Nietzsche understands affective response, when guided by good taste, as being appropriate to, or merited by, the intrinsic features of the object. This is in direct contrast to anti-realist accounts of Nietzsche’s taste, according to which his evaluative judgements have no (...) special epistemic status. In this article, I argue against objectivist or universalist readings of Nietzsche’s judgements of taste. However, in doing so I aim to show that affective responses do not thereby turn out to be arbitrary. Nietzsche suggests that by engaging with one’s affective responses, one can organizes them into a coherent and unified taste. This process of unification is central to Nietzsche’s understanding of value and self-creation. (shrink)

The recent removal of the Richard Prince’s artwork Spiritual America from the Tate Modern’s “Pop Life: Art in a Material World” exhibition is the most recent and high-profile case of a work of art being withdrawn from a gallery in the UK on the grounds that it has allegedly breached legislation concerning indecent images of children. Surprisingly, the issue has been hardly considered by academics from law departments and is almost entirely ignored by philosophers specializing in aesthetics and ethics. This (...) essay considers the ethics of images of children by drawing from continental ethics and aesthetics, and by engaging with the only significant treatment of the subject undertaken by a philosopher, namely Peter J. King’s “No Plaything.” This paper shows that a continental perspective can open up positions that King’s ‘objectivist utilitarianism’ is oblivious of. In particular, the essay draws from Derrida’s reading of Kant’s Third Critique and the former’s quasi-conception of “the frame” in The Truth in Painting and “droit de regard” in Right of Inspection. In distinction to King, this paper engages with the actual existing reality of currently enacted laws and their application in particular cases such as in Spiritual America. I will begin with art ‘in the frame’ as the colloquial expression has it, art wrongfully and unjustly accused by the police. I will proceed via an examination of the question of the frame in Kant and Derrida, to demonstrate a need to reclaim the ethical status of works of art. The core procedure of my paper will be a ‘rediscovery’ of Spiritual America as the Kantian example that allows us to find the law. My argument will be that no work of art or image can of itself be decent or indecent. (shrink)

Marxist philosophers are increasingly beginning to elaborate a philosophical axiology of their own, to articulate the meaning of socialism in axiological terms. Traditionally, Marxist doctrine has been very eager to present socialism and its motivation as a matter of scientific prediction rather than in terms of value judgments, wishes, or the proclamation of ideals. A more accurate analysis, however, shows that the Marxist undertanding of human social practice presupposes some active striving in relation to which all objects and circumstances of (...) human life receive a positive or negative meaning. It is just this practical relation of human subjects to their world (and of their world to them) that is conceptually grasped by the notion of value.From the theoretical point of view, Marxist axiology is not oriented towards some “realm of values” all values and value relations are understood strictly in anthropological terms as components of human and social practice, as some particular aspects which objects and circumstances assume in relation to actively striving beings and their qualitatively determined self-affirmation on a definite historical level. Marxist axiology presents itself both as a theoretical analysis of these value qualities and relations, and at the same time as a doctrine of practical involvement whose aim is to clarify and strengthen the socialist value consciousness.The basis of all these value relations lies in the system of human needs. According to Marxism, this system proves to be multi-dimensional, encompassing as its fundament the complex of “material needs” which are to be satisfied through work. But equally important and urgent for human beings are those needs and requirements in relation to which all social relations are characterized as being “worthy” or “unworthy” of man (such judgments being in accordance with some historical standard of claims). Finally, there are also those peculiar needs basic to the “aesthetic” qualities of objects as well as to the free (not imposed by natural or social necessities) and “purposeless” activities of human play and self-realization. The desideratum of socialism is to bring about a harmoniously proportioned synthesis in the satisfaction of the totality of human needs for the totality of human beings. Socialism is not only necessary and predictable in a scientific sense but also valuable and desirable for people.Several Marxist (and especially Soviet) authors have worked out the outlines of a Marxist philosophical axiology (V. P. Tugarinov, O. M. Bakuradze, V. A. Vasilenko and others). The opponents of such an enterprise (O. G. Drobnickij and others) have more or less radically contested the value and legitimacy of such a theory of value, for they consider value consciousness as a part of a pre-scientific way of thought. On the theoretical level the abstract specification of such value relationships constitute an artificial separation of the theoretical-practical unity and totality of human relations to the world.The author finds these objections not convincing because the danger of hypostatizing and isolating the “values”, of presenting them as some kind of substantial eternal entities, can fully be overcome by anthropological integration and sociological concretization of the “value aspect”. In a Marxist “philosophy of practice” something is not valuable in itself but is either positively or negatively significant for human beings. Certainly this development of axiology in Marxism is an attempt to set up a counterweight to the traditional scientific objectivism of the Marxist doctrine by confirming the right of people to judge and act “subjectively” on certain issues. (shrink)

This article aims to delineate a phenomenology of cinema centered on the double incorporation that Merleau-Ponty’s thought allows us to see at work in film. This incorporation is, first, of the elements in each other, and, second and primarily, of beings themselves, making of cinema a new way of symbolizing thinking and the relation to the other. To understand this double incorporation, we take up the question of the Gestalt and its evolution in the work of Merleau-Ponty, since it is (...) through the Gestalt that Merleau-Ponty not only evades the impasses of the theories, subjectivist as well as objectivist, of movement and image, but also succeeds in establishing—by way of a long and precise dialogue with the new natural sciences—an a-subjective phenomenology of the body. Intersubjectivity finally gives way to an “intercorporeity” that would itself be the ground of a redefinition of imagination and its relationship to perception. We thus find the source of a new aesthetics, where cinema reclaims what is proper to it. (shrink)

Far more than the dialectic philosophy of Socrates, the rhetorical humanist tradition avoids objectivist epistemology, charts a traversable path to practical wisdom, and aptly highlights the importance of aesthetic style. In those and other ways, we argue, it offers a preferable historical basis for today’s philosophical counseling. Advocates of that contemporary practice tend to cite Socrates as its historical progenitor and favor the narrow propositional logic that is ascribed to him. Some practitioners, though, have also grown more attuned to (...) metaphorical and narrative elements in a client’s worldview. We aim to supplement their claims by drawing from principles of classical rhetorical theory, showing a way to rethink the practice of philosophical counseling today. (shrink)

Analysing Śniadecki’s articles and chapters from his “Philosophy of Human Mind” dealing with the problems of aesthetic taste, style, wit, imagination and essence of beauty, we question a view of Śniadecki as a dogmatic proponent of Classicism and an enemy to Romanticism, which, in our view, is based on in-depth studies of his most famous nevertheless only one article “On Classical and Romantic Writings”. We suppose that French aesthetics is not the exclusive keystone of Śniadecki’s ideas. Therefore, we examine (...) the peculiarities of his thought in the con-text of their relationship with the ideas by philosophers of the Scottish school of common sense and argue that these are close. His descriptions of taste and style, of the roles of imagination and sensory expressions are similar to Reid's and Stewart's ones. We show that Śniadecki strives to substantiate the objectivist view of aesthetics and rationally explain the essence of beauty and art, but, by surprise, his thought about the relationship between genius and rules is recalling Kantian view. Our conclusion is that Sniadecki's ideas might be attributed to at least neo-Clas-sical, or even to pre-Romanticist period. (shrink)

In this article I argue that it is the task of philosophy of history to elucidate the practice of history. Therefore philosophy of history must stick to the analysis of the debates of historians and neither literary theory nor aesthetics can function as "models: for philosophy of history. This is so because historians present reconstructions of a past reality on the basis of factual research and discuss these reconstructions primarily in terms of factual adequacy. The fact that these discussions seldom (...) lead to a consensus constitutes a basic feature of "doing history" to be analyzed by its philosophy.An analysis of the "Historikerstreit" leads, first, to the observation that traditional objectivism and relativism can not account for the fact that historians do debate at all. Second, it leads to the observation that according to most historians judgements of value are supposed to fall outside the scope of rational debate. This conviction is traced back to deeprooted but outdated conceptions of rationality. To get beyond objectivism and relativism "internal realism" is proposed and connected to the notion of practical identity. The fact-value distinction is re-analyzed in this framework of "internal realism" and put to work in the "Historikerstreit." Third, it is argued that the theory of "speechacts" and the notion of "horizon of expectation" can be connected to "internal realism" in order to give a more adequate elucidation of the normative aspects of historiography. Fourth, and along the way, I maintain that historians can profit from "internal realism" because the scope of their discussion would be widened so as to include the traditionally implicit normative issues involved. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)