This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

This study explores Nietzsche's political education as a means of understanding his wider political thought. Incorporating biographical details of Nietzsche's own education, it outlines the course of political education that Nietzsche recommends as an antidote to the crisis in Western European culture. Heilke begins by examining Nietzsche's formulation of this crisis, especially his conceptions of "Romantic Pessimism," "Socratism," and Christianity. For Nietzsche, only a properly ordered education could resolve the problem of how one can transform a society whose fundamental (...) class='Hi'>cultural and political premises one rejects. Through education Nietzsche sought to establish a new political and social system founded upon the principles of tragedy and grounded in the aesthetic tradition of German Romanticism. Nietzsche's Tragic Regime focuses on Nietzsche's political philosophy until his resignation from his post as professor in 1876, with attention also to the later writings. (shrink)

In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...) worlds. This, then, is in part an essay in comparative aesthetics. Numerous examples of diverse artistic practices evoke our curiosity. Many of those I shall cite here are environmental and this is deliberate, for environments are a pervasive and powerful material embodiment of cultural practice and sensibility. They provide salient and inescapable evidence of this influence, and they bridge the distance sometimes assumed to lie, quite wrongly, in my opinion, between material culture and its artistic manifestations. (shrink)

I examine three themes central to Denis Dutton’s philosophy of art. To understand the artworks of non-Western cultures, we must understand how to identify what artistic category these works in fact belong to. Though the perceived properties of a work of art do not seem to change when it is revealed to be a forgery, there is a reason why forgeries are “artistic crimes.” In both cases, a “work of art” is not simply the object produced (the painting, for example), (...) but rather the contextualized performance undertaken by the artist that brings about the finished product. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

Aesthetic desire and distaste prime everyday life in surprising ways. The Cultural Promise of the Aesthetic casts much-needed light on the complex mix of meanings our aesthetic activities weave into cultural existence. Anchoring aesthetic experience in our relationships with persons, places, and things, Monique Roelofs explores aesthetic life as a multimodal, socially embedded, corporeal endeavor. Highlighting notions of relationality, address, and promising, this compelling study shows these concepts at work in visions of beauty, ugliness, detail, nation, ignorance, and (...) cultural boundary. Unexpected aesthetic pleasures and pains crop up in sites where passion, perception, rationality, and imagination go together but also are in conflict. Bonds between aesthetics and politics are forged and reforged. Cross-disciplinary in outlook, and engaging the work of theorists and artists ranging from David Hume to Theodor W. Adorno, Frantz Fanon, Clarice Lispector, and Barbara Johnson, The Cultural Promise of the Aesthetic lays open the interpretive web that gives aesthetic agency its vast reach. (shrink)

Decolonizing aesthetics requires a philosophical reexamination of art and cultural representation to address ethical conflicts and the legacy of colonial biases. This study explores the suppression and marginalization perpetuated by colonial aesthetics, with a focus on gender, race, and cultural diversity. Drawing on postcolonial theories, the research highlights the disparities and systemic exclusions within artistic traditions, advocating for decolonized practices that restore and celebrate suppressed cultural expressions. Case studies such as Indigenous Futurism and exhibitions promoting (...) the art of formerly colonized communities illustrate the practical application of decolonization efforts. Using primary data analyzed through Smart PLS software, the study examines correlations and causal relationships between decolonization initiatives and shifts in aesthetic valuation. The findings reveal both challenges and opportunities in dismantling colonial legacies, emphasizing the role of art education, public workshops, and community engagement in fostering awareness and inclusivity. Artists and institutions play a pivotal role in promoting decolonized aesthetics by addressing historical biases and amplifying marginalized voices. Decolonization emerges as an ongoing ethical and cultural practice aimed at dismantling colonial power structures in art and aesthetics, ensuring a more equitable representation of global artistic traditions. (shrink)

[About the book] In this book the editors brought together outstanding articles concerning intercultural aesthetics. The concept ‘Intercultural aesthetics’ creates a home space for an artistic cross-fertilization between cultures, and for heterogeneity, but it is also firmly linked with the intercultural turn within Western and non-Western philosophy. The book is divided into two parts, yet one can sense a clear unity throughout the whole book. This unity is related to the underlying subject that the different authors, each in (...) their own way and from their own background, try to reveal. They use related, and overlapping terms such as ‘the suchness of things’, ‘dancing and shaping lives’, ‘presenting a meaning beyond words, presenting the unpresentable, experiencing’, in order to bring to our awareness the genuine importance of the non-conceptual, next to the conceptual. Several authors moreover take on a reflective, and at times even a self-reflective stance, pointing to the intrinsic relation between cultural aesthetics and ethics, making this book unique in its kind. (shrink)

The primary aim of research is to explore the complex relationships in the digital era between technology, culture, aesthetics, and values. This investigation digs deeply into the underlying philosophical underpinnings of our digital environment, going beyond superficial interpretations. The research negotiates the tricky territory where technology and culture collide by drawing on concepts from philosophy, sociology, and cultural studies. For measuring, the research study, used E-Views software and generated results, including descriptive statistics, unit root test analysis, co-integration analysis, (...) and histogram analysis. The investigation starts with investigate at digital aesthetics and how it might influence how people see beauty and usefulness in the digital sphere. Digital aesthetics are demonstrated to encapsulate cultural narratives and societal ideals through everything from immersive experiences to minimalist interfaces. The main emerging theme is ethical considerations, which invites critical thought on algorithmic prejudice, privacy, and spying. The research pushes readers to think about the moral ramifications of technical decisions by challenging the ideals ingrained in technological systems. The research goes beyond personal ethics to include more general cultural norms and societal values issues. It has been demonstrated that digital technologies alter societal conceptions of identity, community, and human flourishing, forcing society to reconsider the future it hopes to build. Overall, research found that technology philosophy provides a framework for moral analysis and cultural criticism, enabling people and society to wisely and preemptively negotiate the challenges of the digital era. Through the adoption of a technological philosophy rooted in critical analysis and cultural sensitivity, readers are encouraged to envisage and work towards a digital future that is more equitable, kind, and loving. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. (...) In ancient Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

The subject of the aesthetic has returned to cultural and literary debates with a vengeance. The Aesthetics of Cultural Studies is a timely and authoritative collection of essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field. Contains first-rate, original essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field. Contributors are (...) leading scholars, internationally based. Includes substantial introductory material by the editor. (shrink)

The Aesthetics of Stealth proposes a cultural analysis as well as a political theory of stealth in its various aesthetic articulations.

Aesthetic cosmopolitanism is conceptualized here as a cultural condition in which late modern ethno-national cultural uniqueness is associated with contemporary cultural forms like film and pop-rock music, and as such it is produced from within the national framework. The social production of aesthetic cosmopolitanism is analyzed through elaborations on Bourdieu's field theory, as an outcome of the intersection of and interplay between global fields of art and fields of national culture. A sociological explanation for the emergence of (...) aesthetic cosmopolitanism is proposed. It focuses on claims by social sectors within national contexts for status and recognition of their own contemporary cultural uniqueness. (shrink)

This chapter contains section titled: The Aesthetic Handicap Thesis The Cultural Experience Argument Aesthetic Properties and Cultural Context Authenticity and Appropriation Authentic Appropriation Cultural Experience and Subject Appropriation Appropriation and the Authentic Expression of a Culture.

The public release of datasets on the internet by government agencies, environmental scientists, political groups and many other organizations has fostered a social practice of data visualization. The audiences have expectations of production values commensurate with their daily experience of professional visual media. At the same time, access to this data has allowed visual designers and artists to apply their skills to what was previously a field dominated by scientists and engineers. The ‘aesthetic turn’ in data visualization has sparked debates (...) between the new wave and older more scientifically grounded schools of thought on the topic. Sonification is not as well known or commonly practiced as visualization. But sound is a naturally affective, aesthetic and cultural medium. The extension of the aesthetic turn to sonification could transform this field from a scientific curiosity and engineering instrument into a popular mass medium. This paper proposes that a design approach can facilitate an aesthetic turn in sonification that integrates aesthetics and functionality by dissolving divisions between scientific and artistic methods. The first section applies the design perspective to the definition of sonification by replacing the linguistic concept of representation with non-verbal concept of functionality. The next section describes applications of the TaDa design method that raised aesthetic issues particular to sonification practice. The final section proposes a pragmatic aesthetics that distinguishes sonification from the auditory sciences and sonic arts. A design perspective may lead to a future where the general public tunes into pop sonifications for listening enjoyment as well as useful information about the world. (shrink)

Contemporary philosophical stances toward `artistic truth' derive from Kant's aesthetics. Whereas philosophers who share Kant's emphasis on aesthetic validity discount art's capacity for truth, philosophers who share Hegel's critique of Kant render artistic truth inaccessible. This essay proposes a critical hermeneutic account of aesthetic validity that supports a non-esoteric notion of artistic truth. Using Gadamer and Adorno to read Kant through Hegelian eyes, I reconstruct the aesthetic dimension from three polarities in modern Western societies. Then I describe aesthetic validity (...) as an horizon of imaginative cogency governing the exploration, presentation and creative interpretation of aesthetic signs. The essay argues that aesthetic processes, so construed, are crucial to cultural pathfinding, and that aesthetic validity-claims in art talk contribute significantly to this pursuit. Aesthetic validity, cultural orientation and art talk constitute the hermeneutical matrix from which questions of artistic truth emerge. (shrink)

How can aesthetic enquiry contribute to the study of visual culture? There seems to be little doubt that aesthetic theory ought to be of interest to the study of visual culture. For one thing, aesthetic vocabulary has far from vanished from contemporary debates on the nature of our visual experiences and its various shapes, a fact especially pertinent where dissatisfaction with vulgar value relativism prevails. Besides, the very question ubiquitous in the debates on visual culture of what is natural and (...) what is acquired in our visual experiences has been a topic in aesthetics at least since the Enlightenment. And last but not least, despite attempts to study visual culture without employing the concept of art, there is no prospect of this central subject of aesthetic theory ebbing away from visual studies. The essays compiled in this volume show a variety of points of intersection and involvement between aesthetics and visual studies; some consider the future of visual art, some the conditions and characteristics of contemporary visual aesthetic experience, while others take on the difficult question of the relation between visual representation and reality. What unites them is their authors' willingness to think about contemporary visual culture in the conceptual frame of aesthetics. This book will be of great interest to students and scholars of philosophical aesthetics, art history, and cultural studies. (shrink)

What is the relevance of organizing knowledge in distinct conceptual fields when everything has become cultural with no distinct areas anymore? Is, for example, Western traditional aesthetics as an autonomous cognitive discipline always relevant in the age of multiculturalism? This essay argues, albeit controversially, that the perspective of socalled cultural studies has opened new doors by adopting a more radically pluralistic and inclusive approach – one whereby aesthetic categories are thought in terms of cultural practices. Despite (...) the many defects of such culture-related studies – such as their eclecticism, lack of scientific rigor, or methodological unreliability – the challenges of today’s multicultural society demand that we pay more attention at all levels to the roles played by difference and dialogue with otherness. This includes overcoming any form of ethnocentricity in our cognitive cultural disciplines; incorporating new topical horizons, whether economic, political or social; and rethinking the very nature of value, meaning and way of life. (shrink)

Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or (...) not their action will be an aesthetic achievement. Employing this framework, I argue that insofar as acts of cultural appropriation are seldom aesthetic achievements, many agents who engage in culturally appropriative aesthetic activities act against their aesthetic reasons. (shrink)

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between «actual (...) affect» and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

Imaginary worlds are extremely successful. The most popular fictions produced in the last few decades contain such a fictional world. They can be found in all fictional media, from novels (e.g., Lord of The Rings and Harry Potter) to films (e.g., Star Wars and Avatar), video games (e.g., The Legend of Zelda and Final Fantasy), graphic novels (e.g., One Piece and Naruto), and TV series (e.g., Star Trek and Game of Thrones), and they date as far back as ancient literature (...) (e.g., the Cyclops Islands in The Odyssey, 850 BCE). Why such a success? Why so much attention devoted to non-existent worlds? In this paper, we propose that imaginary worlds co-opt our preferences for exploration, which have evolved in humans and nonhuman animals alike, to propel individuals toward new environments and new sources of reward. Humans would find imaginary worlds very attractive for the very same reasons, and under the same circumstances, as they are lured by unfamiliar environments in real life. After reviewing research on exploratory preferences in behavioral ecology, environmental esthetics, neuroscience, and evolutionary and developmental psychology, we focus on the sources of their variability across time and space, which we argue can account for the variability of the cultural preference for imaginary worlds. This hypothesis can, therefore, explain the way imaginary worlds evolved culturally, their shape and content, their recent striking success, and their distribution across time and populations. (shrink)

The paper intends to bridge the existing gap between aesthetic knowledge and contemporary society. The first part focuses on the cultural turn in aesthetics, the roots of which can already be found in the English criticism of the eighteenth century. This enterprise is inspired by a methodology that regards aesthetics as a "meeting place" of many disciplines and varying cultural traditions. A second type of cultural turn is carried out by writers (e.g. Baudelaire): the target (...) of their polemic is the concept of aesthetic disinterestedness. According to them, the beautiful, instead, has to create the greatest interest because it is none other than the promise of happiness. However, the two different approaches are not so incompatible as seems at first sight. Finally, the text focuses on the New Age and the culture of performance, which, even if presenting opposite traits, have one thing in common: they translate at the empirical and factual level experiences that originally belonged to another sphere, namely the spiritual and the symbolic. (shrink)

Resumen: La concepción estética en la pintura tradicional china es un concepto esencial en el antiguo pensamiento estético chino y sirve como criterio estético supremo perseguido en la creación pictórica clásica. Los artistas utilizan obras únicas para mostrar la concepción estética en la pintura tradicional china, destacando así los rasgos distintivos de la pintura china. Este artículo realiza un análisis genealógico de la concepción artística en la pintura tradicional china y lo combina con símbolos culturales específicos para su interpretación, con (...) el objetivo de desvelar las ideas filosóficas y los conceptos culturales concentrados en la pintura tradicional china. (shrink)

Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...) spontaneously treat aesthetic judgments as having intersubjective validity? In this paper, we report the results of a cross‐cultural study with over 2,000 respondents spanning 19 countries. Despite significant geographical variations, these results suggest that most people do not treat their own aesthetic judgments as having intersubjective validity. We conclude by discussing the implications of our findings for theories of aesthetic judgment and the purpose of aesthetics in general. (shrink)

Observing the phenomenon of cultural appropriation in a case of theatre: Kanata the controversial spectacle by the Québecois Robert Lepage raises issues of aesthetics. The specific cultural, political and social context, together with the singularity of theatre as an art form, makes this a unique case study shedding light on that phenomenon and causing us to rethink some long-standing principles of aesthetics.

An encounter with a large object may induce feelings of fear, awe, attraction, and more. But it is not simply the physical dimensions of an object that account for our sense that something is "big." Big Culture is a study of large objects and images that works to identify the qualities and effects of bigness. In doing so, David Wittenberg offers a philosophical proposal for reconceptualizing the problem of magnitude. The book explores examples of bigness that are simultaneously familiar and (...) singular in the cultural landscape, such as skyscrapers, atomic bomb explosions, and cinematic special effects. From these examples, Wittenberg postulates a new aesthetics of magnitude that is better able to account for the special role that bigness plays in our everyday perception of objects and images. Big Culture argues that bigness is a more primal, a more absolute, and even a more violent or erotic encounter with the objective world than the scalar relativism that tends to characterize our lives. Ultimately, Wittenberg insists that bigness comes before scale, even before size itself. (shrink)

_T__he Possibility of Culture: Pleasure and Moral Development in Kant’s Aesthetics_ presents an in-depth exploration and deconstruction of Kant’s depiction of the ways in which aesthetic pursuits can promote personal moral development. Presents an in-depth exploration of the connection between Kant’s aesthetics and his views on moral development Reveals the links between Kant’s aesthetics and his anthropology and moral psychology Explores Kant’s notion of genius and his views on the connections between the social aspects of taste and moral (...) development Addresses aspects of Kant’s ethical theory that will interest scholars working in ethics and moral psychology. (shrink)

The book explores the forbidden feelings of beauty, admiration, or satisfaction before instances of terror and human pain from eighteenth-century natural disasters to twenty-first-century terrorist destruction. It explores the fascination felt by the subject witnessing major disasters directly or in a mediated fashion. Emmanouil Aretoulakis' makes the challenging proposition that there is, paradoxically, an ethics in the aesthetic appraisal of terror.

This essay examines the response of Habermas and Giddens to postmodern criticisms of modernity. Although Giddens and Habermas recognize that the "totalizing critique" of poststructuralism lacks a convincing analysis of social interaction, neither of their perspectives adequately addresses the postmodern themes of aesthetics, play, and cultural memory. Giddens and Habermas believe that these dimensions of social life are important; yet they remain underdeveloped in their approaches. This essay explores the theoretical consequences of aesthetics, play, and cultural (...) traditions for social theory, drawing on the pragmatists, the psychoanalyst Winnicott, and early critical theory. The aesthetic and playful moments of experience must be recast in terms of social theory to avoid the solipsism so often characteristic of postmodernism. The essay ends by suggesting how the theories of Habermas and Giddens could benefit by a closer consideration of these issues. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as (...) an introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

In this paper I intend to present a preliminary account of the development and sources of aesthetic perception and cuhural identity of the people of Nepal. The paper consists mainly of two sections. In the first section I have tried to explore our country's topographical, sociocultural, historical and religious perspectives which provided the background scenario and basis for the development of the emerged cultural and aesthetic picture. The second section tries to show how the aesthetic sense finds an expression (...) in Nepalese cultural identity. At the very outset, I would hke to submit to this august gathering that the views expressed in this regard are based on my own personal experience and observations, and that they need to be confirmed with further studies in this field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. (...) A painting by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)

The object of the study is one of the significant manifestations of classical Chinese aesthetics - kunqu opera. The subject of the study is the foundations of the formation of this aesthetics in terms of both material and spiritual cultural practices, as well as to investigate its cultural centripetal role in the context of modern society. The relevance of the study is determined by the novelty of the approach, which involves examining the spiritual imagery of Kunqu (...) opera through the prism of analysing its material basis and interpreting the interaction between ‘materiality’ and ‘object form’ in the process of creating Kunqu opera. In addition, the relationship between Kunqu opera and Chinese classical aesthetics is explored. The aim of this study is to deeply analyse Kunqu opera as an important element of traditional Chinese culture in order to understand the extent to which Kunqu embodies the Chinese aesthetic tradition. A variety of methods including literature analysis, case study, historical and literary research. The article is divided into three main parts: the first part focuses on the material level, arguing that the physical presence in Kunqu opera serves as an important support for the formation of the performance system; the second part reveals how the material components of the performance infiltrate the spiritual aesthetic, while the formation of the opera's aesthetics is influenced by Chinese philosophical thought and lyrical culture, using comparative analysis; the final part emphasises the cultural independence and the cultural identity of the opera's performers. The results of the study demonstrate that classical Chinese aesthetics act as the ‘spiritual core’ of Kunqu opera, reflecting traditional Chinese values, ethics and philosophy, which in turn influences the structure of the works, performance style, music and text requirements, as well as plot moves and stage design. (shrink)

This work seeks to highlight that an understanding of aesthetic practices is essential to the analysis of politics and political processes. If today, aesthetics has become a rather overused term, referring to a variety of historical periods and groups, even states of being (love, melancholy...), nonetheless its relevance as a connecting agent between individual, state and society remains strong. Placing it as a central theme for understanding processes of domination, contestation and transversal links highlights the mobilization of spaces, bodies (...) and objects in a struggle for the exercise of power and the challenges to it. It is impossible to study historical shifts or systems of power without examining the mobilisation of aesthetic languages: of splendour and display, austerity, asceticism, minimalism or restraint. In this book the concern is with the dynamics between the custodians of aesthetics and the dissenters, with the moment, and with change over time. This book approaches contemporary politics through the aesthetics of power and its practices: from the more formal and regulated presence of state power in the public space in the form of official buildings, commemorative monuments, to the aestheticisation of sacrifice in politics and judicial spectacles. The studies presented here promise to lead us further to deepening our understanding of the dynamics of political spaces and the politics of the aesthetic in contemporary politics. (shrink)

Journal of Human Values, Volume 28, Issue 2, Page 143-160, May 2022. Recent decades have witnessed an unprecedented amount of conflict around visual representations in India. The field of the visual is the new terrain for rumour mongering and for maiming uncomfortable oppositional voices. With the fast-spreading mobile culture, penetrating social media and continued legacy of the pictorial as an embodiment of the real, the visual has taken over both the oral as well as the written words in its usefulness (...) to serve the political. Can we simply comprehend such a visual aggression by taking recourse in the enhanced role of visual media in our everyday life, along the lines of a ‘visual turn’? Is the visual sphere another surface of politics? With these key questions, this article revisits certain contemporary visual events by focusing on words that float in public spaces from streets to television screens. On a broader terrain, with an emphasis on aesthetics, the article relooks at an often-settled equation between the visual and the political on the one hand and the question of the visual as an archive of the contemporary on the other. Following Rancière’s notion of aesthetics as a field of the distribution of the sensible, this article has tried to focus on vernacular words circulating outside the confines of the literature and create a domain of political communication hitherto ignored by scholars. (shrink)

Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular to (...) his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

Cywydd Ffarwelio Rhys MERERID HOPWOOD Mae awr i fwynhau miri, y mae awr mi wn am hwyl cwmni, ond nawr, yn ein dathliad ni, mae un na fynnaf mo'ni. ...

At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many (...) theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant. (shrink)

Children and adults from a remote Zafimaniry village in eastern Madagascar were probed for their intuitive understanding of the biological inheritance of bodily features. They were told a story about a baby adopted at birth, and were asked whether, when grown, he would be more likely to resemble his birth parents or his adoptive parents in bodily traits, beliefs, preferences, temperaments, and skills. In spite of the fact that the Zafimaniry, like other Southeast Asian and Malagasy peoples, profess explicit beliefs (...) concerning the fixation of individuals' properties that are at variance with Western folkbiology, Zafimaniry adults responded as do American adults on the task. Zafimaniry children, however, did not repond as did the adults, nor did they respond as did the majority of American children. Rather, they responded in the manner most consistent with what would be predicted, for children as well as for adults, from the ethnographic literature. That is, they tended to judge that an adopted boy would resemble his adoptive rather than his birth parents on virtually all traits, including bodily traits. The implications of these findings for current debates within cognitive science and anthropology are discussed. (shrink)