In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the (...) arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. (...) In this sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

This book will be of interest to philosophers, literary theorists, art historians, anthropologists, and other social scientists. Benjamin - philosophy, aesthetics, history.

Walter Benjamin (1896-1940) has been called by Hannah Arendt the "greatest critic of the century." While an increasing number of Anglo-American literary critics draw upon Benjamin's writings in their own works, their colleagues in the philosophical community remain relatively unacquainted with his legacy. In the European intellectual world, by contrast, Benjamin's critical epistemological program, his philosophies of history and language, and his aesthetics have long since become part of philosophical discourse. The present collection of articles, many of which were (...) contained in earlier versions in the Winter 1983 special issue of the journal The Philosophical Forum, initiates the project of establishing Benjamin's importance to philosophy. A balance of original work by Benjamin and important commentary on his works, this volume includes the crucial chapter from Benjamin's magnum opus The Arcades Project, his "Program of the Coming Philosophy," and "Central Park," as well as essays by leading scholars (including Theodor W. Adorno, Leo Lowenthal, and Rolf Tiedemann) that treat single philosophical themes and relate his ideas to those of other thinkers such as Gadamer, Goodmann, and Rosenzweig. Gary Smith's introduction to the volume provides an extremely useful and sophisticated entrée for readers unaccustomed to the breadth of Benjamin's philosophical allusions, as well as an informative summation of the contents of the volume. This book will be of interest to philosophers, literary theorists, art historians, anthropologists, and other social scientists. (shrink)

Noise permeates our highly mediated and globalised cultures. Noise as art, music, cultural or digital practice is a way of intervening so that it can be harnessed for an aesthetic expression not caught within mainstream styles or distribution. This wide-ranging book examines the concept and practices of noise, treating noise not merely as a sonic phenomenon but as an essential component of all communication and information systems. The book opens with ideas of what noise is, and then works through ideas (...) of how noise works in contemporary media, to conclude by showing potentials within noise for a continuing cultural renovation through experimentation. Considered in this way, noise is seen as an essential yet excluded element of contemporary culture that demands a rigorous engagement. Reverberations brings together a range of perspectives, case studies, critiques and suggestions as to how noise can mobilize thought and cultural activity through a heightening of critical creativity.Written by a strong, international line-up of scholars and artists, Reverberations looks to energize this field of study and initiate debates for years to come. (shrink)

Wittgenstein compares philosophical explanations with explanations in aesthetics and ethics. According to him, the similarity between aesthetics and philosophy ‘reaches very far’, and as I aim to show, the comparison can be used to elucidate certain characteristic features of Wittgenstein’s philosophical approach. In particular, it can explain how his approach differs from metaphysical philosophy as well as clarifying the sense in which there are no theses or theories in philosophy, as Wittgenstein conceives it. In the (...) last section of the essay, I examine certain consequences of Wittgenstein’s view, including the lack of conclusive arguments in philosophy. Rather than implying that philosophy falls short of its rational aspirations, I argue, Wittgenstein’s explanation of why there are no conclusive arguments in philosophy can help us to see in the right light the lack of agreement in philosophy, as well as explaining why this is not a defect. (shrink)

René Ménil was a renowned Martinican essayist, critic, and philosopher who, along with Aimé Césaire, Frantz Fanon, and Edouard Glissant, left an indelible mark on the Franco-Caribbean world of letters and intellectual thought. Ménil saw in surrealism a critical framework, a means to the specific end of exploring and expressing the specificities of the Martinican condition. Ménil assessed Martinique’s pre-war psychological condition through the telling metaphor of relative exoticism, pointing clearly to the typically unacknowledged fact that the exotic is a (...) slippery signifier, dependent on perspective, distance and location. If the core of these conditions were to be recognized and contested, it would have to be addressed at its root, and here, there was no question for him but that colonialism was ultimately enabled by capitalism and its corollaries of avarice and accumulation. His editorship of the journal Tropiquesconstituted cultural combat. Ménil’s thought and writing were arguably aimed at achieving universality out of particularity, and so he eventually broke with Césaire—and more specifically with Senghor—over several key tenets in the Negritude platform, arguing for the actual existence of a Martinican culture. Marxism for Ménil offers a corrective to the perceived shortcomings of Negritude’s political aesthetics, namely its historical blind spots and its foregrounding of mythologized black unity at the expense of class struggle. (shrink)

This essay considers the recuperation of beauty as a productive critical strategy in discussions of African American dance. I argue that black performance in general, and African American concert dance in particular, seeks to create aesthetic sites that allow black Americans to participate in discourses of recognition and appreciation to include concepts of beauty. In this, I suggest that beauty may indeed produce social change for its attendant audiences. I also propose that interrogating the notion of beauty may allow for (...) social change among audiences that include dance theorists and philosophers. Through a case-study consideration of work by three African American choreographers, Donald Byrd (b. 1949), Ulysses Dove (1947 – 1996), and Abdel Salaam (b. 1949), I ultimately hope to suggest critical possibilities aligning dance performance with particular aesthetic theory relevant to its documentation and interpretation. (shrink)

_Nietzsche's New Seas_ makes available for the first time in English a representative sample of the best recent Nietzsche scholarship from Germany, France, and the United States. Michael Allen Gillespie and Tracy B. Strong have brought together scholars from a variety of disciplines—philosophy, history, literary criticism, and musicology—and from schools of thought that differ both methodologically and ideologically. The contributors—Karsten Harries, Robert Pippin, Eugen Fink, Hans-Georg Gadamer, Kurt Paul Janz, Sarah Kofman, Jean-Michel Rey, and the editors themselves—take a new (...) approach to Nietzsche, one that begins with the claim that his enigmatic utterances can best be understood by examining the style or structure of his thought. (shrink)

This volume provides the first ever extensive translation of the notes and fragments that survived Kant's death in 1804. These include marginalia, lecture notes, and sketches and drafts for his published works. They are important as an indispensable resource for understanding Kant's intellectual development and published works, casting new light on Kant's conception of his own philosophical methods and his relations to his predecessors, as well as on central doctrines of his work such as the theory of space, time and (...) categories, the refutations of skepticism and metaphysical dogmatism, the theory of the value of freedom and the possibility of free will, the conception of God, the theory of beauty, and much more. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an (...) unusual way: we are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

Many voices today call for a profound rethinking of European identity. If we wish to answer their call, however, it is necessary to start with a reconsideration of the notion of boundaries, particularly as they are at work in the Mediterranean region. The knowledge and cultural values of the Mediterranean may be the driving force able to overcome the impasse from which Europe seems unable to free itself. This volume focuses on the opportunity to employ Mediterranean knowledge and cultural values (...) as a stimulus for the review of European policies, in the interest of creating a solid bridge between different cultural legacies and over the daunting challenges of our shared future. This means being able to stay simul outside and inside the borders, within and beyond the un-limit; looking for an image of Europe which finally stops thinking about the Mediterranean as its internal vulnus, as its lesion and contamination. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC, has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Aesthetic testimony is testimony about aesthetic properties. For example, in aone straightforward case, one person might tell another that something is beautiful. Philosophical discussion about aesthetic testimony centers on the question of whether there are any important differences between aesthetic testimony and testimony about non-aesthetic descriptive matters. In particular, the focus is often on the respective epistemic credentials of aesthetic and non-aesthetic testimony relative to firsthand judgments in the respective domains. Most are inclined to think that in some way and (...) to some degree we typically treat aesthetic testimony as being epistemically inferior to testimony about non-aesthetic matters. Assuming an asymmetry in the way we typically treat aesthetic and non-aesthetic testimony, the philosophical debate then asks a number of questions. Is aesthetic testimony actually epistemically inferior? If so, in what ways, and what explains its inferiority? If not, why do our ordinary ways of thinking, talking, and engaging with aesthetic testimony treat it as being inferior? In this chapter, I consider various ways in which experimental philosophy can contribute to these debates. Drawing on extant work and some new empirical studies, this chapter provides an overview of what experimental philosophy has told us so far, and summarizes the implications for philosophical debate. (shrink)

Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays addressing (...) questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

Taking as its point of departure a sharp critique of Rawls's influential A Theory of Justice, this book looks at politics from an aesthetic perspective.

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what (...) I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, (...) aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Explores the interplay between artistic values and social, political, and moral concerns in writings by African American and Native American women.

The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes (...) that he treats beauty in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)

Aesthetics is about ways of experiencing the world. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress.

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the (...) framework of the ontology of the process of the production of art, inspired especially by the views of Antonin Artaud, Nietzsche, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature. (shrink)

Aesthetics and the Philosophy of Art is an essential introduction to some of the central topics and approaches being debated in contemporary aesthetics and philosophy of art. By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.

A new edition of this bestselling introduction to aesthetics and the philosophy of art. Includes new sections on digital music and environmental aesthetics. All other chapters have been thoroughly revised and updated.

With the sustained, coherent perspective of an authored text and the diverse, authoritative views typical of an anthology, Philosophy of Art: Aesthetic Theory and Practice by David Boersema provides the context and commentary students need to comprehend the various issues in philosophy of art. Throughout the book, issues are examined using the lenses of the three broad areas of philosophy: metaphysics, epistemology, and value theory. That is, concerns are raised about what is expressed, how it is expressed, (...) and why it is expressed. Chapters on the artist, the audience, and the artwork further break down the discipline and are applied to the final chapters on the specific types of art. The differences between art and science as well as the relationship of art and society provide a refreshing discussion of overlooked areas in philosophy of art. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm (...) opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, (...) because it provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)