The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics, challenging the discipline to broaden its scope to include the quotidian objects and experiences of our everyday lives and concerns ...

Beginning with the current discontent felt by prominent aesthetic theorists over the marginalization of their field within philosophy, this paper seeks to find an explanation for the discipline's apparent neglect. A meta-aesthetic examination of approaches to the study of art and of concurrent historical trends in the art world itself reveals that a methodological emphasis on the ontology of art objects and the conditions for their perception has created a gulf between art and human life that renders it unimportant to (...) central philosophical concerns. The disenfranchisement of the field, I argue, is thus due to factors internal to the discipline itself. (shrink)

This paper provides a critical assessment of two diverse methodological approaches in the contemporary movement of Everyday Aesthetics. The “weak formulation” asserts that ordinary objects are best understood on the model of fine art. I counter this claim with a distinction between aesthetic and artistic value. The “strong formulation” develops an ethical-existential theory of the everyday as one of belonging and familiarity which nevertheless causes us to lose what is uniquely aesthetic about our ordinary lives. I strive to find a (...) middle ground that contextualizes the aesthetic within human activities, concerns and judgements. (shrink)

This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.

This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.

This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.

In 1984, Arthur C. Danto wrote two essays, both with enormously provocative themes. One, “The Philosophical Disenfranchisement of Art,” chronicles aggressive strategies of philosophy to contain and control art, and calls for art's re‐enfranchisement. The second, “The End of Art,” offers a Hegelian model of art history in which art necessarily comes to an end with its own philosophical self‐consciousness. This chapter argues that “The End of Art” is an astonishing confirmation of Danto's thesis in “The Philosophical Disenfranchisement of Art.” (...) Plato's definition of art as mere appearance, then, is less a theory of art than it is a strategy for showing art to be metaphysically defective. Each artistic movement generated a theory of art as it explored art's nature in greater and greater depth. Danto's characterization of philosophy includes an assumption that only the elements form the appropriate methodology for the task of self‐understanding. (shrink)

This volume offers an original and innovative collection of fresh approaches to the investigation of the idea of taste. It is divided into three sections: the concept of taste; taste and culture; and gustatory taste. The papers in all three parts deal with the way that aesthetics interpenetrates discussions of food, political conflict, art appreciation, aesthetic judgement, and education. These are fresh, never-before published contributions from a range of scholars, using the most recent literature in their areas of expertise. There (...) is no other book available that collects the latest research in this field, and, as such, it represents a key contribution to recent aesthetic, and more broadly philosophical, interest in matters of taste. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of (...) Functional Beauty accounts. Two cases are presented against Jane Forsey’s theory of Dependent Beauty, holding that it excludes other properties from appreciation that are not necessarily related to functionality, i.e., expres- sive properties. The purpose of this article is to show that these criticisms leveled at Jane Forsey’s proposal for an aesthetic theory of design are unfounded and are based on a misun- derstanding of the structure of judgments of beauty in her system. Despite this, these criticisms highlight the need to clarify the purpose of the aesthetics of design. (shrink)

The Emergence of Word-Meaning in Early China makes an innovative contribution to studies of language by historicizing the Chinese notion that words have "meaning" (content independent of instances of use). Rather than presuming that the concept of word-meaning had always existed, Jane Geaney explains how and why it arose in China. To account for why a normative term (yi, "duty, morality, appropriateness") came to be used for "meanings" found in dictionaries, Geaney examines interrelated patterns of word usage threading through (...) and across a wide range of genres. These patterns show that by the first millennium, as textual production exploded—and as radically different writing forms (in Buddhist sutras) were encountered—yi already functioned as an externally accessible "model" for semantic interpretation of texts and sayings. The book has far-reaching implications. Because the idea of word-meaning is fundamental to theorizing, the book illuminates not only semantic ideas and the normativity of language in Early China, but also aspects of early Chinese philosophy and intellectual history. As the internet supplants one form of media (print), thereby reducing knowledge to vast digital databases, so too, this book explains, two thousand years ago a culture that prized oral and visual balance became an "empire of the text.". (shrink)

In _Vibrant Matter_ the political theorist Jane Bennett, renowned for her work on nature, ethics, and affect, shifts her focus from the human experience of things to things themselves. Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we (...) to acknowledge that agency always emerges as the_ _effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events. Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy. (shrink)

"It is well to remind ourselves, from time to time, that "Ethics" is but another word for "righteousness," that for which many men and women of every generation have hungered and thirsted, and without which life becomes meaningless. Certain forms of personal righteousness have become to a majority of the community almost automatic. But we all know that each generation has its own test, the contemporaneous and current standard by which alone it can adequately judge of its own moral achievements. (...) To attain individual morality in an age demanding social morality, to pride one's self on the results of personal effort when the time demands social adjustment, is utterly to fail to apprehend the situation. This book is a study of various types and groups who are being impelled by the newer conception of Democracy to an acceptance of social obligations involving in each instance a new line of conduct."--. (shrink)

Firms and industries increasingly subscribe to voluntary codes of conduct. These self-regulatory governance systems can be effective in establishing a more sustainable and inclusive global economy. However, these codes can also be largely symbolic, reactive measures to quell public criticism. Cross-sector alliances (between for-profit and nonprofit actors) present a learning platform for infusing participants with greater incentives to be socially responsible. They can provide multinationals new capabilities that allow them to more closely ally social responsibility with economic performance. This paper (...) examines learning facilitators in cross-sector alliances that enrich corporate understanding of stakeholder concerns. It suggests that these organizational learning experiments can translate into globally responsible practices and processes that improve the content and effectiveness of voluntary corporate codes. (shrink)

Ducks lay eggs' is a true sentence, and `ducks are female' is a false one. Similarly, `mosquitoes carry the West Nile virus' is obviously true, whereas `mosquitoes don't carry the West Nile virus' is patently false. This is so despite the egg-laying ducks' being a subset of the female ones and despite the number of mosquitoes that don't carry the virus being ninety-nine times the number that do. Puzzling facts such as these have made generic sentences defy adequate semantic treatment. (...) However complex the truth conditions of generics appear to be, though, young children grasp generics more quickly and readily than seemingly simpler quantifiers such as `all' and `some'. I present an account of generics that not only illuminates the strange truth conditions of generics, but also explains how young children find them so comparatively easy to acquire. I then argue that generics give voice to our most cognitively primitive generalizations and that this hypothesis accounts for a variety of facts ranging from acquisition patterns to cross-linguistic data concerning the phonological articulation of operators. I go on to develop an account of the nature of these cognitively fundamental generalizations and argue that this account explains the strange truth-conditional behavior of generics. (shrink)

This is part of a complete set of Jane Austen's novels collating the editions published during the author's lifetime and previously unpublished manuscripts. The books are illustrated with 19th century plates and incorporate revisions by experts in the light of subsequent research.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers of the Seventeenth Century, and: Anne Conway: A Woman PhilosopherJane DuranWomen Philosophers of the Seventeenth Century, by Jacqueline Broad; 204 pp. Cambridge: Cambridge University Press, 2002. $65.00. Anne Conway: A Woman Philosopher, by Sarah Hutton; 280 pp. Cambridge: Cambridge University Press, 2004. $75.00.Recent work on women philosophers has, in general, approached the topic from two vantage points: on the one hand, a number of anthologies have (...) been published, wherein commentators present a small portion of the woman thinker's work, often without the background necessary for a fuller understanding. On the other hand, some few women philosophers have been the subject of full-length works, but these have tended, by and large, to be women thinkers of the twentieth century, with whose work we are already familiar. Two recent books, one by Jacqueline Broad and the other by Sarah Hutton, go a long way toward improving the situation.Work by Eileen O'Neill, Sarah Hutton and Margaret Atherton, among others, has helped familiarize us with the notion that the seventeenth century—that era so commonly associated with Descartes and the rise of modern philosophy—was also a time of rich theorizing by women philosophers. Jacqueline Broad's book possesses many virtues: it has the finely-tuned style of the careful historian, while at the same time not failing to demonstrate acquaintance with a range of contemporary feminist commentary. Part of the problem in addressing women thinkers of the past is another version of what we are now tempted to call the essentialism problem: does it make sense to think that there is a style that might be demarcated as "feminine," or that might, in some way, pertain uniquely to women theorists? These are difficult issues, but a partial response to the question is to try to remember that it is not for no reason that women thinkers have, indeed, been left out of the canon. As Broad herself says, women philosophers "are now mere footnotes to the standard historical-intellectual accounts of the early modern period" (p. 1).Broad does a superb job of navigating between the need to set out the plain tenets of the thinker's philosophy, and the desire to try to tie it into these larger questions. In six chapters, she addresses the work of Elizabeth of Bohemia, [End Page 200] Margaret Cavendish, Anne Conway, Mary Astell, Damaris Masham and Catharine Trotter Cockburn The chapters on Elizabeth, Margaret Cavendish and Mary Astell are particularly strong—here part of the difficulty is that we do have familiar commentaries addressing the work of these women, and it is hard to try to see them in a new light. We are accustomed, for example, to think of Elizabeth merely as Descartes's correspondent. As is the case with information that is currently coming to bear on the question of Harriet Taylor Mill's input into the work of John Stuart Mill, it is difficult for us to see Elizabeth as a thinker in her own right, or, indeed, to give her the credit that Descartes himself gave her; as Broad notes, he had described her as "the only person I have so far found who has completely understood all my previous works" (p. 13). Margaret Cavendish's reputation has suffered from the somewhat scattered approach of her writings, and Broad cites her "reputation for eccentricity" (p. 38). Nevertheless, the sheer volume of her work and its allusion to the problems addressed by the Cambridge Platonists (areas also worked on by Anne Conway) demands that she be taken far more seriously than she has in the past. Astell has become known largely for her more overtly feminist works, such as A Serious Proposal to the Ladies, but she was also the author of several other pieces addressing issues in metaphysics, and again the amount of her work and its citation during her own time would militate against the notion that it should not receive thorough examination.Broad does a wonderful job of setting out the main philosophical questions found in these theorists' works, and she excels at pitting their views against those of the various male philosophers whose work—according to... (shrink)

This paper sets out to launch a challenge to the usual ‘modernist’ view of the relationship between ecology and ethics. Two ‘post-modern’ interpretations of this relationship are considered. The first ‘deep’ interpretation holds that ecology reveals that nature has intrinsic value. The second interpretation derives from the work of Michel Foucault. The aim of his critique is to reveal how certain values are taken for granted by the acceptance of certain scientific models, and how the acceptance of those models as (...) true makes it impossible to articulate alternative values. I end by suggesting, contra Foucault, that phenomenological enquiry could serve to articulate alternative and perhaps more eco-friendly values. (shrink)

It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about (...) the deep connections between ethics, aesthetics, and politics. As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ''narrative of disenchantment,'' one that presents a new ''alter-tale'' that discloses our profound attachment to the human and nonhuman world. (shrink)

When discussing the problem of evil, philosophers often distinguish between physical evil (harm caused within the natural world such as natural disasters, disease, and the like), and moral evil (harm caused by human agency). Mapping this traditional distinction is mapped onto the third section of Fichte’s The Vocation of Man would at first seem fairly straightforward: for Fichte, evil arising from nature occurs through “blind mechanism” and is unfree; in contrast, evil done by human beings arises out of free agency. (...) The answer may be more complicated, however, in two different ways. First, Fichte holds that nature is to be cultivated and controlled by human beings so that it is no longer a source of harm; this may imply that the continuing harm done by nature is the result of humans’ failure to have sufficiently tamed nature. In that case, some of the harm caused by nature may be attributable to free human causality and thus no longer be a clearcut instance of natural evil. Second, Fichte repeatedly states that those who fail to act morally and who fail to conform their wills to the moral law are still be in the power of the mechanisms of nature. Even though we must think of them as free, Fichte compares their actions to the operation of nature and its mechanism of necessity. By presenting a careful and nuanced Fichtean account of the traditional distinction between physical and moral evil, we can better appreciate how Fichte understood the meaning and scope of human responsibility. (shrink)

Overviews -- Hildegard of Bingen -- Anne Conway -- Mary Astell -- Mary Wollstonecraft -- Harriet Taylor Mill -- Edith Stein -- Simone Weil -- Simone de Beauvoir -- Conclusions.

In _influx & efflux_ Jane Bennett pursues a question that was bracketed in her book _Vibrant Matter_: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx _& _efflux”—a phrase borrowed from Whitman's "Song of Myself"—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” (...) can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us. (shrink)