In the last twenty years there has been a marked increase in artists using smells in their works at the same time that scents are being used to accompany plays, films, and music. There is also an increase in ambient scenting in stores and hotels and leading chefs are adding unusual scents to cuisine. The book explores these olfactory activities and the aesthetic and ethical issues they raise as well as answering the traditional disparagement of the sense of smell by (...) leading intellectuals such as Kant, Darwin, and Freud, drawing on current science, social science, and humanities as well as literature. (shrink)

Foucault's writing is best understood in terms of its political purpose and of the political question it puts to philosophy, history, and the human sciences. Foucault is not looking for a "method" which will be superior to other methods in objectivity but is forging tools of analysis which take their starting point in the political-intellectual conflicts of the present. His method is really an antimethod, "genealogy," which seeks to free us from the illusion that an apolitical method is possible. A (...) genealogy of the human sciences examines the intimate connection of the knowledge they represent with the relations of power which produced them. Such a genealogy shows how the human sciences emerged from the tactics or microtechnologies of power by which various groups and individuals attempted to give structure to the field of behavior of others, seeking to increase the economic utility of the body while decreasing its political danger. Genealogy attempts to restore the "subjugated" knowledge of the patient, the prisoner, the worker. (shrink)

Phenomenology can offer a new point of view to the critical philosophy of history. Through a phenomenological reduction which permits an analysis of the essential structures of the "life-world," the phenomenologist suspends theoretical assumptions in order to discern the implicit attitude which defines the field of a science. Phenomenological reflection can help lay bare an original act. When applied to the discipline of history, this process of "reactivation" uncovers the original emergence of historical consciousness and brings to light the structural (...) a priori of the field of historical research. A phenomenological approach to the problem of historical knowledge will be the convergence of the analysis of the essential structures of the historical attitude and the analysis of the historical dimension of the life-world. (shrink)

Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship to (...) art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense. (shrink)

In ‘Is Art Modern? Kristeller’s “Modern System of the Arts” Reconsidered’ (BJA, 49.1 (2009), pp. 1-24), James I. Porter sets out to discredit Kristeller’s ‘modern system of the arts’ on the curious assumption that if Kristeller is right, one is somehow prohibited from investigating the ancients’ understanding of aesthetics. Unfortunately, Porter's paper misrepresents Kristeller's central aim, misses the real shortcomings of Kristeller's essay, and often obscures substantive issues behind simplistic dichotomies. Because the unwary reader might be taken in by some (...) of Porter's exaggerations and omissions, I will identify a few of these before addressing the issue of continuity and discontinuity in the concept of art, particularly with respect to the ancient world. (shrink)

The first part of this paper surveys types of olfactory art as well as some of the philosophical denials that odors and the sense of smell can be used for serious art making, raising the paradox that olfactory art seems actual, but the mainstream philosophical tradition has declared that one cannot make genuine artworks from odors. The second and third part of the paper address the primary argument against possibility of an olfactory aesthetics, namely, the claim that the human sense (...) of smell does not have sufficient cognitive capacity to support rational aesthetic discussion and judgment. The second part (The intuitive case for smell’s cognitive powers) examines and answers intuitive philosophical arguments against smell’s cognitive potential and the third part (The empirical case for the cognitive capacity of smell) first surveys evidence from the sciences that could be interpreted as supporting the negative position, before marshalling other empirical evidence in favor of smell’s cognitive powers. I conclude that on balance contemporary neuroscience and psychology support the view that the human sense of smell has the cognitive capacity to sustain rational aesthetic discussion and judgment. (shrink)

Unlike Tocqueville's other writing, Recollections, which was never intended for publication, contained the internally contrary, multiple viewpoints characteristic of carnivalesque discourse. Its greater spontaneity may allow'us more easily to see some of the ways in which writing can undermine the intentions of the writer. In following the Recollections' treatment of the February revolution, the writing soberly sets out to embody the story of a deadly struggle between the bourgeoisie and the people over the issue of property but steadily veers off (...) in the direction first of irony, then satire, and finally carnival. Tocqueville's rhetorical ending shows him trying to turn his unruly text back into a cautionary tale of the moralistically ironic type. But the text keeps getting out of hand and dissolves moralism in a bath of satire and burlesque. (shrink)