This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative (...) change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

This body of work is motivated by an apparent contradiction between, on the one hand, Darwin’s testimony in his autobiographical text about a supposed perceptual colour blindness before the aesthetic magnificence of natural landscapes, and, on the other hand, the last paragraph of On the Origin of Species, where he claims to perceive the forms of nature as beautiful and wonderful. My aim is to delve into the essence of the Darwinian perception of beauty in the context of the Weberian (...) concept of “disenchantment of the world”, assumed as a possible conceptual axis that enables the unravelling of the core of this contrast of perceptions. In acknowledging the theory of evolution as one of the most prominent scientific theories likely to have contributed to disenchantment, a number of questions arise: Is disenchantment compatible with aesthetic experience and sensibility before natural beauty? Was it Darwin’s disenchanted conception of the world that led him to believe he was colour blind? To answer these questions, a computer-assisted semantic analysis of lexical frequency and variability, most especially focused on aesthetic-emotional and religious or spiritual adverbs and adjectives, has been undertaken across the six editions of The Origin. The semantic analysis demonstrates that, although disenchanted, Darwin’s descriptions of, mainly, the adaptational excellence of living beings, reflect an aesthetically enriched perception of nature. It is concluded that Darwin’s perceptual colour blindness, then, might be based on a confusion rooted in the equation of equality between aesthetic sensibility in nature and the perception of its beauty as part of the vestigia Dei. (shrink)

Sustainable development has increasingly found its way into the context of environmental legislation. Russian environmental legislation is not effective for transitioning toward sustainable development. The main obstacle is ignoring traditional environmental values, which are not properly incorporated into laws and regulations. However, rich Russian traditions and culture imply a big potential to develop environmental legislation in accordance with sustainable principles. The paper explores areas where environmental regulations should be revised and implemented with adequate legal mechanisms based on traditional values. This (...) paper contributes to the discussion of improving environmental legal norms in any domestic legislation. (shrink)

This paper introduces current acoustic theories relating to the phenomenology of sound as a framework for interrogating concepts relating to the ecologies of acoustic and landscape phenomena in a Japanese stroll garden. By applying the technique of Formal Concept Analysis, a partially ordered lattice of garden objects and attributes is visualized as a means to investigate the relationship between elements of the taxonomy.

Name der Zeitschrift: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Jahrgang: 2013 Heft: 197 Seiten: 101-117.

ABSTRACTTheories of aesthetics have traditionally represented the aesthetic object as a framed, distanced and contemplated individual piece to be appreciated. As such the aesthetic object has mainly been a work of art. This view has been challenged especially by environmental and everyday aesthetics, approaches which bring everyday environments and matters into consideration as possible objects of aesthetic appreciation. In this article I explore recent theories of everyday aesthetics focusing on how they treat the questions concerning ordinarity and attachment with regard (...) to aesthetic experience. In addition, I participate in the ongoing discussion of the nature of everyday aesthetic experience but I do so from a new point of view by introducing a notion of dwelling as a key concept to understanding aesthetic dimensions of our everyday life. The concept of dwelling indicates two different semantic elements of the aesthetic in our everyday existence: that of sensing and perceiving on one hand, and creating on the other. As such it offers a versatile point of departure in viewing our everyday aesthetic life. (shrink)

The question ‘Is it worth it?’, as originally applied to artworks by Tolstoy and here reintroduced by Sheila Lintott, opens a fruitful avenue for understanding land art. It is, however, a question...

This article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: human-caused interventions, mostly extraction (...) of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked. (shrink)

My thesis attempts to provide an aesthetic definition of art. The thesis is divided into three parts. The first part is a summary of the different attempts in defining art in contemporary analytic philosophy, beginning with a discussion of Morris Weitz’s famous paper “The Role of Theory in Aesthetics”, in which he appealed to Wittgenstein’s “family resemblance” idea while rejecting traditional essential definitions. His attempt has led to the appearance of contemporary essential definitions, whereby art is defined through different relational (...) properties. This is followed by a critically review on Weitz’s claims and those definitions. The second part focuses on Iseminger’s new aestheticism. I found that the notion of appreciation employed by Iseminger was somehow problematic, and proposed neo- Lewisian notion of value-apprehension as a replacement, with a critical discussion of whether such replacement is possible. In the last part of the thesis, I considered and defended my proposal against possible objections. (shrink)

Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...) the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features. (shrink)