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  1. Consciousness is Sublime.Takuya Niikawa - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater of the (...)
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  • Wonderstruck: How Wonder and Awe Shape the Way We Think.Helen De Cruz - 2024 - Princeton: Princeton University Press.
    What explains people's propensity to ask existential questions that they have little hope of resolving, such as: Why are we here? What, if any, is our purpose? What is the structure of the universe? That humans engage in these endeavors has long puzzled evolutionary theorists, as they go beyond the immediate demands of fending for ourselves, seeking safety, finding food, and reproducing, which occupy the daily lives of other animals. In this book, philosopher Helen De Cruz draws on a wide (...)
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  • The Sublime of Consciousness.Takuya Niikawa & Uriah Kriegel - forthcoming - British Journal of Aesthetics.
    The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...)
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  • Making Up Our Minds: Imaginative Deconstruction in MathArt, 1920 – Present.Shanna Dobson & Chris Fields - manuscript
    The cognitive sciences tell us that the self is a construct. The visual arts illustrate this fact. Mathematics give it full expression, abstracting the self to a Grothendieck site. This self is a haecceity, an ephemeral this-ness and now-ness. We make up our minds and our histories. That our acts are public, that they communicate effectively, becomes a dialetheic paradox, a deep paradox for our times.
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