This chapter contains sections titled: Canary Wine and Beyond Wine, the Analogy with Art, and Expression Dewey Seeing As and Seeing In Critical Rhetoric The Institutional Theories Attention, Attitude and Appreciation Aesthetic Attributes and Experiences Aesthetic Experience: What Is It? Functionalist Theories The Necessity of Aesthetic Competency Aesthetic Emergence Aesthetic Competency Notes.

An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .

The inclination to wrongfully harm others in the name of morality is a paradoxical behavior associated with much human misery, from suicide bombings to civil liberty violations. In this paper I argue that aesthetic competence plays a remedial role for moral self-deception. Consequently, aesthetic competence ought to be added to curriculum objectives for moral education and characterdevelopment. Since artists are by definition aesthetically astute perceivers and since their works are fairly accessible, both ought to be consulted, not for the casuistry (...) they provide, but for their aesthetic insights and practices. Furthermore, because the arts offer efficient and pleasing means of acquiring aesthetic competence, their pedagogical value goes beyond showing us what morally charged scenarios might look like. At times they go as far as evoking moral epiphanies in which the extent andfolly of our own moral hubris become suddenly undeniable. (shrink)

This chapter contains sections titled: Taste and Discernment Delicacy of Taste and the Supertasters Practices and Comparisons Who Are the True Judges of Wine? Experts and Projects Experts and Evaluation Ideal and Izeal experts ‐ And You The Canon and Ideal Critics: The Special Relationship Levinson's Problems The Canon and Wine Wine Canons and Ideal Wine Critics Taste, the Competencies and Trust Iconic or Iconoclastic Critics Conclusion Notes.

This text focuses on how to think the visual culture of disappearance – more closely, disappearance of animals. It takes as its starting point the Ernst Jünger novel The Glass Bees from 1957 in order to start an excavation into obsolescence, animals and the ecological crisis. The aesthetic themes of visibility/invisibility are entangled with the ecological questions of disappearance and pollution. This sort of media ecological question is unravelled, furthermore, with examples concerning the mass extinction of bees, also discussed in (...) Lenore Malen's video installation The Animal That I Am (2009–10). In this way, it argues for a media theoretical understanding of the visual culture of ecocrisis as well as the complex question of epistemology of such a visibility/invisibility. (shrink)

This book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: First, within (...) the culture of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

The photograph of Ai Weiwei’s middle finger set against the backdrop of Tiananmen Square has become an icon of politically subversive art. But can we see beyond the middle finger? Here I argue that current theories of political aesthetics operate on an oversimplified dichotomy between two competing paradigms of political art, and that this threatens a more nuanced engagement with contemporary artistic practices. In the first part, I re-examine both the antagonistic relation between art and politics exemplified in Plato's (...) verdict against poetry as a socially corrosive form of imitation as well as the instrumental relation of art and politics developed in Friedrich Schiller’s conception of aesthetic education as a means of social and political reform. Then, drawing on recent work by the controversial Chinese artist, I argue for a model of political art that can account for the more complex interrelation of criticism and cultural affirmation evident in a growing body of politically-oriented art. (shrink)

This chapter contains sections titled: Introduction Wine as a Moving Target Wine as a Vague Object 2030 ‐ A Thought Experiment Wine as “Pure Experience” or as “Rich Object”? The Taster of the Future Conclusions Notes.

This essay is devoted to the analysis of the scholarly achievements of Victor V. Bychkov, a renowned Russian expert in aesthetics. It demonstrates that he has analyzed systematically and in detail the history of implicit aesthetics of the countries of the Eastern Orthodox region and has subdivided it into four principal stages: Patristic aesthetics, Byzantine aesthetics, Old Russian aesthetics, and Russian theourgic aesthetics. He has devoted special monographs to each of the four areas. Bychkov has created a present-day version of (...) theoretical aesthetics—post-nonclassic aesthetics—which he subdivided into three principal sections: classic, aesthetics; nonclassics ; and aesthetic virtualistics. Based on his analysis of twentieth-century art, Bychkov has suggested the hypothesis "Culture-post-culture," has brought to light the metaphysical meaning of contemporary, art and has provided contemporary definitions of the subject of aesthetics, of principal aesthetic categories, and of the main principles of art. (shrink)

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how (...) such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. (shrink)

More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example (...) who tries to extend aesthetics beyond art to society and the life-world (Welsch, 1997). Others underline the need to revisit the aesthetic experience (Shusterman, 1999; Iseminger, 2002, Fenner, 1996) and examine the relevance or irrelevance of the aesthetic with art (Carroll, 2001). It seems that it is strongly recommended to turn to aesthetics on the condition however to carefully re-approach the meaning and import of the term in the present situation. The aesthetic that Passmore condemned as “dreary”(Passmore, 1954), the one Sparshott considered a formless conception, vague and loose in application (Sparshott, 1982), the same that Danto emphatically argues that has nothing to do with the definition of art or arts in general (Danto, 1981) returns to claim its rightful place in the fields of philosophy and critical theory (Levine, 1994, Michaud, 1999), as well as artistic creation. And one cannot but wonder: what does this return mean? What was the degree of aesthetics decline that we need to discuss about recovery or for new implementations of aesthetics? (shrink)

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts sometimes promotes a (...) limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. Moreover, it gives weight to the equally important role of spectators by linking their aesthetic education to good work in their working lives and, in turn, to the success of artworks. The theory delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. William Morris and the artist-craftsmen and -women of the Arts and Crafts Movement have a theory of art and the aesthetic that has an importance beyond their own artistic work and its achievements. Morris delivered lectures on the arts in many British towns and cities in the 1870s, 1880s, and 1890s; these were published as Hopes and Fears for Art and later as a volume of his collected works.1 The movement codified and publicized its practices through various societies and organizations like the Arts and Crafts Exhibition Society and Charles Ashbee's Guild and School of Handicraft, each producing its own literature, which ranged from practical handbooks to political exhortations. Later, William Lethaby's lectures, often to organizations that were part of the movement, were published as Form in Civilisation.2 To that extent, then, a Morrisian or Arts and Crafts aesthetic theory has to be constructed from sources that were necessarily rhetorical, as well as being practical and theoretic. Morris and Lethaby were explicitly aiming to influence current artistic practice through their lectures to audiences usually composed of artists, architects, civic leaders, and so on (and this no doubt at least partly accounts for their neglect in philosophical aesthetics). Still, I will argue that this reconstructed theory is sufficiently coherent and sophisticated to be worth investigating for its relevance to contemporary debates in analytic aesthetics, particularly against those arguing for art as a nonaesthetic activity (of which the seminal text remains Arthur Danto's "The Artworld"), and for its arguments for art's connections (as an activity of both making and experiencing artworks) with other life experiences.3 In these respects, then, in the history of aesthetics it is a forerunner of, or at least has intellectual associations with, pragmatist aesthetics (yet it is often unacknowledged within that paradigm, so neither Dewey's Art as Experience nor the more recent pragmatist works by Richard Shusterman cite Morris) and shares ground associated with the Everyday Aesthetics movement.4In arguing for the theoretic and historic significance of a Morrisian aesthetic, I take encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. Guyer names Morris, along with Schiller, Ruskin, and Dewey, as properly understanding the full significance of the distinctive character of aesthetic experience. As Guyer writes, they understood that aesthetic experience is distinctive in its freedom from our most immediate obsessions with purpose and utility, but that the freedom it thereby allows us is not a freedom for the simple contemplation of beauty with no further concerns or implications, but rather a freedom to develop our imaginative and cognitive capacities, to gain knowledge of ourselves and others, and to imagine new ways of life, a freedom that is valued not simply for its own sake but also because of the benefits the developments of these capacities can bring to the rest of our lives. (shrink)

This short commentary expands a little on the disciplinary history of semiotics and biosemiotics, and its relation to aesthetics. It aims at positioning Kalevi Kull’s approach to this elusive matter (Kull, 2022 ) within this broader field by commenting on his attempts to connect semiotics, aesthetics, and biology. It highlights the merits of his approach to proceed thereafter to formulate possible extensions and directions for future research.

Clinical ethics training programs are responsible for preparing their trainees to be competent ethics consultants worthy of the trust of patients, families, surrogates, and healthcare professionals. While the American Society for Bioethics and Humanities (ASBH) offers a certification examination for healthcare ethics consultants, no tools exist for the formal evaluation of ethics trainees to assess their progress toward competency. Medical specialties accredited by the Accreditation Council for Graduate Medical Education (ACGME) use milestones to report trainees’ progress along a continuum of (...) professional development as a means of “operationalizing and implementing” medical competencies. Utilizing the Core Competencies for Healthcare Ethics Consultation and the ACGME and American Board of Pediatrics’ (ABP) Pediatric Milestones Project, we developed milestones for 17 subcompetencies in clinical ethics consultation and academic bioethics. As the field of clinical ethics becomes more standardized, such tools will be needed to promote the development of robust training programs and to certify that their graduates are competent practitioners. (shrink)

The Creativity in Health and Care Workshops programme was a series of investigative workshops aimed at interrogating the subject of creativity with an over-arching objective of extending the understanding of the problems and possibilities of applying creativity within the health and care sector workforce. Included in the workshops was a concept analysis, which attempted to gain clearer understanding of creativity and innovation within this context. The analysis led to emergent theory regarding the central importance of aesthetics, emotion and empathetic imagination (...) to the generation of creative and innovative outcomes that have the capacity to promote wellbeing in the health and social care workforce. Drawing on expertise in the field, this paper outlines the concept analysis and subsequent reflection. (shrink)

This is an essay based on a story with observations, about present and sparkling moments from everyday life coexisting with a mother living with dementia. The story is used to begin philosophical underpinnings reflecting on ‘how it could be otherwise’. Dementia deploys brutal existential experiences such as cognitive deterioration, decline in mental functioning and often hurtful social judgements. The person living with dementia goes through transformation and changes of self. Cognitive decline progressively disrupts the foundations upon which social connectedness is (...) built, often creating a profound sense of insecurity. The challenge for carers and healthcare professionals is therefore to find ways of clarifying a concept of agency. It will be worthwhile developing the ability of attuning into ‘what is there’ arising from every corner of the care situation. Understanding and practicing this can strengthen existence and the experience of connectedness and meaning, empowering the person with dementia. It is important to find ways, relational moves, in which carers and healthcare professionals can embed the creativity appearing in mundane everyday situations filled with surplus of meaning, sharing mental landscapes (and embodied relational understanding) with the person living with dementia – seizing and sharing aesthetic moments (verbal and nonverbal) being present together. We argue that carers and healthcare professionals may find this understanding of care useful. This implies looking into a phenomenological‐hermeneutic perspective developing competences as well as practical wisdom understanding and being aware of the creative and innovative possibilities (often preverbal and unnoticed small things) in everyday life of what we, inspired by psychoanalyst Daniel Stern, call sparkling moments of meeting, creating experience with the other that is personally undergone and lived through in the present. (shrink)

In this dissertation, I examine the development of autonomy in the philosophical works of Kant, Nietzsche, and Heidegger. After outlining the centrality of this development to what I call, following Robert Pippin, "philosophical modernity," I show that the figure of genius described in Kant's third Critique becomes the model for the "aesthetic" versions of autonomy articulated by Nietzsche and Heidegger under the names of "sovereignty" and "authenticity" respectively. According to these more recent formulations, autonomy is not understood as rational self-legislation, (...) but as a quasi-artistic "self-creation." Moreover, in each of these versions of aesthetic autonomy, I claim that in spite of a disavowal of mimesis understood in a Platonic sense, an implicit reliance is placed upon the operations of a "higher" sense of mimesis, a mimesis of freedom, that enables autonomy to be exemplified and, paradoxically, "imitated." For Kant, this mimesis of freedom accounts for both the continuity and discontinuity of art-historical traditions. In Nietzsche and Heidegger, however, this covert deployment of mimesis has implications for our understanding of historicity more generally, and the relationship between history and modernity in particular. After showing what these implications are, I comment on the problems and limits of "aesthetic autonomy," especially when it is understood politically or collectively, and utterly decoupled from any moral constraints. (shrink)

The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather (...) than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience. (shrink)

The book presents five philosophical and axiological studies devoted to the relationship between aesthetics and politics. It shows this relationship throughout the works of some avant-gardists, pragmatists, and postmodernists. It is also a voice in the discussion about the meaning of the fine arts and aesthetics in the context of the political aims and norms. This voice claims that the political dimension of art and aesthetics should be studied much more seriously than it has been till today, and needs more (...) courageous re-interpretations and re-readings. (shrink)

This chapter contains sections titled: The Cognitive Background to the Aesthetic Problem Wine, Cognition and Philosophy The Phenomenology of “Projects” The Aesthetic Project Notes.

In _Wine & Philosophy,_ philosophers, wine critics, and winemakers share their passion for wine through well-crafted essays that explore wine’s deeper meaning, nature, and significance Joins _Food & Philosophy_ and _Beer & Philosophy_ in in the "Epicurean Trilogy Essays are organized thematically and written by philosophers, wine writers, and winemakers Chapters include, “The Art & Culture of Wine”; “Tasting & Talking about Wine”; “Wine & Its Critics”; “The Beauty of Wine”; “The Metaphysics (...) of Wine”; and “The Politics & Economics of Wine” Accessible to a general audience while at the same time covering some serious philosophical ground Incorporates traditional areas of philosophical study, including philosophy of language, philosophy of perception, aesthetics, metaphysics, ethics and political philosophy A great complimentary text to any guided-tour visit to the Napa Valley or other wineries. (shrink)

In Wine & Philosophy, philosophers, wine critics, and winemakers share their passion for wine through well-crafted essays that explore wine’s deeper meaning, nature, and significance Joins Food & Philosophy and Beer & Philosophy in in the "Epicurean Trilogy Essays are organized thematically and written by philosophers, wine writers, and winemakers Chapters include, “The Art & Culture of Wine”; “Tasting & Talking about Wine”; “Wine & Its Critics”; “The Beauty of Wine”; “The (...) Metaphysics of Wine”; and “The Politics & Economics of Wine” Accessible to a general audience while at the same time covering some serious philosophical ground Incorporates traditional areas of philosophical study, including philosophy of language, philosophy of perception, aesthetics, metaphysics, ethics and political philosophy A great complimentary text to any guided-tour visit to the Napa Valley or other wineries. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In the Republic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simply non-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, (...) are in fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ and anti-rational in that they are actively opposed to reason. According to the Republic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action. This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato's Laws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in the Republic Plato condemns drunkenness and other anti-rational states, in the Laws he extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In theRepublic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simplynon-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, are in (...) fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ andanti-rational in that they are actively opposed to reason. According to theRepublic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action.This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato'sLaws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in theRepublicPlato condemns drunkenness and other anti-rational states, in theLawshe extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

In this paper we investigate how knowledge and experience influence aesthetic perception. We begin with a discussion of recent evidence from perceptual research in wine tasting that turn out to have significant implications for aesthetic perception. We argue that these results suggest not only that knowledge and experience (what we call “competencies”) are central to determining what is tasted and how, but that this happens because such competencies are an important part of the type of “project” that is undertaken (...) with respect to the object. Our analyses suggest that there must be a distinct aesthetic project for wine tasting, and that this project must include specific competencies. We believe this conclusion holds also for aesthetic experience more generally. (shrink)

Lookism is a term used to describe discrimination based on the physical appearance of a person. We suppose that the social impact of lookism is a philosophical issue, because, from this perspective, attractive people have an advantage over others. The first line of our argumentation involves the issue of lookism as a global ethical and aesthetical phenomenon. A person’s attractiveness has a significant impact on the social and public status of this individual. The common view in society is that it (...) is good to be more attractive and healthier. This concept generates several ethical questions about human aesthetical identity, health, authenticity, and integrity in society. It seems that this unequal treatment causes discrimination, diminishes self-confidence, and lowers the chance of a job or social enforcement for many human beings. Currently, aesthetic improvements are being made through plastic surgery. There is no place on the human body that we cannot improve with plastic surgery or aesthetic medicine. We should not forget that it may result in the problem of elitism, in dividing people into primary and secondary categories. The second line of our argumentation involves a particular case of lookism: Melanie Gaydos. A woman that is considered to be a model with a unique look. (shrink)

We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement”. In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological epoché drives (...) us into the phenomenological one. The change of attitudes is a condition of possibility of aesthetic and/or phenomenological experience. Estrangement is an artistic device that breaks the routinized forms of perception: one sees the thing as new and does not just “recognize” it automatically. Shklovsky insists that it is possible if one experiences or feels the form of the work of art—in an affective and even sensuous way. We claim that this is similar to the phenomenological seeing, or intuition, which, according to Husserl, should be devoid of all understanding. Phenomenological epoché can also be described as a philosophical technique that aims to arrest the “ready-made,” “taken for granted,” “pre-given” meanings in order to access a new meaning which is not yet stabilized, the “meaning-in-formation.” It is not enough to turn from what appears to how it appears; one has to oscillate between these conflicting attitudes, or rather to keep them both at the same time thus gaining a kind of a 3D-vision of meaning in its becoming. This double life in two different attitudes can be clarified in terms of Roman Jakobson’s theory of antinomic coexistence between the poetic and communicative functions of language. The notion of “double life in two attitudes” uncovers the role that ostranenie can play in the philosophical transformation of the subject based on variety and essential mobility of the affective components involved. Proposing a phenomenological interpretation of a passage from Samuel Beckett we show how the radicalization of ostranenie can lead even to “meta-estrangement”: to estrangement of the everyday “lack of estrangement.” We conclude with a remark on the productivity of this form of estrangement in the phenomenological context. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

Designing education policy, curriculum and competences which promote and nourish the values and/or morals believed to underpin democratic culture is both contentious and something which has...

The article explores the realm of sport from an aesthetic point of view. Making a sustained physical effort regularly may have a positive impact on our psycho-somatic being and can sustain our health and well-being. But what exactly is this aesthetic component in sport and is it possible that this aesthetic component prevails over other components when it comes to individual sport? Moreover, is this aesthetic component complex in its nature or can it be reduced to some unique underlying principle? (...) These are the main philosophical questions that this article strives to answer by exploring the aesthetic experience proper to sport. Abandoning the much-acclaimed perspective of the spectator (which consists of seeing sport as a spectacle or drama to be enjoyed and judged from a distance) entails that the aesthetic in sport has to be studied from the perspective of an active and individual participator. Ultimately, the article makes the claim that sport is both a way of interacting with one’s environment and a way of aesthetic self-fulfilment which allows the individual to lead a meaningful life rich in aesthetic experiences and events. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

Davidson approaches the notions of meaning and interpretation with the aim of characterizing semantic competence in the syntactically characterized natural language. The objective is to provide a truth-theory for a language, generating T-sentences expressed in the semantic metalanguage, so that each sentence of the object language receives an appropriate interpretation. Proceeding within the constraints of referential semantics, I will argue for the viability of reconstructing the notion of linguistic meaning within the Tarskian theory of reference. However, the view proposed here (...) involves a revision of Davidson’s con-ception of the object of semantic investigation. Taking (idealized) language-theories as the proper object of semantic characterization, provides solutions to outstanding problems in Davidson’s views, better approximates the practice in standard model-theoretic semantics, and incorporates the elements of semantic competence sought for in tradi¬tional theories of lexical analysis. Sources of evidence beyond those emphasized by Davidson will be invoked in order to allow for the selection of interpre¬tive T-sentences. In the final section, possible Quinean objections will be considered. (shrink)

As a new trend in aesthetics appearing concurrently in the West and the East in the last ten years, the aesthetics of everyday life points to a growing diversification among existing methodologies for pursuing aesthetics, alongside the shift from art-based aesthetics. The cultural diversity manifest in global aesthetics offers common ground for the collaborative efforts of aesthetics in both the West and the East. Given the rapidly growing interest and its potential for attracting new audiences extending beyond the more (...) narrowly focused traditions of twentieth-century analytic and environmental aesthetics, it stands to command its own share of attention in the future of aesthetic studies. The aesthetics of everyday life has become a stream of thought with a global ambition. This interest has led to numerous systematic and in-depth works on this topic, some of which were conducted by the authors represented in this volume. A salient feature of this book is that it not only represents the recent developments of the aesthetics of everyday life in the West, but also highlights the interaction between scholars in the West and the East on this topic. Thus, the project is a contribution toward mutual progress in the collaboration between Western and Eastern aesthetics. What distinguishes this book from other anthologies and monographs on this topic is that it reconstructs the aesthetics of everyday life through cultural dialogue between the West and the East, with a view to building a new form of aesthetics of everyday life, as seen from a global perspective. At present, the aesthetics of everyday life as a newly emergent approach to aesthetics may encounter skepticism among aestheticians accustomed to the rigors of analytic philosophers who prefer to discuss aesthetics at the level of abstract concepts and argument, and who tolerate the particulars of experience mainly as illustrations. But, there is no reason to abandon the pursuit of the aesthetics of everyday life in the face of such objections. On the contrary, there are many benefits to gain in bringing aesthetics to bear on a wider sphere of human life, made possible through efforts to show the relevance of aesthetics to a broader range of human actions. (shrink)

This volume offers scholarly perspectives on the creative and humorous nature of the protests at Gezi Park in Turkey, 2013. The contributors argue that these protests inspired musicians, film-makers, social scientists and other creative individuals, out of a concern for the aesthetics of the protests, rather than seizure of political power.

This study examines the similarities and differences in pre- and post-Sarbanes-Oxley corporate ethics codes and codes of conduct using the framework of structuration theory. Following the passage of the Sarbanes-Oxley (SOX) legislation in 2002 in the United States, publicly traded companies there undertook development and revision of their codes of ethics in response to new regulatory requirements as well as incentives under the U.S. Corporate Sentencing Guidelines, which were also revised as part of the SOX mandates. Questions that remain are (...) whether these new or revised codes are effective means of communicating changed ethical foci and attitudes in organizations. Centering resonance analysis (CRA) is used to identify differences and similarities across time and industries by analyzing word networks of 46 pre- and post-SOX corporate codes of ethics. Analyses focus on content and structure of generated word networks as well as resulting factors that emerged from the texts. Results are interpreted from the structuration perspective that content and structure of codes are constrained and enabled by system structures while they function to produce and reproduce those structures. Results indicate that corporate codes of ethics are formal discourses of ethics, laws, and control. Code structure has changed across time, with an increased emphasis on compliance in post-SOX codes. Implications for research and practice are discussed in light of findings. (shrink)

Hefty and serious—that is how this book feels when you pick it up. That was my subjective aesthetic experience anyway. Aesthetic judgment is, after all, one key to assessing our thoughts and perceptions. More on that soon, as you might expect.Hefty and serious also describes the questions with which the volume grapples: Is there, or can there be, a clear American Aesthetics, not merely aesthetics practiced by Americans? What would that look like? How would such a process affect the minds (...) and actions of Americans?The answers? It's complicated.The twenty essays in this volume trace the possibility of an American Aesthetics from foundational ideas of the past to the contemporary landscape. The goal is not only articulating an aesthetics that is distinctively American—aesthetics as a method for examining the arts and the artful—but also the possibility of aesthetics as a dynamic tool for pursuing a flourishing life within our hyper-capitalist, consumerist culture.Constant amongst the scholars gathered here is the assertion that aesthetics is not an abstract academic pursuit interesting only to the privileged and interested few but rather that aesthetics is the key element in the human pursuit of meaning and purpose in our lives. Aristotle would approve!Speaking of ancestors, the scholars here trace the work of grandparents such as Ralph Waldo Emerson, Charles Pierce, and William James, and parents such as the pragmatist John Dewey and the process philosopher Alfred North Whitehead. (Whitehead is from the UK but “American” in that he died in the US after a long career at Harvard and wrote his magnum opus, Process and Reality, in the US.) From these ancestors, the scholars gathered in this volume see a path forward: Art as conscious experience, as Dewey posited, and/or art as committed immersion in the process, as Whitehead claimed.Whitehead's process approach—process aesthetics—reminds us that each moment of our experience in this at once mundane and amazing world is an occasion of beauty and a telos—each moment is in the larger process of reality quite literally our last.William James attempted to map how we might free ourselves from the everyday and from everyday-ness: “We are stuffed with abstract conceptions, and glib verbalities and verbosities and in the culture of these higher functions the peculiar sources of joy connected with our simpler functions often dry up” (109). Yet, according to James, there is hope due to the fact that we human beings seek art and do art first and foremost because we enjoy it.Enjoyment was not the angle from which John Dewey approached the subject. According to Dewey our aesthetic reactions and interactions create the experience of art (and life) that re-accesses “an underlying harmony... that we vaguely remember” (112). For pragmatists, noticing a “thing” is entering a relationship with that thing, what David Strong terms in his essay, “correlational coexistence” (371).From these building blocks the scholars assembled propose ways to change US culture from one prone to ask, “What does it do?” into one in which it is increasingly possible to ask, “What does it mean?” This would be a fundamental shift in the dominant paradigms in US culture.How to get there? Randall E. Auxier offers a concise definition of “bad”—bad is something that is “lifeless and too much indebted to the actual.” My attempts at singing fall into that category, as do many American experiences conceived in the mode of what they do, not what they mean.That works of art escape or repel descriptions of their constitutive elements has proven to be a persistent philosophical conundrum through the centuries, as has the question of whether human feelings create an object or an object creates feelings, or both/and—Dewey's interaction of “organism and environment.” From whichever philosophical direction we approach this crux, aesthetic thinking can lead us to recognize and experience the inwardness of what we view as things—objects—and this examination can realign our personal axiology—our personal valuation of reality—the “ten thousand things” of ancient Chinese philosophy.Several authors cite Suzanne Langer's theory of symbol, broadening the scope of “art” well beyond Art with a capital A into the aesthetic and the ritualistic.The scholars gathered here are optimistic that aesthetic examination can create more of those rare moments (moments art can reliably create) in which our very being adjusts to the reality of existence, and we feel exhilarated and a part of the whole process of existence. We call this “nirvana” or “enlightenment.”That is another thing that feels hefty about this volume: the persistent optimism among the scholars that psychic wholeness and human flourishing are possible for more Americans. Robert S. Corrington terms this the “selving process,” roughly what Carl Jung termed “individuation.” This collection adds up to much more than the sum of its parts, as one idea inflected in a particular way by one author sparks off the same idea approached from a different perspective in another. This collection contains scholars on the cutting edge of process theology, pragmatism, aesthetics, and religion, many of whom are adept at crossing the traditional fences between academic fields. The US needs an American Aesthetics. As American poet William Carlos Williams wrote,It is difficultto get the news from poems yet men die miserably every day for lackof what is found there. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

This thesis concerns the relation between aesthetically valuable objects and the agents that aesthetically value them. An investigation is undertaken into the psychology and rationality of such agents. I argue that self-related elements such as emotions and standing value commitments play an irreducible role in successful aesthetic engagement. I further demonstrate that these psychological elements of aesthetic engagement are both self-related and subject to rational constraints. In this connection, I propose a revisionary account according to which valuing agents are subject (...) to a coherence requirement pertaining to their aesthetic judgments and aesthetic likings. The first essay, “Aesthetic Autonomy: Acquaintance, Competence and Authenticity”, addresses the nature of aesthetic autonomy. What it means to be autonomous and its normative significance is generally considered to be ambiguous in the aesthetic domain. In this essay, I propose a way to disambiguate this elusive concept by distinguishing three varieties of autonomy: experiential autonomy, competency-based autonomy, and personal autonomy. Some important issues concerning the nature of aesthetic agency and appreciation are discussed in the course of this critical discussion. The second essay, “Non-Standard Emotions and Aesthetic Understanding”, discusses the role of our emotional responses in the context of aesthetic appreciation. My main argument will reveal that the non-standard or ‘intellectual’ emotions, the emotions which are in fact most important to appreciation, can play a significant epistemic role in our reason-giving aesthetic practices. The third essay, “The Aesthetic Enkratic Principe”, examines what it means to be aesthetically rational. Although some philosophers claim that aesthetics falls within the scope of rationality, a non-akrasia constraint prohibiting certain akratic combinations of attitudes is yet to be developed in this domain. This essay is concerned with the question of whether or not such a requirement is plausible and, if so, whether it is a true requirement of aesthetic rationality. The fourth essay, “Aesthetic Self-Transformation: A Guide for Aesthetic Aspirants”, investigates the nature of aesthetic self-transformation. Two problems arise in this context. First, aesthetic transformative experiences can lead to cases of local irrationality in the form of a mismatch between what is aesthetically judged and what is aesthetically liked. Second, in attempting to resolve this conflict, we encounter two opposing principles that appear to guide aesthetic appreciation with equal force: self-cultivation and aesthetic improvement. I explain the first issue by invoking a coherence requirement (as defended in the previous essay) and resolve the second by outlining a hybrid view of what constitutes good aesthetic reasoning. (shrink)