Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and (...) the competing 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning (...) the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Appreciating Anorexia:Decisional Capacity and the Role of ValuesThomas Grisso (bio) and Paul S. Appelbaum (bio)Keywordscompetence, consent, anorexia, appreciation, decision makingTan and her colleagues (2006) reported that persons with anorexia nervosa typically manifest no difficulty satisfying the criteria for abilities associated with competence to consent to or refuse treatment. Their results led them to conclude that these patients generally had no problem grasping the nature of anorexia and its (...) possible consequences (understanding), typically did not have difficulty processing information when making treatment decisions (reasoning), and usually neither denied that they had a disorder nor manifested distorted beliefs about the potential consequences of treatment for the disorder.Nevertheless, these authors found, some anorexia patients said that they knew they might die and that they would rather die than suffer the alternative consequences (e.g., loss of identity, feeling of being disgusting). They point out that these beliefs, suggesting questionable competence, were not identified by the usual criteria for competence to consent to treatment. Therefore, they propose that we should consider a modification of the criteria for competence to consent to treatment. They argue for inclusion of "pathological values" as the basis for a finding of incompetence. Their notion of a pathological value (as we summarize it based on their Discussion) includes (a) a personal value (b) on which treatment refusal is based, that (c) is not authentic, and (d) is due to a mental disorder.Second, Tan and colleagues were concerned that the MacArthur Competence Assessment Tool for Treatment (MacCAT-T), currently used widely to assess competence to consent to treatment, did not seem to take values into account when examining deficits related to lack of appreciation or reasoning. They point out that most patients with anorexia nervosa in their study had "pathological values" that influenced their thinking about treatment, yet they did not obtain poor scores on the instrument's appreciation scale, which assesses whether patients deny that they have the illness or offer reasons for accepting or refusing treatment that are based on delusional premises or a serious distortion of reality. Moreover, almost all of the anorexia patients in the study obtained adequate scores on reasoning, which examines the ability to process options and consequences when weighing a treatment decision. [End Page 293]Reasons for Caution in Altering Criteria for CompetenceA fundamental step in considering Tan and her co-worker's proposal is to examine whether it is necessary to add a concept of "pathological values" to the legal construct of competence to consent to treatment. Modifying the legal doctrine of consent is important if that is needed to improve its validity or reliability. But modifications of the doctrine would have considerable costs, including a long process of producing logical and empirical evidence for its necessity, developing methods to assess the new concept, and then a process of debate, persuasion, and education to change laws, ethical guidelines, and medical training. Moreover, principles of theory building urge parsimony. A theory should employ no more concepts or assumptions than are required to account for the phenomena that the theory seeks to organize or explain. So one must be sure that modifications are truly necessary before adding complexity to the theory of decisional competence.In addition, there is an inherent danger in altering a concept like competence to consent to treatment on the basis of the study of any one mental disorder. It is not at all clear how the modification might influence findings of competence when applied to other disorders. Using a study of patients with anorexia nervosa as the impetus for changing the competence concept runs this risk. For example, anorexia is one of a class of mental disorders that is characterized by a failure to abstain from behavior (here, limiting food intake and other behaviors designed to reduce weight) that has negative consequences for the person. Other conditions in this category might include substance abuse disorders and impulse control disorders (e.g., pathological gambling). Even if one concludes that revised criteria for competence would reduce false-positive findings of competence in this group of disorders, one would have to consider carefully its impact on the full range of disabling mental conditions.Moreover, the sensitivity... (shrink)

This paper argues that correlative thinking, a fundamental aspect of Chinese thought often distinguished from rational thinking, is rooted in our situated bodily experiences, constituting a unique mode of sensemaking. It performs a comparative analysis between Zhuangzi's Fish Parable and Merleau‐Ponty's philosophy of embodied perception, focusing on the self‐attunement in our embodied experience and Dao, which remains invisible but gradually reveals its presence as the parable unfolds. The paper illuminates the embodied nature of correlative thinking by exposing the intricate interplay (...) between the self and others, as well as the self and its lived environment. This analysis underscores the reciprocal relationship between Dao and correlative thinking: Dao acts as the origin of correlative thinking, while correlative thinking, in turn, unveils the presence of Dao. This analysis could enrich our understanding of the interplay between the self, others, and the world they inhabit. (shrink)

There are some artworks which we appreciate for their bad artistic qualities; these artworks are said to be “good because bad”. This is puzzling. How can art be good just because it is bad? In this essay, we attempt to demystify this phenomenon. We offer a two-part analysis: the artistic flaws in these works make them bizarre, and this bizarreness is aesthetically valuable. Our analysis has the consequence that some artistic flaws make for aesthetic virtues. Such works therefore present a (...) counterexample to aestheticism, the view that all artistically relevant features of artworks are aesthetic features. (shrink)

Many interpretations of Kant’s first Critique fail to appreciate the revolutionary nature of his account of knowledge and its implications for skepticism, givenness and mind-independence, because they read Kant as holding a compositional account of knowledge. I contend that the reason for this is that this account is both naturally appealing in its own right, and fits an influential reading of Kant’s Transcendental Deduction. On this reading, the Deduction aims to respond to a skeptical worry which issues from the empiricist (...) version of epistemic compositionalism and which questions the intelligibility of the claim to knowledge of our judgements. Against this, I argue that what Kant’s Deduction actually aims to address is a radicalization of this epistemic worry, which instead questions the intelligibility of the objective purport of our judgements. I contend that the compositional account is unable to respond to this more radical worry, thereby putting it into question both as a reading of Kant, and as an account of knowledge generally. To corroborate this, I provide a reading of the Deduction that overcomes epistemic compositionalism by thinking through its shortcomings in order to arrive at a more adequate successor account: the hylomorphic account of knowledge, which, I contend, is able to dissolve both the more radical and the epistemic worry. I suggest that this implies generally that the epistemic worry issuing from the compositional account is not self-contained, but must give way to Kant’s more radical worry, which I argue can only be addressed within the underappreciated framework of epistemic hylomorphism. (shrink)

Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that (...) happens when the accepted hegemonic intuitions of the oppressed are formed/influenced by the ideologies of the oppressors over time. Here, we have a resilient, oppressive and hegemonic epistemic system. Put together, it creates a variant of epistemic injustice and silencing that is obscure since its victims are neither resistant nor aware of the injustice they face but are appreciative. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The constructionist approach of philosophy includes an epistemic dimension and a pragmatic emphasis on the interdependence between knowledge and action in the social areas. Appreciative approach to philosophy is based on the work of David Cooperrider on “Appreciative Inquiry”, which is a form of pragmatic discourse that substitutes the focus (...) on the problem with the focus on successful elements of previous experience of individuals, groups, organizations or communities. This experience can be integrated in the philosophical discourse starting from Plato's dialogues and maieutic method promoted by Socrates. Hermeneutic of the real seen as a philosophical reflection on the daily positive experiences falls into tradition of philosophical search of the ultimate meaning of reality. The appreciative speech starts from a postmodern view by a constructivist and constructionist approach, through which reality itself is a social construction generated by successive negotiations on accepted interpretations. Appreciative philosophy is centered on a semiotics grid that seeks positive qualities of existence and its strengths. Appreciative theology reveals a collaborative process between humanity and divine that catalyzes transformations in human being giving them life including eternal life. The communion human-Divinity is seen as a divine-human co-creation. (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by (...) our attempt to make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence (...) can have an aesthetic character and can sustain the kinds of rich experiences apt for aesthetic assessment and appraisal. (shrink)

Aesthetic appreciation involves background belief. While some appreciations are adequate when these beliefs are false, there is an important class of beliefs -- beliefs about the nature art work kinds -- whose truth is required for adequate appreciation. Photography is an interesting case, since many of our beliefs about it are false.

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always (...) beautiful (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They (...) mean “I like what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by (...) our attempt to make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

When emotions are mentioned in the literature on mental competence, it is generally because they are thought to influence competence negatively; that is, they are thought to impede or compromise the cognitive capacities that are taken to underlie competence. The purpose of the present discussion is to explore the possibility that emotions might play a more positive role in the determination of competence. Using the MacArthur Treatment Competence Study as an example, it is argued that appreciation, a central theoretical (...) concept in many contemporary approaches to competence, has important emotive components that are seldom sufficiently recognized or acknowledged. If true, this means that some leading contemporary accounts of competence need to be revised in order to make more adequate provision for the positive contribution of emotion. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense (...) has quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

The “patient perspective” serves as an analytical tool to present patients as knowing subjects in research, rather than as objects known by medicine. This paper analyses problems encountered with the concept of the patient perspective as applied to long-term mental health care. One problem is that “having a perspective” requires a perception of oneself as an individual and the ability to represent one’s individual situation in language; this excludes from research patients who do not express themselves verbally. Another problem is (...) that the idea of “talk” as a representation of the world ignores the fact that talk is also performative in the world: it requires, at least, the ability to deal with an interview situation. To think up alternative ways of including patients as subjects in research, I develop an approach that takes this performativity as a starting point. Analysing practical situations and activities, I argue that patients enact appreciations, making known what they like or dislike by verbal or non-verbal means in a given material environment, in situations that are co-produced by others. Thus, subjectivity is linked to situations and interactions, rather than just to individual characteristics; to “patient positions,” rather than “patient perspectives.”. (shrink)

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book aims to provide scholars (...) active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks. (shrink)

Aestheticians have had a great deal to say recently in praise of (aesthetic) appreciation. This enthusiastic appreciation for appreciation may seem unsurprising given the important role it plays in many of our aesthetic practices, but we maintain that some prominent aestheticians have overstated the role of appreciation (and, perhaps more importantly, understated the role of other elements we will discuss) when it comes to the exercise of aesthetic taste. This is not, of course, to deny the (...) obvious fact that appreciation often plays an important role in our aesthetic practices but merely that it is a mistake to cast it in the role of the sine qua non of aesthetics. (shrink)

What is the relationship between acquaintance and aesthetic judgement? Wollheim’s acquaintance principle (AP) is one answer. Amir Konigsberg—the most recent critic of AP—has produced a number of examples which he claims will require us to restrict AP even further than has previously been suggested. I argue that Konigsberg is mistaken and that his examples do not necessitate any further restrictions on AP. This failure, however, is not the result of some specific flaw in Konigsberg’s argument; rather it is an artefact (...) of a deeper problem at the heart of the current debate over AP (and its successors). I conclude by arguing that this problem—the absence of any satisfactory reformulation of AP itself—has far-reaching consequences for our theorizing in aesthetics. (shrink)

In this paper, I explore some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects. I cover three areas. The first deals with general approach, whether a paradigm of engagement is more appropriate to environmental aesthetics than one of detachment and disinterest. The second theme is about preservation and whether the appropriate model is static or dynamic. The final theme is about environmental criticism and the application of aesthetic (...) theory to arguments for preservation. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...) the attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

. The management of ethics within organisations typically occurs within a problem-solving frame of reference. This often results in a reactive, problem-based and externally induced approach to managing ethics. Although basing ethics management interventions on dealing with and preventing current and possible future unethical behaviour are often effective in that it ensures compliance with rules and regulations, the approach is not necessarily conducive to the creation of sustained ethical cultures. Nor does the approach afford (mainly internal) stakeholders the opportunity to (...) be co-designers of the organisations ethical future. The aim of this paper is to present Appreciative Inquiry (AI) as an alternative approach for developing a shared meaning of ethics within an organisation with a view to embrace and entrench ethics, thereby creating a foundation for the development of an ethical cul- ture over time. A descriptive case study based on an application of AI is used to illustrate the utility of AI as a way of thinking and doing to precede and complement problem-based ethics management systems and interventions. (shrink)

In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of (...) class='Hi'>appreciation, including the aesthetic, the moral, and the epistemic. In all these cases, appreciation requires some other first-order emotions as prerequisite. (shrink)

This is an essay in appreciation of The Abundant Herds, a study of the ama-Zulu's naming practices for their Nguni cattle. The book reveals an aesthetic vision in which contemplative and practical attention are intertwined and a complex classificatory system does not undermine an appreciation of the individuality of the cattle. The book and the practices it celebrates permit a richer account of the beauty of farm animals to the standard functionalist approach.

John Pollock (1940?2009) was an influential American philosopher who made important contributions to various fields, including epistemology and cognitive science. In the last 25 years of his life, he also contributed to the computational study of defeasible reasoning and practical cognition in artificial intelligence. He developed one of the first formal systems for argumentation-based inference and he put many issues on the research agenda that are still relevant for the argumentation community today. This paper presents an appreciation of Pollock's (...) work on defeasible reasoning and its relevance for the computational study of argument. In our opinion, Pollock deserves to be remembered as one of the founding fathers of the field of computational argument, while, moreover, his work contains important lessons for current research in this field, reminding us of the richness of its object of study. (shrink)

Some considerations are urgent and others are not. Sometimes, we invite criticism if we neglect the urgency of our situation, even if our action seem adequate to respond to it. Despite this significance, the literature does not offer a satisfactory analysis of the normative structure of urgency. I examine three views of urgency, drawn from philosophical and adjacent literature, which fail to explain the distinctive criticism we face when we do neglect the urgency of our reasons. Instead, I argue that (...) urgent considerations pre-empt our deliberation about less urgent considerations. Urgency is then a metanormative phenomenon, setting standards for how we handle and respond to first-order considerations, requiring that we close deliberation. In the face of urgency, appropriate action is not enough. Commitment is called for. This is how we enact appreciation of our practical reasons, independently of our carrying out the action they call for. (shrink)

This article argues that "gratitude to" and "gratitude that" are fundamentally different concepts. The former (prepositional gratitude) is properly a response to benevolent attitudes, and entails special concern on the part of the beneficiary for a benefactor, while the latter (propositional gratitude) is a response to beneficial states of affairs, and entails no special concern for anyone. Propositional gratitude, it is argued, ultimately amounts to a species of appreciation. The tendency to see prepositional gratitude and propositional “gratitude” as two (...) species of the same genus results from several deep-seated social and psychological factors, but must be resisted if we are to engage in constructive philosophizing about both gratitude and appreciation. (shrink)

C. Thi Nguyen claims that although we can make aesthetic judgements based on testimony or inference, we resist doing so owing to a contingent norm of our social practice. For Nguyen, aesthetic engagement involves a ‘motivational inversion’ similar to games in which we adopt inefficient means of winning so that we can enjoy the process of playing. Similarly, he says, adopting the norm enables us to engage in the autonomous activity of appreciation. I argue that Nguyen is right that (...) the purpose of our practice is appreciation, but wrong to think any motivational inversion is required in pursuing it. (shrink)

Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...) someone who can hear and see, who can feel vibrations of sound through their skin, and who can have other human, kinaesthetic responses and perceptions as well as the cognitive ability to process them. This appreciator is also someone who is a person with a history that may or may not include experiences of dance that have conditioned his or her responses to watching dance. Based on both this experience, and the skill and capacity to focus, pay attention, make judgments, and convey those judgments, there are different types and levels of audience appreciation. This essay will consider three: 1. Innocent Eye Appreciation, 2. Dance-Trained Appreciation, and 3. Critical Appreciation. (shrink)

This paper offers a moral history of the industrialisation of seaweed harvesting in Norway. Industrialisation is often seen as degrading natural resources. Ironically, we argue, it is precisely the scale and scope of industrial utilisation that may enable non-instrumental valuations of natural resources. We use the history of the Norwegian seaweed industry to make this point. Seaweed became increasingly interesting to harvest as a fruit and then as a crop of the sea in the early twentieth century following biochemical applications (...) for alginates derived from seaweed. When harvesting was mechanised, however, attention turned to the environmental and aesthetic value of kelp forests. Further, the sale of the industry to the American FMC corporation flagged the national value of these plants. In sum epistemic, aesthetic and moral appreciations of natural resources are tangled up and co-evolve with their industrial utilisation, in an ecology of values. Our account uses interview and ethnographic material from key sites in Norway. (shrink)

In their paper exploring patient ambivalence in the context of medical decision-making Bryanna Moore, et al. state, “While bioethicists have not paid much attention to ambivalence and related menta...

This is an appreciation of Richard Arthur, assessing his contributions to Leibniz studies and recounting the nature of our friendship over the past 30 years.

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

Appreciating nature may at its best feature have three levels of experience according to practical aesthetics. The first level is more sensuous as it largely pleases the ear and eye, the second level is more psychological as it chiefly pleases the mind and mood, and the third level is more sublimate as it mainly pleases the will and spirit. In Chinese culture the affinity between man and nature can be traced back to the traditional conception of tian ren he yi (...) 天人合一 as heaven-human oneness, which will be ultimately conducive to the artistic realm or aesthetic state of being. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the (...) cover. We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

Although the arousal of disgust is now widely acknowledged to be an appropriate response to certain works of art, controversy remains regarding whether to consider this emotion an actual zone of appreciative enjoyment. This paper presents several solutions to the so-called paradox of aversion and argues for a brand of aesthetic disgust that produces an experience that can be savored despite its difficult and unpleasant qualities.

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, (...) and in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)

The history of landscape appreciation in the West, and especially in the English-speaking world, has been bound up with the concept of taste. For good reason: t.

This paper offers a moral history of the industrialisation of seaweed harvesting in Norway. Industrialisation is often seen as degrading natural resources. Ironically, we argue, it is precisely the scale and scope of industrial utilisation that may enable non-instrumental valuations of natural resources. We use the history of the Norwegian seaweed industry to make this point. Seaweed became increasingly interesting to harvest as a fruit and then as a crop of the sea in the early twentieth century following biochemical applications (...) for alginates derived from seaweed. When harvesting was mechanised, however, attention turned to the environmental and aesthetic value of kelp forests. Further, the sale of the industry to the American FMC corporation flagged the national value of these plants. In sum epistemic, aesthetic and moral appreciations of natural resources are tangled up and co-evolve with their industrial utilisation, in an ecology of values. Our account uses interview and ethnographic material from key sites in Norway. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Appreciating Susan SontagFred RushMuch education from the mid-1960s to the mid-1970s was self-education. Although one might happen to take a university course that incorporated contemporary art and criticism, it was a rarity. More often one supplemented university fare with one's own reading, listening, and viewing of cutting-edge art, anthropology, music, philosophy, linguistics, etc. Susan Sontag was for many Americans of that time a preeminent guide in this process, opening (...) doors to some of the most interesting and influential European work in art and criticism. Sontag's essayistic output—and she was one of the supreme writers in that genre—was seminal. Any sociologist or intellectual historian of the period would have to take her work greatly into account. Her incisive takes on her subject matter were not for everyone. Although trained as a philosopher at the then epicenter of the Anglophone philosophical world, Harvard, she did not tiptoe through academic complexities and was, therefore, decidedly out of step with the philosophical temperament of that time. She strode in, proselytized for her favorites, excoriated her enemies, and left no one in the room ignorant of the fact that she had been there, dominated the conversation and, on the way out, rearranged the furniture.Sontag's views generally have not received much philosophical attention. Even those who prize her critical work have tended to sell short the early, programmatic essays like "Against Interpretation" and "On Style." Perhaps this neglect is self-wrought. Sontag is often at her best when engaged in what one might call first-order criticism, that is, criticism of particular works of art on their own terms. Her work in critical theory tends to be both abstracting and declamatory and, so, operates against her strong suit. Moreover, Sontag's theory of criticism commits her to [End Page 36] the precedence of critical practice over theorizing. Accordingly, she is led to reduce the importance of those early essays. Yet this is where the interest of philosopher will fall, if indeed it falls at all.Sontag's main concern relevant to the philosophy of literature and to aesthetic theory more broadly is what she takes to be the colonization of aesthetic and critical response by what she terms "theory." Critical response is always, to some degree theoretical of course, so her point cannot be one that is ascribed sometimes to her, i.e., that critical response is supposed to be non-theoretical tout court. An "erotics of art," the famous formula contained in the last sentence of "Against Interpretation," is after all an erotics, which was in the ancient world a genre of theoretical investigation, not erotic experience or even erotica. Criticism can be theoretical in many senses as well. By itself the term "theory" does not rule out much unless one appends to it constraints having to do with the internal structure of bodies of knowledge that either qualify or disqualify them as theories correctly so-called. Sontag seems most concerned about two aspects of theoretical accounts of art: (A) their systematicity and (B) their use of modes of interpretation that undercut the aesthetic nature of works. With regard to (B), she is wary particularly of accounts of literary value that appeal to unconscious or subterranean social forces as determinative of meanings of works. The problem with (A) is that systematicity, she claims, tends toward exclusion and reduction, destroying the particularity of individual works.These two contentions comprise the diagnostic and negative side of Sontag's programmatic work in literary theory, i.e., what is to be avoided in one's experience and judgment of art. What is to be avoided is "interpretation," but what is interpretation exactly? What is the scope of Sontag's claim against it? Do her early essays provide a stable, convincing account of the relation between theory, on the one hand, and experience and criticism, on the other? Is she caught between formalism and a more politically engaged kind of criticism? On the positive side, what kind of critical response to literature is appropriate to its aesthetic nature? Is Sontag's replacement for interpretation viable? Sontag presents her answers to the first set of questions in an unstructured... (shrink)

Gilbert and Mulkay, in their paper ‘Experiments Are the Key’, present responses of scientists to questions about the development of the chemiosmotic hypothesis of energy coupling in oxidative and photophosphorylation, and infer from these responses both the meaninglessness of the concept ‘key experiment’ and the hopelessness of searching for any data as a bedrock for historical analysis. Gilbert and Mulkay's nihilism is, however, rooted in a lack of understanding of the specific scientific issues involved. A closer look at a proposed (...) ‘key experiment’ shows certain obvious characteristics that could be criteria for a ‘key experiment’ moreover, the actual scientific response to that experiment demonstrates its pivotal role in the development of the field. Instead of demonstrating the lack of empirical bases for scientific judgment, Gilbert and Mulkay demonstrate the necessity for identifying the crucial issues and pursuing them, in questioning the scientists as well as in examining other sources. (shrink)

Ellen Gleditsch (1879–1968) became Norway’s first authority on radioactivity and the country’s second female full professor. From her many years abroad—in Marie Curie’s laboratory in Paris and at Yale University in New Haven with Bertram Boltram—she became internationally acknowledged and developed an extensive personal and scientific network. In the Norwegian scientific community she was, however, less appreciated, and her appointment as a professor in 1929 caused controversy. Despite the recommendation of the expert committee, her predecessor and his allies spread the (...) view that Gleditsch was a diligent but outdated researcher with little scientific promise—a view that apparently persists in the Norwegian chemical community today. In addition to her scientific work, Gleditsch acquired political influence by joining the International Federation of University Women in 1920; she later became the president of both the Norwegian section and the worldwide organization. She worked in particular to establish scholarships enabling women to go abroad. I once worked with a learned man who was reputed to hate women. On one occasion he stated that the new collaborator was a rare exception. When he was asked why he said, “She does not scream.” I heard this several months later and have kept it as a great compliment; yes—the biggest in my scientific career. —Ellen Gleditsch. (shrink)

In this article I describe the theoretical underpinnings of 20th-century British philosopher W. D. Ross's approach to linking deontological and teleological decision making. I attempt to fill in what Ross left on the whole unanswered, that is, how to use his duties to resolve dilemmas. A case study in journalism demonstrates how to apply the theory. I conclude with an analysis of what I take to be the strengths and weaknesses in Ross's theory.