In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects (...) depend upon their formal/structural properties and reduce to powers to produce aesthetic effects of particular kinds in suitable perceivers under suitable conditions. (shrink)

The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the (...) claim that the more-and-more-popular relation of grounding does a much better job than supervenience. (shrink)

Abstract Disagreement persists concerning whether aesthetic properties supervene on non-aesthetic properties. This issue is complicated by the fact that the notion of an aesthetic property is itself contentious. In this paper, I begin by identifying three conditions that arguably characterize a large number of aesthetic properties. After defending aesthetic supervenience against a number of objections, I argue that a strong version of the supervenience thesis applies to those properties that satisfy my initial conditions.

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to (...) various realization relations avoids these puzzles and allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

What is the origin and meaning of our aesthetic sense? Is it genetically encoded or is it culturally inherited? The aim of the essay is to answer to such issues by defining the emergent and meta-functional character of the aesthetic attitude. First, I propose to include the faculty of desire in the free play of the cognitive faculties at the center of Kant’s Critique of Judgment. The following step is given by a brief analysis of Darwin’s controversial remarks (...) on the pre-human birth of aesthetics and its relationship with sexual selection (§§ 1-2). The point of discontinuity between a mere animal aesthetic sense and a proto-human one is then found to become indeterminate of desire in the correlative diversification of aesthetic attractors (§§ 3-4). Successively, I deal with the supervenience character of the aesthetic and its anticipatory value. After a short genealogy of the notion of supervenience, I then develop its affinity with that of epigenesis (§§ 5-6). Afterwhich follows a review of two contemporary evolutionary perspectives on aesthetics: T. Deacon’s essay on the “aesthetic faculty” and J. Tooby and L. Cosmides thesis on the evolutionary meaning of the aesthetic-fictional activities (§§ 7-8). Conclusively, the epigenesis of an aesthetic mind is considered as the unity between the breath of aísthesis and the breath of linguistic sign (§§ 9-10). (shrink)

First published in 1999, this volume focuses on the relation of supervenience which plays a crucial role in contemporary philosophical discussions in diverse fields including the philosophy of mind, ethics and aesthetics. Contrasting the material and conceptual worlds, Dalia Drai questions what we are committed to when we adopt a position affirming determination but denying reduction. The answer Drai develops is that in both cases this position commits us to an anti-realist approach with regard to the supervenient domains.

According to many, that the normative supervenes on the non-normative is a truism of normative discourse. This chapter argues that those committed to more specific moral, aesthetic, and epistemic supervenience theses should also hold (NS*): As a matter of conceptual necessity, whenever something has a normative property, it has a base property or collection of base properties that metaphysically necessitates the normative one. My main aim is to show that none of the available arguments establish (NS*), or indeed (...) the relevant epistemic, aesthetic, and moral supervenience theses. (NS*) is not a conceptual truth. This has considerable dialectical importance. One interesting upshot is that it affords non-reductivists and non-naturalists a novel way of resisting certain prominent supervenience-based objections to their views, including objections that formulate supervenience as a purely metaphysical thesis. (shrink)

Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative (...) thought. Historicism about artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

According to many, that the normative supervenes on the non-normative is a truism of normative discourse. This chapter argues that those committed to more specific moral, aesthetic, and epistemic supervenience theses should also hold : As a matter of conceptual necessity, whenever something has a normative property, it has a base property or collection of base properties that metaphysically necessitates the normative one. The main aim in this chapter is to show that none of the available arguments establish, (...) or indeed the relevant epistemic, aesthetic, and moral supervenience theses. is not a conceptual truth. This has considerable dialectical importance. One interesting upshot is that it affords non-reductivists and non-naturalists a novel way of resisting certain prominent supervenience-based objections to their views, including objections that formulate supervenience as a purely metaphysical thesis. (shrink)

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

The present collection represents an attempt to bring together several contributions to the ongoing debate pertaining to supervenience of the normative in law and morals and strives to be the first work that addresses the topic comprehensively. It addresses the controversies surrounding the idea of normative supervenience and the philosophical conceptions they generated, deserve a recapitulation, as well as a new impulse for further development. Recently, there has been renewed interest in the concepts of normativity and supervenience. (...) The research on normativity – a term introduced to the philosophical jargon by Edmund Husserl almost one hundred years ago – gained impetus in the 1990s through the works of such philosophers as Robert Audi, Christine Korsgaard, Robert Brandom, Paul Boghossian or Joseph Raz. The problem of the nature and sources of normativity has been investigated not only in morals and in relation to language, but also in other domains, e.g. in law or in the c ontext of the theories of rationality. Supervenience, understood as a special kind of relation between properties and weaker than entailment, has become analytic philosophers’ favorite formal tool since 1980s. It features in the theories pertaining to mental properties, but also in aesthetics or the law. In recent years, the ‘marriage’ of normativity and supervenience has become an object of many philosophical theories as well as heated debates. It seems that the conceptual apparatus of the supervenience theory makes it possible to state precisely some claims pertaining to normativity, as well as illuminate the problems surrounding it. (shrink)

Supervenience therefore is a concept with little to offer. It lacks conceptual clarity and is unable to explain the dependency relation without relying on it too heavily. Its mechanism of operation is unclear unless a projectivist analysis is used, but serious problems remain with such an account, and, even if it does apply to aesthetic or moral properties, and even secondary properties, we cannot see how it might apply to the chemical and physical world and to the mind/brain (...) problem. Whatever characteristics make it plausible in one realm debar it from the other, and even if it is restricted to the ethical realm we cannot see how supervenience applies to our prudential values, the basic attitudes that orient our moral and aesthetic outlook.This is the second aspect to the “Cheshire Catness” of supervenience; the harder you look at it the more insubstantial it becomes. It fades away into the background, leaving just its smile. But, like any smile, there is more gap than substance, and “supervenience” does nothing to fill that gap. Still the smile lingers, the haunting question of the connection between natural and moral-aesthetic properties. This is an important question and needs to be addressed, but supervenience does not address it. It merely labels it, and, by labelling it confers a spurious air of lucidity without shedding any but the most fractured light. (shrink)

The practice of attributing aesthetic properties to scientific and philosophical theories is commonplace. Perhaps one of the most famous examples of such an aesthetic judgement about a theory is Quine's in 'On what there is': "Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes". Many other philosophers and scientists, before and after Quine, have attributed aesthetic properties to particular theories they are defending or (...) rejecting. One often hears that a view is "elegant", "attractive", "beautiful", or even "sexy". [...] The general claim that aesthetic properties supervene on non-aesthetic properties is a largely debated one. In this paper, I wish to address this issue from an angle which has not been really explored so far: I shall neither concentrate on cases of artefacts nor of natural objects, like the beauty of a painting or the beauty of a sunrise, rather, my main centre of attention will be the somewhat more special, theoretical case of the beauty of philosophical theories (with a focus on metaphysical theories). As we will see, there are some interesting issues concerning claims that attribute aesthetic properties to theories, in part because, even if such claims are commonplace in philosophy and in science, little has been said about the nature of the relevant supervenience basis – that is, about what it is exactly that the beauty of a theory is supposed to supervene on. Moreover, we shall see that aesthetic properties of theories play a crucial role in theory choice and evaluation. Indeed, it seems that the aesthetic properties of a theory can be appealed to in theory evaluation and when it comes to preferring one theory over another. But before we ask ourselves what role the attribution of aesthetic properties to theories can play, I will adress the question how theories come to have their aesthetic properties in the first place. (shrink)

Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and (...) that allows ontological claims about supervenient qualities to be rejected. Subjectivism, however, is not the alternative. Neither realism nor subjectivism do justice to the complexity of aesthetic judgements and the roles that they play in our lives. It is suggested that the nature of these judgements is best pursued through Wittgenstein’s notions of aspect perception and imponderable evidence. (shrink)

A puzzle is generated by two intuitions about artworks: 1. There is no prima facie reason to take artworks to be mind-independent objects; 2. Aesthetic judgments are objective. These intuitions seem to be in tension, for if artworks or their aesthetic properties are mind-dependent, how can aesthetic judgments be objective? The common solution to the puzzle lies in rejecting or revising one of the two intuitions. Typically, realists reject 1, and many antirealists reject 2. I develop an (...) antirealist aesthetic theory that accommodates both intuitions, focusing on critical disagreement between epistemically optimal judges, realist difficulties with supervenience and response-dependence, the role of imagination in the experience of artworks, and the metaphorical quality of aesthetic discourse. The hallmark of realism, namely the mind-independence of aesthetic qualities, is an untenable commitment that yields an impoverished view of artworks. A cognitivist anti-realism is available which preserves the objectivity of aesthetic discourse and yields a richer conception of artworks and our interaction with them. (shrink)

My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with (...) an artwork are relevant to what aesthetic properties obtain. I provide a description of the main features of both theories of aesthetic properties, and then explain how moral flaws can become aesthetic flaws on either account. I address several objections to moralism about art including the "moralistic fallacy.". (shrink)

In the last half century,there were several attempts to adopt the notion of supervenience in order to shed light on the claim of generality that is involved in aesthetic judgments. In this paper I will show the difficulties brought up by the transposition of the notion of supervenience from other areas of philosophy to the philosophy of art and I will also show the intrinsic difficulties of this project. First, I will revise the origins of the notion (...) of supervenience in contemporary ethics and philosophy of mind, as well as the theoretical framework in which this notion was first introduced. Second, I will revise the arguments for and against aesthetic supervenience in the field of analytic philosophy of art. In the rest of this work, I will try to argue against the viability of applying this notion to the relationship between aesthetic and non-aesthetic properties. I will point out the difficulties of identifying the base properties of such relationship, and then the difficulties of identifying the supervenient properties. In this way I will show that there are good reasons to argue that it will not be fruitful to use the notion of supervenience in order to understand the peculiarities of aesthetic judgments. Finally, I will point out a number of additional difficulties for the thesis of aesthetic supervenience which do not seem able to be satisfactorily solved. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

The ‘aesthetic theory of virtue’ or ATV, is the thesis, partly inspired by Thomas Reid, that virtue coincides with beauty of soul and vice with ugliness of soul. The basic idea of ATV is that for a person to be virtuous is for his soul to have certain aesthetic properties, which are necessary and sufficient conditions for personal goodness. The relation between morally aesthetic properties and moral attributes is one of supervenience of the former upon the (...) latter. McGinn cites the film Brief Encounter to illustrate the concept of the beautiful soul, and he also draws upon Nabokov's discussion of the aesthetic in Lolita. A morally bad character, McGinn argues, cannot have a beautiful soul, nor can a morally good character have an ugly soul. (shrink)

How can it be true that one sees a lake when looking at a picture of a lake, since one's gaze is directed upon a flat dry surface covered in paint? An adequate contemporary explanation cannot avoid taking a theoretical stand on some fundamental cognitive science issues concerning the nature of perception, of pictorial content, and of perceptual reference to items that, strictly speaking, have no physical existence. A solution is proposed that invokes a broadly functionalist, naturalistic theory of perception, (...) plus a double content analysis of perceptual interpretation, which permits non-supervenient, culturally autonomous modes of reference to be generated and artistically exploited even in a purely physical world. In addition, a functionalist concept of broad or 'spread' reference replaces the traditional precise intentional concept of reference, which previously made reference to non-existent items theoretically intractable. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

The goal of the lecture is to introduce Aesthetics as a theory of art critics. Seen in this way, the subject matter of Aesthetics is to be an analysis of art ctritics statements. Key concepts are presented: aesthetic judgment or art critics judgment, and supervenience. The subject matter of Aesthetics is – keeping with tradition – judgment about beauty, above all. A structured concept of beauty is presented. A boundary between nonaesthetic and aesthetic properties is said to (...) be as an essential one – mutual dependence of both is shortly mentioned. Theories of Hume, Beardsley a Sibley are seen as basic ones for such kind of theorizing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Worth of Persons by James FranklinLouis GroarkeFRANKLIN, James. The Worth of Persons, New York: Encounter Books, 2022. 272 pp. Cloth, $30.99In The Worth of Persons, James Franklin, the well-known Aristotelian mathematician, sets out to provide an account of the very first principles of ethics and morality. Franklin argues that morality begins with an acknowledgment of the intrinsic worth of human persons, understood as beings possessing “dignity” or (...) “absolute inner worth.” As it turns out, we recognize naturally, without epistemic complication, that human beings have innate moral value.Although Franklin does not use the term “personalism” and does not discuss that specific philosophical tradition, he traces his own account to a familiar source: Kant’s personhood formulation of the categorical imperative. He has, however, little use for Kant’s rigid absolutism and prefers something much closer to a natural law formulation of ethical obligation, in large part because it allows for casuistry, a negotiation of the messy circumstances of everyday life that confront us with moral dilemmas and competing duties requiring some kind of moral calculation.But Franklin’s book is not so much about normative ethics. It is an exercise in metaethics, an attempt to make sense of morality as a root cause of value in the world. Franklin wants to secure an epistemological basis from which we can “deduce” moral principles. He is particularly impressed with contemporary discussion of “supervenience” or “metaphysical grounding” as a bridge over the alleged is–ought gap that has preoccupied analytic philosophers following in the footsteps of David Hume [End Page 349], G. E. Moore, and J. L. Mackie. Franklin shows, very effectively, that similar “gaps” can be found in logic, mathematics, linguistics, computer science, philosophy of mind, metaphysics, and so forth. As examples of supervenience, he mentions the way necessary mathematical concepts supervene on the physical, the way the meanings of words are added to spoken or written symbols, the way logical inference arises from premises and conclusion in an argument, the way social organization emerges from a collection of individuals, and the way the identity of a statue of Hercules arises from its disposition of physical parts. The point is that an empiricist fundamentalism that reduces reality to perceptible facts without any higher (or “emergent”) identities provides an overly narrow account of the metaphysical content of human experience.If ethical value supervenes on some nonethical base, it does not follow that moral judgments and obligations are a human fabrication without any grounding in the world. If we can intellectually access the moral worth of human beings the way, for example, we intellectually access necessary mathematical concepts, we can deduce moral obligations from the worth of persons in a way that preserves the epistemic status of morality against noncognitive challenges. Once we recognize that individual humans have worth (because of the potentialities inherent in their natures), we can, for example, infer moral axioms such as “human beings must be respected” and, further, infer that murder is morally wrong because it involves the wanton destruction of human beings. Franklin does not focus on the normative content of specific actions, duties, obligations, or virtues. His basic point is that moral knowledge is possible once we rationally access (through understanding) the first principle of morality: that human beings are (to use Kantian terminology) ends in themselves, beings that rational agents will value as loci of dignity and moral value.This is a thorough treatment. Franklin is moderate, cautious, careful, diligent; he adds together technical points in present-day academic discussion to produce a well-rounded worldview. He writes in an accessible manner, with good examples and flashes of wit throughout, referring to a wide range of issues and authors: Pseudo-Dionysius, Aristotle, Aquinas, Kant, Husserl, Moore, Wolterstorff, Mackie, Oderberg, MacIntyre, Midgley, Finnis, Korsgaard, Dworkin, Baier, Williams, Singer, Murdoch, and so on.The book includes eight chapters that discuss contrary positions, ethical concepts, supervenience, moral personhood, aesthetic worth, the value of animals and ecosystems, moral epistemology, and metaphysical systems compatible with a realist view of morality. There is a useful index, a modest bibliography, and a full section of notes, which contains many further references.The treatment seems a... (shrink)

Some of us have suggested that what fiction makers do is offer us things to imagine, that this is what is distinctive of fiction and what distinguishes it from narrative-based but assertive activities such as journalism or history. Some of us hold, further, that it is the maker's intention which confers fictional status. Many, I think, feel the intuitive appeal of this idea at the same time as they sense looming problems for any proposal about fiction's nature based straightforwardly on (...) the identification of fiction with the to-be-imagined. I formulate a very weak version of the proposal which is not vulnerable to some objections recently presented. My formulation is in terms of supervenience. But while this version is weak, it is also quite precise, and its precision brings into view certain other problems which have not so far been attended to. To the extent that these problems are serious, the prospects for an intentional theory of fiction look, I am sorry to say, poor; the version susceptible to the objections is weak, and anything weaker still but not so susceptible could hardly be thought of as a theory of fiction, though it might supplement such a theory. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our (...) species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)