This is the first modern attempt to put aesthetics back on the map in classical studies. James I. Porter traces the origins of aesthetic thought and inquiry in their broadest manifestations as they evolved from before Homer down to the fourth century and then into later antiquity, with an emphasis on Greece in its earlier phases. Greek aesthetics, he argues, originated in an attention to the senses and to matter as opposed to the formalism and idealism that were (...) enshrined by Plato and Aristotle, and through whose lens most subsequent views of ancient art and aesthetics have typically been filtered. Treating aesthetics in this way can help us perceive the commonly shared basis of the diverse arts of antiquity. Reorienting our view of the ancient vocabularies of art and experience around matter and sensation, this book dramatically changes how we look upon the ancient achievements in these same areas. (shrink)

Reason and Sentiment Throughout the long history of philosophy there has appeared from time to time a certain dilemma which is both attractive and fatal. ...

Resumo: A música tradicional chinesa tem uma longa história, repleta de conceitos estéticos ricos e extensos. A integração da música tradicional e das ideias estéticas tem um impacto significativo na formação do sistema musical tradicional da China. Este artigo explora a influência interativa da música tradicional e das ideias estéticas, analisando as ideias musicais da estética tradicional chinesa, buscando promover a integração e o desenvolvimento da música tradicional e das ideias estéticas. Discute o conteúdo das ideias estéticas musicais do confucionismo, (...) taoísmo e moísmo, bem como a posição das ideias estéticas na música tradicional chinesa. Ao combinar e analisar a literatura relevante, livros antigos e materiais históricos, é possível compreender a evolução histórica e a influência mútua da música tradicional e do pensamento estético. Os conceitos estéticos tradicionais não só desempenharam um papel importante no desenvolvimento da música chinesa, mas também na promoção do desenvolvimento da música chinesa, ao longo de milhares de anos de história. Na avaliação da interação entre a música tradicional e o pensamento estético, pode ocorrer uma situação em que o conceito seja demasiado simplificado. A relação entre a música tradicional e o pensamento estético é muito complicada, envolvendo muitas escolas, períodos históricos e regiões. Pode não ser capaz de cobrir totalmente todos os fatores de influência, se for resumido apenas pelo confucionismo, taoísmo e budismo. Sugere-se que a educação e a herança da música tradicional e das ideias estéticas sejam fortalecidas, na educação musical. Artistas musicais mais tradicionais e os teóricos da estética devem ser cultivados, a fim de poder transmitir a música tradicional e as ideias estéticas às gerações futuras e continuar a desenvolver-se e a inovar, na sociedade contemporânea. (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

This book proposes a new definition of aesthetics and discusses the connotation and structure of natural beauty, artistic beauty, and design beauty.

The author states in his preface that he has not undertaken a history of aesthetic thought during the French Enlightenment, nor an intellectual history of French aesthetics, nor a synthesis of eighteenth-century French thought on aesthetics, nor a history of eighteenth-century French art. What he has attempted to do is to outline doctrines of French aesthetic thought during the eighteenth century. The term doctrine is perhaps not too strong here because some of these writers were (...) rather doctrinaire in their approach. Following an outline of their respective positions, the author then subjects their works to a logical analysis. More than two-thirds of the authors cited are relatively unknown: André, d'Argens, Batteux, Bonnet, Briseux, Chaussard, Crousaz, Mme. Dacier, Estère, de Jaucourt, de La Motte, di Marcenay de Ghuy, de Piles, Rollin, Taillason, Trublet. One should not be surprised to learn that few of these were professional philosophers. Others cited by Coleman are well-known eighteenth-century figures: d'Alembert, Condillac, Diderot, Dubos, Montesquieu and St. Evremond. The author explains that he undertook the book in order to fill a gap in the literature on the subject. It is an excellent beginning and the style in which it is written is often as witty and elegant as that of many of the authors he considers.—P. N. (shrink)

The author states in his preface that he has not undertaken a history of aesthetic thought during the French Enlightenment, nor an intellectual history of French aesthetics, nor a synthesis of eighteenth-century French thought on aesthetics, nor a history of eighteenth-century French art. What he has attempted to do is to outline doctrines of French aesthetic thought during the eighteenth century. The term doctrine is perhaps not too strong here because some of these writers were (...) rather doctrinaire in their approach. Following an outline of their respective positions, the author then subjects their works to a logical analysis. More than two-thirds of the authors cited are relatively unknown: André, d'Argens, Batteux, Bonnet, Briseux, Chaussard, Crousaz, Mme. Dacier, Estère, de Jaucourt, de La Motte, di Marcenay de Ghuy, de Piles, Rollin, Taillason, Trublet. One should not be surprised to learn that few of these were professional philosophers. Others cited by Coleman are well-known eighteenth-century figures: d'Alembert, Condillac, Diderot, Dubos, Montesquieu and St. Evremond. The author explains that he undertook the book in order to fill a gap in the literature on the subject. It is an excellent beginning and the style in which it is written is often as witty and elegant as that of many of the authors he considers.—P. N. (shrink)

The following response is divided in two parts. The first addresses some general issues about my Latin American Philosophy: From Identity to Radical Exteriority, which was the topic of a session at the 2015 meeting of the Society for Phenomenology and Existential Philosophy. The second takes up in depth a point from each speaker: the question of developing “situated thought” as a way to undo and overcome the exclusion of non-Westernized thought and experience ; and the introduction of (...) a “decolonial aesthetics” and an “aesthetic of liberation” as fundamental for decolonizing thought and opening spaces from other senses of existence, knowledge, and intersubjectivity. (shrink)

In this study of aesthetics during the eight decades from 1755 to 1833, Will argues that those thinkers who steered away from the dualistic, neo-classical concern with ideal beauty and turned to a monistic, organic approach to the intelligibility of beauty were pushing the Platonic-Plotinian tradition toward clearer thought concerning beauty, and were also laying the groundwork for Hegel's idealism. He concludes that Hegel's systematization of this strand of thought constitutes "an oblique argument in favor of the major (...) tradition of philosophical idealism."--D. W. S. (shrink)

This paper discusses how Wittgenstein’s thinking informs recent conversations about art and aesthetic practice by examining his influence on the work of the noted modernist art critic, Michael Fried. Fried considers an excerpt from Wittgenstein’s Culture and Value, with a puzzling thought experiment, to help us see more clearly the Canadian artist Jeff Wall’s photographic vision and aesthetic. I consider Fried’s account of the photographic practice of Jeff Wall, especially his photograph Morning Cleaning, Mies van der Rohe (...) Foundation (1999). (shrink)

All too often, we think of our minds and bodies separately. The reality couldn’t be more different: the fundamental fact about our mind is that it is embodied. We have a deep visceral, emotional, and qualitative relationship to the world—and any scientifically and philosophically satisfactory view of the mind must take into account the ways that cognition, meaning, language, action, and values are grounded in and shaped by that embodiment. This book gathers the best of philosopher Mark Johnson’s essays addressing (...) questions of our embodiment as they deal with aesthetics—which, he argues, we need to rethink so that it takes into account the central role of body-based meaning. Viewed that way, the arts can give us profound insights into the processes of meaning making that underlie our conceptual systems and cultural practices. Johnson shows how our embodiment shapes our philosophy, science, morality, and art; what emerges is a view of humans as aesthetic, meaning-making creatures who draw on their deepest physical processes to make sense of the world around them. (shrink)

Ben shu cong xi le mei xue wen ben jie du jiao du tan tao le xi le shen mei jiao yu si xiang. ben shu ren wei, xi le mei xue tong guo dui ren xing he mei de te xing ben zhi lian xi de chan shu, tong shi hui da le " ren shi shen me? " he " mei shi shen me? " zhe ge zi gu xi la yi lai yi zhi kun rao ren de (...) wen ti. (shrink)

In the burgeoning literature on thought experiments, examples are drawn from almost all areas of philosophy, one exception, however, being aesthetics. There are good reasons why this is so: there are very few interesting theory-oriented thought experiments in aesthetics, which is unsurprising since there are few well-developed theories to test in this field. After evaluating some aesthetic thought experiments in light of some general epistemic questions regarding thought experiments, we argue that theory-centred thought experiments (...) are not the only kinds of thought experiments, and that the practical and productive thought experiments that are prevalent in aesthetics are also worthy of some attention. (shrink)

In the realm of man's culture, among the things created by man, art should be beautiful; its primary essential characteristic should be that it be able to evoke a sense of beauty in the person, that by its beauty it be able to provide for the person the pleasure of the sense of beauty. This is a fact that no one can deny outright. However, saying that art should be beautiful is not the same as saying that all art is (...) beautiful. In fact, there is art which is beautiful and art which is not beautiful; and this too is a fact that no one can deny. (shrink)

Imagination has played a major role in theories of numerous aesthetic phenomena: it figures in accounts of the interpretation of art, of our emotional responses to art, and even of what art is, to name but a few topics. But imagination seemingly has a role to play also in aesthetic theorising itself, in particular in aesthetic thought experiments. Thought experiments in general pose an epistemic puzzle: how can a merely imagined scenario yield knowledge? In the (...) paper, I have a look at a special version of this puzzle that some thought experiments in aesthetics occasion. Many thought experiments in aesthetics—e.g. Kendall Walton’s guernica-experiment, or Arthur Danto’s imagined eight-hour long film of the title page of Tolstoy’s War and Peace—involve making judgements regarding the aesthetic properties of merely imagined works of art. But according to a widely accepted principle in aesthetics, one has to be acquainted with a work— seen it, heard it, and so on—in order to be able to judge its aesthetic qualities. But no one has ever seen Danto’s merely imagined film of Tolstoy’s book. So how are we in a position to judge its aesthetic properties? I propose a solution to the puzzle by elaborating on Tamar Gendler’s notion of “quasi-observation,” which she holds to be a common element of thought experimenting. As a coda, I also give a sketch of how aesthetic thought experiments are not only a tool for theorising about art, but often also figure in the production of art. (shrink)

In the present article, I intend to examine the importance of Engel’s mimicry for the corporeal visualization of affects, showing the links with its roots in the early German Enlightenment. If the body serves as a picture of the soul, the aim of this essay is to understand how Engel’s mimicry turns this correspondence to its own purpose, enhancing its role as a privileged observatory of the human mind as well as a building site of a historical form of humanity.

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often (...) have a narrative form (Elgin 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

In Aesthetics in Arabic Thought from Pre-Islamic Arabia through al-Andalus José Miguel Puerta Vílchez analyzes the discourses about beauty, the arts, and sense perception that arose within classical Arab culture from pre-Islamic poetry and the Quran (sixth-seventh centuries CE) to the Alhambra palace in Granada (fourteenth century CE). He focuses on the contributions of such great thinkers as Ibn Ḥazm, Avempace, Ibn Ṭufayl, Averroes, Ibn ʻArabī, and Ibn Khaldūn in al-Andalus, and the Brethren of Purity, al-Tawḥīdī, al-Fārābī, Avicenna, Alhazen, (...) and al-Ghazālī in the East. The work also explores literary criticism, calligraphy, music, belles-lettres (adab), and erotic literature, and highlights the contribution of Arab humanism to shaping the field of Aesthetics in the West. (shrink)

: Suggestiveness is a major theoretical category in Chinese aesthetic thought. Within the broader context of Chinese tradition, it is a product of the interpenetration of and exchanges between philosophical and artistic discourses. Despite its prevalence in Chinese aesthetic thought, suggestiveness has never been examined as an aesthetic category in its own right, nor have its implications been explored in relation to contemporary theories. This essay reexamines suggestiveness and its seminal ideas as an aesthetic (...) category in Chinese tradition, exploring their relation to philosophical thought and reconceptualizing their implications in terms of the postmodern idea of literary openness. As a preliminary attempt to pioneer an approach to Chinese aesthetic theory that may emancipate it from intellectual stagnation and at the same time preserve its characteristic features, this essay also intends to inquire whether insights of Chinese aesthetics, often characterized as gems of "Oriental mysticism," can be understood in terms of reflective analysis and have a meaningful dialogue with contemporary Western literary thought. (shrink)

Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses (...) surveying a broad collection of topics and readings in aesthetics. (shrink)

The growing exploration of political life from an aesthetic perspective has become so prominent that we can now speak of an "aesthetic turn" in political theory. But what does it mean and why an aesthetic turn? This collection of essays aims to answer such questions from a variety of perspectives, to think in a new way about the possibilities and weaknesses of democratic politics.The book first outlines the theoretical motivations and historical conditions that led to the turn (...) to aesthetics. Essays then call attention to the presence of aesthetic themes and arguments in political theory as well as to parallels between theories of aesthetics and politics, revealing how much political theory can gain from making use of aesthetic modes of thought. They demonstrate that much of what is essential to democratic politics can in fact only be disclosed through aesthetic theorizing.A significant contribution to the contemporary debate in political theory, The Aesthetic Turn in Political Thought will appeal to all students interested in the interdisciplinary crossroads of aesthetic and politics. (shrink)

Review of: The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art, Mark Johnson (2018)Chicago: University of Chicago Press, 304 pp.,ISBN 978-0-22653-894-5, p/bk, USD 30.

From the title and subtitle of Christopher D. Tirres’s book, we already ascertain that the work addresses four discrete philosophic disciplines or traditions: American pragmatism, Latin American liberation, aesthetics, and ethics. And at first glance, each of the four does not evoke an immediate connection to the other three, but Tirres is capable of putting them into a genuine conversation. Tirres’s book is organized into eight chapters, with the first and eighth serving respectively as a succinct introduction and conclusion. I (...) will analyze these eight chapters as three separate yet interrelated projects. In the introduction, entitled “American Faith in a New Key,” we find a concise statement of his.. (shrink)

In the burgeoning literature on thought experiments (e.g., Cohen 2005; Freese 1995; Gendler 2000; Häggqvist 1996, 2009; Ierodiakonou and Roux 2011; Sorensen 1992), examples are drawn from almost all areas of philosophy. One exception, however, is aesthetics. There are good reasons why this is so: there are very few interesting theory‐ oriented thought experiments in aesthetics, which is unsurprising since there are few well‐developed theories to test in this field (see Chapter 34, Applied Aesthetics). We argue in this (...) chapter, however, that theory‐centered thought experiments are not the only kinds of thought experiments, and that the practical and productive thought experiments that are prevalent in aesthetics are also worthy of some attention. The outline of this chapter is as follows. First we describe in some detail the single most influential theoretical thought experiment in aesthetics. We assess this experiment in epistemic terms, and with this case in view discuss the distinction between theoretical and practical or productive thought experiments. Examples of the latter are introduced so as to illustrate the importance of that distinction. (shrink)

At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even (...) today many theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant. (shrink)

It is a state of mind thus markedly different from our everyday experience, where thought processes impinge on our consciousness. In this book, Ha Poong Kim shares his thoughts on aesthetic experience.

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

In this essay I review John Dewey’s pragmatism from the perspective of environmental social theory. Dewey’s clarification of aesthetics, values, experience, and the natural world are useful to contemporary environmentalism. His work represents a precedent for critical, anti-dualistic social philosophy in the U. S., and usefully clarifies the relationship of humans to the “material world.” Dewey’s conception ofvalues, politics, and experience suggests that these elements may be combined in ways congenial to environmental thought.