Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems (...) with Dutton’s appeal to sexual selection, with his discussion of the adaptation/by-product distinction and its significance, and with drawing normative conclusions from evolutionary hypotheses. (shrink)

Denis Dutton’s The Art Instinct provides a useful framework for analyzing the aesthetics of the Ainu, a small-scale society in northern Japan. In a recent study at Hokkaido University, Ainu artists replicated old, museum-quality Ainu works and reported on their selection, study of the works, replication processes, and discussions with other artists. The replication illustrates the importance of intention in determining the authenticity of works of art, while the artists’ comments demonstrate the applicability of all twelve of Dutton’s “twelve (...) characteristics of art,” and reinforce his conclusion that native viewers of art bring important insights to the perception of artworks. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.

Elliott-Kleerkoper, Marietta It was Charles Darwin who first proposed an evolutionary theory of beauty. He surmised that art fulfilled two evolutionary functions. In respect of general selection, beauty is related to fitness. It also plays a part in sexual selection: the female selects the male on the basis of aesthetic criteria: think, for example, of the peacock's tail, the bowerbird's nest.

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.

The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact should (...) in the first place be part of a quest after the norms of engagement an artifact’s kind signaled to the intended audience by its appearance. Rather than advocating for a new subdiscipline, the concept of aesthetic archaeology serves to bring into theoretical focus an aesthetic engagement with an artifact’s appearance under circumstances that rule out any acquired competence in distinguishing its aesthetic mandate perceptually—and thus rule out any aesthetic expertise. (shrink)

A hypertext learner navigates with a instinctive feeling for a knowledge. The learner does not know her queries, although she has a feeling for them. A learner’s navigation appears as complete upon the emergence of an aesthetic pleasure, called rasa. The order of arrival or the associational logic and even the temporal order are not relevant to this emergence. The completeness of aesthetics is important. The learner does not look for the intention of the writer, neither does she look (...) for significance. Lexia has a suggestive power and she is suggested in the arrival of aesthetics. Hypertext learning does not depend on communication. The learner in her pleasure transgresses the bounds of space-time to be in communion with several writers/learners. Hypertext learning does not appear to be fundamentally different from the analog learning; however, in performance, as in navigation, the learner assumes a mental state that helps her in her emergence into aesthetic bliss, of an arrival to the completed lexial navigation. This completeness is owing to aesthetics and is not owing to either the semantics or the query-fulfilling qualities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a (...) range of activities and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

(No abstract is available for this citation).

In the past 20 years, the concept of instinct has been discussed in respect to various disciplines such as evolutionary biology, evolutionary psychology, linguistics, ethics, aesthetics, and phenomenology, etc. However, the meaning of instinct still remains unclarified in many respects. In order to overcome this situation, it is necessary to elucidate the genuine meaning of instinct so that the discussion of instinct in these disciplines can be carried out systematically. The objective of this paper is to (...) establish the genuine concept of instinct on the basis of a phenomenological criticism of A. Gehlen’s theory of instinct-reduction. Moreover, it seeks to show that this concept is the genetic origin of the embodied consciousness. According to Gehlen, instinct is defined as Instinkthandlung. However, this definition of instinct is problematic in the formal logical sense, since the definiendum is already included in the definiens. Moreover, it faces different kinds of serious material problems. Criticizing Gehlen’s theory of instinct systematically, I will show that instinct should be redefined as “the innate living force that urges a species of living being to pursue a certain kind of object,” and I will attempt to clarify this definition of instinct in a more detailed manner by offering 11 points. Thereafter, I will argue that Gehlen’s theory of instinct-reduction has to be replaced by the theory of instinct-enlargement in human beings. Finally, I will point out that the genuine concept of instinct is nothing other than the genetic origin of the embodied consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a (...) range of activities and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)

A review of Denis Dutton´s The Art Instinct: Beauty, Pleasure, and Human Evolution (New York: Bloomsbury Press, 2009, 280 pp. ISBN 978-1-59691-401-8).

First published in 1990. How we perceive and respond to the visual image has been traditional concern of psychologists, philosophers and art historians. Today, where the visual image increasingly permeates our everyday life and consciousness, the question becomes ever more relevant. How do we, for instance, instinctively ‘know’ what it is that a picture represents without having to be taught? How it is that we experience pleasure in looking at certain pictures? How is it that we often want to talk (...) about the pictures we look at? Such questions are currently asked by a wide range of disciplines, including: semiotics, psychoanalysis, anthropology, neuropsychology, and in general, contemporary critical analysis of the visual arts. In _A Transformational Theory of Aesthetics_, Michael Stephan links the findings of these areas. Drawing on their common area of knowledge, he has developed a theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. A Transformation Theory of Aesthetics is essential reading to those seriously involved in linking the arts and cognitive sciences. (shrink)

The cultivation of the imagination -- Enlightening thought: Kant and the imagination -- C.S. Peirce and the growth of the imagination -- Abduction: inference and instinct -- Imagining nature -- Ontology and imagination: Peirce on necessity and agency -- The evolution of the imagination -- Emergence, complexity, and creativity -- Be imaginative! suggestion and imperative.

This article discusses the relationship between archery and aesthetics, developing two central claims. First, in order to deliver successful results, the archer should attend not only to efficiency, technique and equipment tuning but also to the aesthetic experience; second, archery shooting methods embody and express ‘life-issue’ statements and desires concerning our relationship with the world. Depending on the archer’s shooting style, i.e., depending on the way in which a shot is executed and performed, the archer’s ‘sportive philosophy’ is, so (...) to speak, unfolded and made apparent. Specifically, I will argue that instinctive archery strives for flexibility and versatility toward the environment and with respect to one’s own body, whereas non-instinctive approaches sharpen effectuality and results by flattening the surroundings and limiting one’s own performative freedom. Exploring this idea, I will discuss the aesthetic underpinnings of archery, also showing in which ways different shooting methods lay the ground for irreducible aesthetic experiences of self-expression. (shrink)

This study attempts to explore the possible motivations, both obvious and problematic, behind the ritual suicide (seppuku) committed by the Japanese writer in the name of the Emperor at the Eastern Headquarters of Japan’s Self-Defense Forces in 1970. History does not seem to be a coherent or intelligible process, as man’s struggle for nourishment is most often replaced by thymos, the desire for others to recognize his value or the value system of the ideals or noble purposes he is ready (...) to sacrifice for, ignoring the basic instinct of self-conservation. Yukio Mishima was extremely pessimistic about pragmatic and materialistic contemporary Japan. History brought along increasing consumerism, thus disturbing the harmony of traditional Japanese spirituality. The technological ability to improve human existence seemed to alter inevitably the moral evolution of contemporary Japanese. Against this background of ruling “costs” and “benefits”, the Japanese writer seems to believe that it is only the thymotic man, the “man of anger”, who can fight for the recognition and salvation of the Japanese soul (yamato damashii). Believed for centuries to be the true art of dying, Yukio Mishima’s seppuku turned from a “beautiful” gesture into one of protest and accusation: the Japanese society had begun the transition from a closed society to an open one, governed by anxiety, in which individuals faced personal decisions. (shrink)

First published in 1990. How we perceive and respond to the visual image has been traditional concern of psychologists, philosophers and art historians. Today, where the visual image increasingly permeates our everyday life and consciousness, the question becomes ever more relevant. How do we, for instance, instinctively ‘know’ what it is that a picture represents without having to be taught? How it is that we experience pleasure in looking at certain pictures? How is it that we often want to talk (...) about the pictures we look at? Such questions are currently asked by a wide range of disciplines, including: semiotics, psychoanalysis, anthropology, neuropsychology, and in general, contemporary critical analysis of the visual arts. In _A Transformational Theory of Aesthetics_, Michael Stephan links the findings of these areas. Drawing on their common area of knowledge, he has developed a theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. A Transformation Theory of Aesthetics is essential reading to those seriously involved in linking the arts and cognitive sciences. (shrink)

Part way through Stephen Frears’s film, The Queen , the monarch undergoes an extraordinary, magical experience whilstjourneying into the Scottish landscape that surrounds Balmoral, her grandancestral holiday home. Despite the anxious offers from her estate workersto chauffeur her, she drives alone into the mountains and proceeds to breakdown in the centre of a fast flowing river. While awaiting help a strangeevent occurs: a stag appears magically as if from nowhere and, unable tohide her admiration for the beast, the Queen gently (...) utters the words, ‘Oh!You beauty’ before the animal disappears as mysteriously as it arrived.Framed in a painterly way, and providing a marked punctuation to the urbansettings that have dominated the film so far, this short sequence presents aseries of sumptuous landscape images that elicit a spectator response whichis instinctive and intuitive. When analysed using an aesthetic approach – amethodology one might use for the examination of a painting – anemotional relationship is mobilised between the spectator and the film: asentiment not necessarily available through a narrative reading. (shrink)

Recent discussion of the arts has grown increasingly sympathetic to evolutionary psychology, a trend vividly captured in Denis Dutton's recent book The Art Instinct. Yet evolutionary psychologists have paid startlingly little attention to pragmatism, despite the fact that pragmatists also work in Darwin's wake and often interrogate the “two cultures” divide. An extended comparison of pragmatist and evolutionary aesthetics can help us recognize the more layered notion of “nature” running through pragmatism, and help us articulate what matters most for (...) us in the understanding of literary and other aesthetic phenomena. (shrink)

Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, (...) in particular to his Notebooks, Bartalesi and Portera attempt to provide an alternative explanation for the emergence and development of human aesthetic preferences, beyond the dichotomy of nature and culture. (shrink)

In this essay, I discuss Kames' aesthetic theory, as presented in his essay, ‘Our Attachment to Objects of Distress’ (concerning the problem of tragedy), and in Elements of Criticism. I argue that Kames' (non-)response to the problem of tragedy – that we find tragedies painful (not pleasing), yet are ‘attracted to them through the workings of the “blind instinct” of sympathy’ – is intended to call the standard formulation of the problem of tragedy (‘why do we find such (...) painful things pleasing?’) into question. This standard formulation, on Kames' view, mistakenly assumes that we cannot be attracted to anything but pleasure, whereas tragedy (among other phenomena) shows that human nature is considerably more complex than this. I argue, further, that Kames' treatment of tragedy exemplifies the character of his aesthetics more broadly: aesthetic values are explained by reference to general laws governing human nature (we are attracted to this sort of thing, averse to that, etc.) – or explanatory naturalism. But Kames also argues that we can, upon reflection, judge that this instinct and this exercise of it is good (as in the case of tragedy, which is, Kames argues, morally educative because it strengthens our sympathy), by contrast to other cases where instincts may not achieve their ends. Thus Kames also proposes a normative aesthetic naturalism, according to which we should educate our instinctual affective responses so that they will be appropriate to their objects and beneficial for the human goods that they are meant to promote. (shrink)

Reid's discernment between a ‘relative’ and a ‘distinct’ conception plays a significant role in his theory of secondary and primary qualities and in his postulations on ‘instinctive’ and ‘rational’ aesthetic perceptions. However, relative conceptions and, hence, the relative/distinct conception discernment, are absent from one model of aesthetic perception which Reid endorses, as well as from his theory of ‘moral approbation’. This paper aims (1) to explore the importance of Reid's relative/distinct discernment for the conception of qualities and (...) class='Hi'>aesthetic features and (2) to point out and explain the significance of a different model of conception, which excludes relative conception, embraced by Reid for a certain context of aesthetic perception and for moral approbation. (shrink)

This paper is a commentary comparing the evolutionary perspectives of Denis Dutton’s The Art Instinct (2009) and Stephen Davies’s The Artful Species (2012). Their topics thus necessarily overlap, but their books have different purposes and a different feel. Davies’s book is an academic exercise. He has no real arguments or claims of his own. Dutton wishes to demonstrate that evolutionary psychology can provide a satisfying naturalistic explanation of aesthetic experience. Neither Davies nor Dutton fully succeeds in his ambition. (...) Davies extends his scepticism well beyond a sensible account of the state of current knowledge about human evolution, and Dutton fails to recognize underlying theoretical differences in his main sources of theoretical inspiration. The limitations in these two works do not define the boundaries of current knowledge in evolutionary aesthetics. The most advanced and adequate concept in the evolutionary humanities is the idea that humans evolved the capacity to create imaginative virtual worlds and use those worlds to guide human behaviour. Both books being considered in this essay approach the idea of imaginative virtual worlds and almost grasp it. Before taking up that topic, the paper shall discuss two subsidiary issues: Dutton’s effort to incorporate sexual selection, and Davies’s sceptical negations about all evolutionary knowledge. (shrink)

Rethinking the relationship between eighteenth-century Pietist traditions and Enlightenment thought and practice, _The Practices of Enlightenment_ unravels the complex and often neglected religious origins of modern secular discourse. Mapping surprising routes of exchange between the religious and aesthetic writings of the period and recentering concerns of authorship and audience, this book revitalizes scholarship on the Enlightenment. By engaging with three critical categories--aesthetics, authorship, and the public sphere--_The Practices of Enlightenment_ illuminates the relationship between religious and aesthetic modes of (...) reflective contemplation, autobiography and the hermeneutics of the self, and the discursive creation of the public sphere. Focusing largely on German intellectual life, this critical engagement also extends to France through Rousseau and to England through Shaftesbury. Rereading canonical works and lesser-known texts by Goethe, Lessing, and Herder, the book challenges common narratives recounting the rise of empiricist philosophy, the idea of the "sensible" individual, and the notion of the modern author as celebrity, bringing new perspective to the Enlightenment concepts of instinct, drive, genius, and the public sphere. (shrink)

“Beauty” is a very important concept in Pre-Qin Confucian aesthetics. Pre-Qin Confucian aesthetics generally had two viewpoints when defining beauty: Negatively, by stressing that “beauty” in the aesthetic sense was not “good”; and positively, by stressing two factors: one, that beauty was related to “feeling” which was not an animal instinct, the other was that “beauty” was a special texture with a particular meaning. “Beauty” in Pre-Qin Confucian aesthetics may be defined as “texture (or form)” capable of communicating (...) feeling or triggering a reaction of feeling. (shrink)

No philistine, Thorstein Veblen thought humankind's innate impulse to imbue experience with aesthetic unity advanced all knowledge, and that the most beautiful objects, ideas, and actions met a standard of communal benefit reflecting humanity's naturally selected sociability. Though German idealism was an early influence, it clashed with Veblen's historicist critique of Western institutions, and it was William James's psychology that refined his ideas into a coherent aesthetics with ethical and political applications, by clarifying how instinct, habit, and environment (...) could interact to institutionalize standards of beauty subverting the native altruism of the aesthetic impulse. Over years of association with John Dewey, Veblen concluded that a redeemed and reflective will to behold and create beauty in and through selfless activity could advance a more efficient and egalitarian society, and that humans cooperatively shaping their environments for the common good could approximate the German tradition's ideal of harmonizing personal freedom and external reality. (shrink)

As philosophers we look-through a phenomenon and we see as it appears. The philosopher feels the sensation of dissatisfaction and lives in revolt against an instinctive dissatisfaction with the language. We see as the words are played, because they are source of confusion. He searches the liberating word, which liberates us from dissatisfaction or mental cramps: it subverts an idea, renews a thought, creates new knowledge and opens to the difference. The choice of words, based on the listening to the (...) words, is an aesthetic analyse, in the sense that it is a pursuit of pleasure and an avoidance of pain. (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.

To arrive at a practical solution in the political problem, one must take the road of aesthetics because, in Schiller’s opinion, it is only through beauty that we arrive at freedom. This can only be demonstrated if we first know the principles by which reason is guided in political legislation; for, although in its aesthetic state human action is truly free and it is free to the highest degree from any constrictions, it is not, nevertheless, beyond laws. Reason and (...) the illumination of the mind, Friedrich Schiller believes, are not enough to make the truth triumph and heal the political: an education of feeling is necessary. The education of feeling represents the most stringent necessity as it becomes both a means to render efficient the improvement of ideas and judgments in practical life, and a cause generating this improvement. For, any amelioration in the sphere of the political must have in view the ennoblement of the character, and the instrument most at hand to this aim is the art of the beautiful.Beauty is the common object of the two impulses or instincts (reason and experience) and is best expressed through the concept of play; it is only play that renders man complete and develops his double nature. Making the beautiful a mere play does not involve a degradation of beauty; restricting the beautiful, which is regarded as an element of culture, to mere play is not in contradiction with the dignity of beauty, but we must look at the idea of play as it was expressed by Johan Huizinga also, and see man as the homo ludens providing the art of life. (shrink)

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

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

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.