In this presentation I take a close look at Kant’s notion of “orientation” as it arises in a minor essay of 1786 in order to show how this relatively obscure moment forces us to reconsider the central division between epistemology and aesthetics. What makes Kant’s notion orientation difficult to place in a critical system that separates conceptually grounded cognition from the affective nature of aesthetics is that orientations turn out to be claims to knowledge which can not be had without (...) an irreducible aesthetic or “felt” discrimination. So what is philosophically at issue in examining Kant’s notion of orientation is the question of whether there are indeed some features of objects or states of affairs which are not properly recognized prior to or independently of feeling a certain way about them. In other words, are our feelings epistemologically relevant? The official Kantian answer is, of course, a resounding “no”. By reconstructing the logic of “orientation” as deployed in the 1786 essay I show where the attempt to separate cognition from feelings leads into a vicious “Kantian Circle”. This logical circularity anticipates similar problems in the third critique’s explanation of beauty and life. I end by returning to the notion of “orientation” in order to suggest a way out of this “Kantian Circle”. (shrink)

Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on the trends of diversification (...) of artistic creativity. The focus of artistic expression has shifted from the depiction of direct natural objects towards the spiritual plane, which is a direct result of the creative activity of artists whose aspirations are manifested in the use of traditional Chinese ink painting in combination with new methods of figurative representation and deep understanding of spiritual content. Since ancient times, artists have actively sought to harmonize and balance the subjective and objective, as well as to achieve their organic combination. This article examines traditional Chinese painting as a source and driving force of the transformation of Chinese painting、prints of the era and integration in the content of paintings、attempts to introduce the Western concept of frontal composition, as well as updating the language of painting and artistic concepts. It is argued that the fundamental driving force and the main support for the development of Chinese painting in the context of globalization should be traditions integrated with new creative elements and techniques, thus it is possible to better promote Chinese culture and inherit the essence of traditional Chinese painting. (shrink)

The aesthetic theory of Graham Harman’s Object-Oriented Ontology (OOO) revolves around the concept of allure, a nonliteral experience of an object’s displacement from its qualities that draws attention to a deeper reality. But applying allure to aesthetic interpretation is hampered in two ways. First, OOO necessarily moves between the constrained viewpoint of experience and a more global perspective. Yet mixing these “inside” and “outside” views can risk ambiguity. Second, the phenomenological difference between the parts and qualities of an object must (...) be clarified before Harman’s model of wholes and parts can be incorporated into OOO aesthetics. Addressing these two ambiguities will make it possible to further develop OOO’s resources for aesthetic commentary. For instance, one conclusion is that allure itself has two varieties: a tension between the object and its qualities (“allusion”) and a tension between the whole and its parts (“collusion”). These options parallel Harman’s twofold critique of reductionism. Another conclusion is that the literal needs an explanation within the framework of OOO insofar as it is a genuine feature of experience. (shrink)

In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do not happen _inter_-, that (...) is, between ontologically delimited and stable entities, but rather they _correspond_ between relations. I will try to show that AWO matches well with the onto-phenomenological-epistemic and relational models proposed by recent theories in different fields of science, especially in the relational interpretation of quantum physics. The field of aesthetics, then, does not indicate perceptual fixed contents—either subjective or objectual properties—rather it emerges from a correspondence occurring in an engaged and situated perceptual movement, an _agencing_ that is prior to any sharp distinction between a perceiver and a perceived. I propose to call _haptic_ this perceptual agencing. In the first section, I describe the reasons according to which the adoption of AWO seems more correct and advisable, both with respect to contemporary scientific models and to the current ecological changes on the planet. In the second section, I portray some characteristics of AWO. In the third section, I argue that AWO calls for haptic perception. In the fourth section, I briefly draw some meta-aesthetics consequences concerning, on the one side, socio-political issues of AWO and, on the other side, the possibility for a theory in an anti-foundational model. I conclude with a proposal: a process-oriented aesthetics approach has to be understood mainly as an _art of thinking_. This means rethinking and re-evaluating the idea of aesthetics as an _artisan thought_. (shrink)

In this paper I will begin by exploring the context in which objectoriented aesthetics arose. I will set object-oriented aesthetics against another focus which I shall call "activity-oriented aesthetics", in which the excellence of an artistic production lies in the artist's activity. This activity is merely expressed in the finished work, even when the work is overwhelmingly admirable. Excellent artistic activity originates and persists in the artist's manner, execution and style. 1 Just as there is a special case of object-oriented (...) aesthetics in which objective beauty is the fundamental aesthetic concept, there is a special case of activity-oriented aesthetics in which artistic beauty/ a property of the artist's activity, becomes the fundamental aesthetic concept. Artistic beauty is beauty that radiates from the activity of an artist. It is visible directly in the activity itself, but it is also visible in the work through and to which it is transmitted. (The combination of activity and work I shall call 'artistic production'.). (shrink)

Oriental thought requires the introduction of a novel metaphysical concept of nonbeing, along with being, to exhibit the dynamics of becoming. The initial contact of being and nonbeing is the basis of aesthetic nature and the fountainhead of Oriental aesthetics.

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

This essay explores the relation between worldly orientation and rational comprehension in Kant. Both require subjective grounds of differentiation that were eventually developed into a contextualizing principle for reflective judgement. This kind of judgement can proceed either inductively to find new universals or by analogy to symbolically link different objective spheres. I will argue that the basic orientational function of reflective judgement is to modally differentiate the formal horizonal contexts of field, territory, domain and habitat laid out in the Introduction (...) to theCritique of the Power of Judgement. Assessing which context takes priority will be important in making aesthetic judgements and for applying practical reason to comprehend human affairs. (shrink)

Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...) new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment. (shrink)

禮樂論은 선비의 음악을 지배하는 핵심 이념이다. 樂은 예의 최상 단계이자 자기완성을 위한 조건이다. 공자는 악의 도야를 통해 인격을 완성하는 成於樂을 강조하였다. 예악은 수신과 치국의 근본이자 유학의 귀착점으로, 악이 가지는 和의 특성은 개인 성정의 도야뿐만 아니라 백성을 교화하는 핵심적인 도구로 활용되었다. 유가는 예악을 정치와 사회, 도덕, 교육과 밀접하게 연결하고, 악을 통해 민심을 선도하며 풍속을 바꿀 수 있다고 판단하였다. 악은 왕도정치 구현을 위한 의미 있는 도구였다.BR 풍류는 조선 선비들의 교양을 실천하는 문화적 행위였다. 선비들은 자연 속을 노닐며 사물과 현상의 궁극을 추구하고 대자연과 우주의 (...) 섭리를 깨닫고자 하였다. 풍류에 악은 필수적이었다. 선비들에게 악은 수신의 과정이자 음 자체에 대한 관심을 통해 미를 추구하는 것으로 감각적인 것에서부터 관념적이고 형이상학적인 면까지를 두루 포괄하였다. (shrink)

This paper examines three forest value orientations - clusters of interrelated values and basic beliefs about forests - that emerged from an analysis of the public discourse about forest planning, management, and policy in the United States. The value orientations include anthropocentric, biocentric, and moral/spiritual/aesthetic orientations toward forests. Computer coded content analysis was used to identify shifts in the relative importance of these value orientations over the period 1980 through 2001. The share of expressions of anthropocentric forest value orientations declined (...) over this period, while the share of biocentric value expressions increased. Moral/spiritual/aesthetic value expressions remained constant over time. The observed shifts in forest value orientations have implications for identifying appropriate goals for public forest management and policy, developing socially acceptable means for accomplishing those goals, and dealing with inevitable conflict over forest management. (shrink)

Wolfgang Welsch examines global aestheticization phenomena, probes the relationship of aesthetics and ethics, and considers the broad relevance of aesthetics for contemporary thinking. He argues that modes of thought familiar from the aesthetic realm comprise fundamental paradigms for understanding todayÆs reality. The implications for specific and everyday issues are demonstrated in studies of architecture, advertising, the Internet, and our perception of the life world. Surgically precise, innovative, and, above all, relevant, this book is an essential resource, providing the analysis of (...) contemporary culture with philosophical bite. Aesthetics is to transcend itself, address the whole realm of aethesis, and hence enable orientation in the contemporary condition. Undoing aesthetics means releasing it from old cultural binds and giving it new ties with the future. (shrink)

Heidegger is against the modern tradition of philosophical “aesthetics” because he is for the true “work of art” which, he argues, the aesthetic approach to art eclipses. Heidegger's critique of aesthetics and his advocacy of art thus form a complementary whole. Section 1 orients the reader by providing a brief overview of Heidegger's philosophical stand against aesthetics, for art. Section 2 explains Heidegger's philosophical critique of aesthetics, showing why he thinks aesthetics follows from modern “subjectivism” and leads to late-modern “enframing,” (...) historical worldviews Heidegger seeks to transcend from within—in part by way of his phenomenological interpretations of art. Section 3 clarifies this attempt to transcend modern aesthetics from within, focusing on the way Heidegger seeks to build a phenomenological bridge from a particular work of art by Vincent van Gogh to the ontological truth of art in general. In this way, as we will see, Heidegger seeks to show how art can help lead us into a genuinely meaningful postmodern age. Section 4 concludes by explaining how this understanding of Heidegger's project allows us to resolve the longstanding controversy surrounding his interpretation of Van Gogh. (shrink)

It is unfashionable to talk about artistic truth. Yet the issues traditionally addressed under that term have not disappeared. Indeed, questions concerning the role of the artist in society, the relationship between art and knowledge and the validity of cultural interpretation have intensified. Lambert Zuidervaart challenges intellectual fashions. He proposes a new critical hermeneutics of artistic truth that engages with both analytic and continental philosophies and illuminates the contemporary cultural scene. People turn to the arts as a way of finding (...) orientation in their lives, communities and institutions. But philosophers, hamstrung by their own theories of truth, have been unsuccessful in accounting for this common feature in our lives. This book portrays artistic truth as a process of imaginative disclosure in which expectations of authenticity, significance and integrity prevail. Understood in this way, truth becomes central to the aesthetic and social value of the arts. (shrink)

Can aesthetic concepts reflect and provide answers for ethical aspects and issues? Is "more ethics, less aesthetics" applicable, according to the motto of the Venice Biennial for architecture in the year 2000? Or isn't "more aesthetics" in fact just what is required to encourage reflection about ethical responsibilities and dimensions in architecture, art, and design? This publication is a collection of reflections about the ethical and political dimensions of creations, presented from the point of view of art, architecture, design, and (...) curatorial practice. The contributions range from historical reviews to future-oriented outlooks, illustrating interdisciplinary connections. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral (...) changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences. Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity. Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect. Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games. Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Informed by Gloria Anzaldúa's and José Carlos Mariátegui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a "Cosmological Aesthetics." He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of (...) cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeingaesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways. (shrink)

What if the work of a nurse, physio or homecare worker was designated an art, so that the qualities of the experiences they create became understood as aesthetic qualities? What if the interactions and physical connections created by artists, directors, dancers, or workshop facilitators was understood as a work of care? Care Aesthetics is the first full length book to explore these questions and examine the work of carer artists and artist carers to make the case for the importance of (...) valuing and supporting aesthetically caring relations across multiple aspects of our lives. Theoretically and practically the book outlines the implications of care aesthetics for the socially engaged arts field and health and social care, and for acts of aesthetic care in the everyday. Part One of the book outlines the approaches to aesthetics and to care theory that are necessary to make and defend the concept of care aesthetics. Part Two then tests this through practice, examining socially engaged arts and health and social care through its lens. It makes the case for careful art exploring the implications of care aesthetics for participatory or applied arts. Then it argues for artful care and how an aesthetic orientation to care practices might challenge some of the inadequacies of contemporary care. This is a vital, paradigm-shifting book for anyone engaged with socially engaged arts or social and health care practices, on an academic or professional level. (shrink)

Though much of what we learn about the world comes from trusting testimony, the status of aesthetic testimony – testimony about aesthetic value – is equivocal. We do listen to art critics but our trust in them is typically only provisional, until we are in a position to make up our own mind. I argue that provisional trust (but not full trust) in testimony typically allows us to develop and use aesthetic understanding (understanding why a work of art is valuable, (...) or similar); and aesthetic understanding is an essential component of aesthetic virtue. Aesthetic virtue is the orientation of a whole person towards aesthetic value and aesthetic reasons, through action, non‐cognitive and cognitive attitudes. The ideal (aesthetically virtuous) way to make aesthetic judgements is through your own aesthetic understanding. (shrink)

This paper examines three forest value orientations – clusters of interrelated values and basic beliefs about forests – that emerged from an analysis of the public discourse about forest planning, management, and policy in the United States. The value orientations include anthropocentric, biocentric, and moral/ spiritual/ aesthetic orientations toward forests. Computer coded content analysis was used to identify shifts in the relative importance of these value orientations over the period 1980 through 2001. The share of expressions of anthropocentric forest value (...) orientations declined over this period, while the share of biocentric value expressions increased. Mora/ spiritual/ aesthetic value expressions remained constant over time. The observed shifts in forest value orientations have implications for identifying appropriate goals span class. (shrink)

This paper examines three forest value orientations - clusters of interrelated values and basic beliefs about forests - that emerged from an analysis of the public discourse about forest planning, management, and policy in the United States. The value orientations include anthropocentric, biocentric, and moral/spiritual/aesthetic orientations toward forests. Computer coded content analysis was used to identify shifts in the relative importance of these value orientations over the period 1980 through 2001. The share of expressions of anthropocentric forest value orientations declined (...) over this period, while the share of biocentric value expressions increased. Moral/spiritual/aesthetic value expressions remained constant over time. The observed shifts in forest value orientations have implications for identifying appropriate goals for public forest management and policy, developing socially acceptable means for accomplishing those goals, and dealing with inevitable conflict over forest management. (shrink)

Experiencing aesthetics and aesthetic experience has, for a long time, been perceived as the purpose and goal of art. The aesthetic features of a work of art have been the only criteria used in its evaluation. However, these modernist aspects cannot be applied to the conceptual and neo-avant-garde art of the 2nd half of the 20th century that has not only brought a radical change in the artistic form, but, especially, the ontological nature of the work itself. Modernist theories of (...) art and normative rules which apply to perceptual art are no longer able to reflect the changes brought by the art of mind. The traditional history of aesthetics oriented towards the definition of art should, therefore, overlap with, for example, the history of ideas. In the text, I will thus focus on the crucial moments which stood on the border between the old, modernist traditions, and the new, which has brought radical changes into the study of aesthetics as well as the theory of art. The text is focused on three issues: ontological issues of art, the criticism of aestheticism and tautology as a possible problem in interpretation, which will be dealt with from the comparative viewpoint of the art of sense and art of mind. (shrink)

This paper raises puzzles concerning our grasp of others’ aesthetic selves. I first articulate a conception of an aesthetic self, understood as an autonomously adopted orientation to objects of aesthetic value, encompassing the embrace of aesthetic reasons and the qualitative appreciative states that follow. This articulation is motivated by the commonplace observation that people’s aesthetic identities are important to them. Given this importance, we might think it salutary to grasp other people’s aesthetic selves, under the general auspices of ‘interpersonal understanding’. (...) Given the conception of aesthetic selves, we might think that empathy is an appropriate way to do so. But, second, I argue that you can’t find out about another’s aesthetic self via empathy. We might instead think that aesthetic conversation is the way to grasp aesthetic selves. However, third, I argue that the aim of finding out about others’ aesthetic selves is at odds with the ostensible aims of aesthetic conversation, which are to do with effacing individuality and creating commonality. So aesthetic selves seem hard to grasp. I finally briefly canvass some ways of solving this problem, without settling on a firm answer, and consider how the thoughts might extend to practical identities more generally. (shrink)

The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement”. Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis”, “conceptivism” and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and (...) aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary. (shrink)

The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement”. Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis”, “conceptivism” and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and (...) aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary. (shrink)

The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement”. Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis”, “conceptivism” and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and (...) aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary. (shrink)

In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type of judgment without transforming (...) it into "ein bestimmendes Urteil". I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal "the moments to which this power of judgment attends in its reflection". In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites "much thinking". The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling. (shrink)

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is (...) specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars. (shrink)

In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...) view of aesthetic engagement, but also his distinctive account of individual and political freedom. In Part I, we develop a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom and in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

Jacques Rancière relies on references to theatre and literature to articulate the modes in which meanings are communicated. It is because they are displaceable from bodies and dis-incorporable from things that these patterns of meaning are available to being picked up. But this also means that meaning occurs as a pattern of communication that is not entirely rational. Meaning, we might say, moulds as it communicates. Such references to theatre and literature are more than allegorical. The general orientation of Rancière’s (...) thought pivots on the claim that politics is aesthetic; and that theatrical and literary fields of displacement and disincorporation are modes in which politics occurs as an alteration of ordered patterns of meaning, what he describes as ‘ways of being, doing and saying’. Although it would be possible to pursue cases of such alteration in film, in general Rancière’s writing on film does not do so. Rather, his critique of modernism is the framework he uses to examine the aesthetic settings and technical possibilities of film. From this perspective, he argues that the cinematic apparatus is indifferent to its material and that its technical arsenal does not determine cinematic forms. Further, because the ‘critical’ profile of cinema is in fact indistinguishable from the role it plays in the poetic depiction of the minutaie of life, claims regarding the political significance of film need radical qualification. The implications of this position on cinema are double: first, it may be argued that there is no reason that the prospects for dis-incorporation of meaning and the political significance he attaches to such modes of aesthetic communication in the cases of theatre and literature cannot be extended to cinema; a second set of implications bring into question the aesthetic settings he gives to politics. There is a clear fissure in Rancière’s thinking between the topic of film as an aesthetic form and its critical force for remoulding the conditions of communicability of meaning. It is because of the way this fissure occurs in the case of film that we can distinguish the strands that Rancière, on account of his position on aesthetic politics, would elsewhere like to consider fused. For this reason, I argue that Rancière’s discussion of cinema tends to undermine the general perspective he defends in which meaning-forming processes in the arts are taken to be political. (shrink)

Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing a purely syntactic way of (...) using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

The dissertation seeks to locate a post-Hegelian response to the question of orientation. Such a response would neither return to the "totalizing drive" of dialectic nor yield to the "nihilistic gestures" of deconstruction but would traverse and transfigure both modes of thought. Part 1 isolates non-dialectical tropes which implicitly orient crucial transitions in Hegel's Logic, Phenomenology, and Aesthetics. Textual analyses of these tropes suggest that dialectical movement depends paradoxically upon the systematic undoing of the Hegelian demand for total knowledge. Part (...) 2 finds that the same orienting tropes reappear in texts of Derrida's where they now work against the paralyzing effects of deconstruction. These tropic movements prefigure a deconstructive notion of orientation which would exceed the inversions of undecidability. (shrink)

This paper discusses the repercussions of a new metaphysics—speculative/weird realism—for education and pedagogy. A historic shift is taking place in present-day continental philosophy, which involves an explicit and renewed call for realism. One of the most salient features of this development is a revitalised interest in ontological questions. As part of this overall trend towards realist and materialist ontologies in current continental thinking, the paper particularly focuses on Graham Harman’s object-oriented ontology, which claims that aesthetics is first philosophy. Harman’s object-oriented (...) philosophy is an approach to metaphysics and ontology that is enamored by the experience of the vibrant yet inscrutable autonomous reality of objects. In order to come to terms with this new approach to reality, I suggest education be conceived as the cultivation of an aesthetic attitude understood as the ability to uphold the tension between relational and non-relational aspects of objects understood in the Harmanian idiom. (shrink)