Evidence of observed negative impacts on natural and human systems from anthropogenic climate change is increasing. However, human systems in particular are dynamic and influenced by multiple drivers and hence identifying an anthropogenic climate signal is challenging. Here we analyze the case of lake Palcacocha in the Andes of Peru, which offers a representative model for other glacier lakes and related risks around the world because it features a dynamic evolution of flood risk driven by physical and socioeconomic factors and (...) processes. Furthermore, it is the object of a prominent climate litigation case, wherein a local Peruvian citizen sued a large German energy producer over risk of flooding from lake Palcacocha. Adopting a conceptual model of cascading impacts and multiple drivers of risk, we first study climatic and other geophysical drivers of flood risk. We find that an anthropogenic signal from flood risk to greenhouse gas emissions is traceable. In parallel, flood risk has been strongly shaped (and increased) by interacting socioeconomic, institutional and cultural processes over the past few decades. The case raises important questions about the differentiation of responsibilities relating to flood risk of both global and local agents, which are, however, difficult to address in cases like Palcacocha, where we reveal a complex network of interlinked global, national and local drivers. Following from this, we outline a normative framework with a differentiated perspective on responsibility, implying that global emitters commit to support strengthening capacities in affected regions and localities and that local institutions and societies engage in local risk reduction measures and policies in collaboration with and driven by local communities. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers (...) critical insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...) the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb]. (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...) us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy (...) objects and the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community (...) with humanity. I close with an excursus on the more sombre note of Kantian sublimity which fractals can also present. (shrink)

Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately (...) shut down dialogue and feed the lust for violence and revenge. (shrink)

It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.

The internet has been discussed as a major agent of change for political communication and participation. One important dimension of possible effects is the influence of online communication on the participation habits of citizens. In this article, panel survey data from Germany that cover almost the first decade of this century are used in order to test causal hypotheses about this transformation process. The results highlight that new forms of political communication are mainly a complement to existing forms with few (...) substitution effects. Additionally, the data demonstrate the strong role habitualization plays, particularly in the field of political information seeking and traditional forms of political discussion and participation, while online communication is still evolving with yet less fixed patterns of action. (shrink)

The book has three main parts. Part 1, “Painting the Land”, opens by considering the emergence of landscape painting in the West from decorative pictures and then displays the possibilities for the sublime which were opened up when landscape painting per se had finally emerged. The painters who receive the most detailed discussion are Fitz Hugh Lane, Thomas Cole, and John Constable. Casey notes that the recent appearance of landscape painting in Western culture is a local phenomenon, and accordingly ends (...) part 1 with a comparatively brief—but necessary and illuminating—treatment of Northern Sung landscape works from the tenth to twelfth centuries A.D.. The main philosophical concern of part 1 is to make clear what it is that representations of landscapes do, and how the task of relocating the all-encompassing landscape in a restricted representational space navigates among the decorative, the painterly, and the topographic. (shrink)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was (...) self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola by Luciano Emmer and Le Monde de Paul Delvaux by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices. (shrink)

First two paragraphs of the article, in lieu of an abstract: “What I am going to discuss in terms of response and responsivity is not just a special1kind of behavior with respect to the Other. Responding has rather to be understood as the genuine way in which we encounter the alien as alien. It will be shown that the experience of the Other, i.e., what Husserl calls Fremderfahrung, requires a new sort of responsive phenomenology. This kind of responsive phenomenology goes (...) beyond the traditional form of intentional phenomenology just as much as it leaves behind every sort of hermeneutics. Responding means more than intending or understanding. [note 1] In what follows I shall unfold some of the main features to be ascribed to responsive phenomenology, and in doing so I shall proceed in the following way. After having made some general remarks about the actual and the historical background of the alien, I shall first say something about the different meanings of the alien (Fremde) and about the place of the alien in our experience. The second part leads us to a turning-point where responsivity diverges from the basic underlying presuppositions to the phenomenology of intentional acts and to the hermeneutic interpretation of texts. In a third step I shall outline the key concepts of demand and response. I shall conclude by presenting some features of what I call logic of response.” Note 1: N.B. This text was first published as a Japanese version in Metaphysica: The Journal of Philosophy and Ethics (Dept. of Philosophy, Faculty of Letters, Osaka) 27 (1996), 1-15. A German version was published under the title “Antwort auf das Fremde: Grundzüge einer responsive Phänomenologie” in B. Waldenfels & I. Datmann (Eds.). Der Anspruch des Anderen: PerspekJiven phtinomenologischer Ethik. München: W. Fink., 1998. The English translation is based on a first draft made by Robb E. Eason, C. Edward Emmer, and Evan M. Selinger and revised by the author. (shrink)