Susan Sontag once remarked that since the invention of the camera, photography has “kept company with death.” And indeed, images of suffering human beings and devastated landscapes appear regularly in the popular media and even in contemporary art. This volume explores these painful images from the past few decades of photography, weighing in on the intense critical debate that has arisen in recent years around depictions of acute human suffering—especially those that are beautifully rendered. Drawing on works from advertising, photojournalism, (...) art photography, and conceptual art, Beautiful Suffering features reproductions of all the pieces in the Williams College Museum of Art exhibition that shares its name—including portrayals of AIDS sufferers, Abu Ghraib prisoners, refugees, and casualties of war. It also includes five critical essays that engage the works themselves as well as the larger issues the exhibition confronts: Is it inherently problematic to seek aesthetic pleasure in a rendering of pain? And if so, why? These essays, composed by scholars in fields as diverse as art history and political science, are perfect complements to the powerful images of suffering that probe some of the most pressing issues we face today. (shrink)

This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

We describe a case of an elderly patient suffering from advanced dementia whose chronic confusion has become a source of frustration for her caregivers. Mrs. M experiences a touching interaction with a new nurse who takes a different approach with her. We describe this interaction and elaborate upon it by drawing from Catholic social teaching and the philosophy of play. Cases like these do not involve dramatic or esoteric ethical problematics, but rather the sort of dilemma born of the everyday (...) tragedies of lingering illness, aging and caretakers’ fatigue. Nathan’s approach offers a different way of seeing and being with the wearisome patient. (shrink)

In this, the second of two papers, three interpretative investigations are undertaken of Nomzi’s story of her troubled childhood, her dreams of ancestors calling her to become an igqirha, her training by experienced healers, various rituals that were performed at different stages of her life, and her eventual graduation as an igqirha at the age of 61. The narrative cannot be understood apart from the framework of the isiXhosa traditional understanding of intwaso, the initiatory illness, the role of the ancestors, (...) and the manner in which clairvoyant abilities of divination and healing are developed under their guidance. Nomzi’s account, however, reflects a considerable modification of the tradition, several features of which she does not seem to understand herself. From a clinical psychological perspective, Nomzi’s behavioural disturbances in childhood, as well as her lifelong suspiciousness and paranoia, can be understood as a consequence of an unstable childhood in which there was no secure attachment, nor any adult guidance on emotional regulation of the kind needed to form the basis of a stable adult personality. From the perspective of transpersonal psychology, it seems likely that Nomzi was endowed with a degree of natural clairvoyance, but her development as a healer was impaired by displacement of her paranoid ideation into the role of witch-finder, and her chronic social alienation. (shrink)

Animal beauty provides a significant aesthetic reason for protecting nature. Worries about aesthetic discrimination and the ugliness of predation might make one think otherwise. Although it has been argued that aesthetic merit is a trivial and morally objectionable basis for action, beauty is an important value and a legitimate basis for differential treatment, especially in the case of animals. While the suffering and death of animals due to predation are important disvalues that must be recognized, predation’s tragic beauty has positive (...) aesthetic value that can be appropriately aesthetically appreciated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed (...) experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change. (shrink)

Sensory ecology is a discipline that focuses on how living creatures use information to survive, but not to live. By trans-defining the orthodox concept of sensory ecology, a serious heterodox question arises: how do organisms use their senses to live, i.e. to enjoy or suffer life? To respond to such a query the objective and emotional meaning of symbols must be revealed. Our program is distinct from both the neo-Darwinian and the classical ecological perspective because it does not focus on (...) survival values of phenotypes and their functions, but asks for the aesthetic effect of biological structures and their symbolism. Our message recognizes that sensing apart from having a survival value also has a beauty value. Thus, we offer a provoking and inspiring new view on the sensory relations of ‘living things’ and their surroundings, where the innovating power of feelings have more weight than the privative power of reason. (shrink)

Environmental philosophers tend to be particularly wary of the language of “transcendence.” From Heidegger to contemporary feminism, we find the idea that the failure to respect nature is grounded in Platonism and Abrahamic religion. The denial of earth began, we are told, with the separation of the intelligible form from the actual thing, or, even worse, of the creator from the created. From this point of view what we need is a restored pantheistic sense, a new and revitalized paganism. I (...) counter this assertion by a reading of Plato’s Phaedrus that shows that respect itself is grounded in the recognition of transcendence. With the Bookof Job, I maintain that the voice of the transcendent God is what enables Job not only to see past his sufferings but for the first time to encounter the beauty of nature. Overcoming anthropocentrism requires a relationship to transcendence as such. (shrink)

In the ultimate meeting of the sublime with the ridiculous" (London Evening Standard) My Beautiful Despair blends the existential philosophy of Søren Kierkegaard with the superficial musings of Kim Kardashian West, based on the popular Twitter feed @KimKierkegaard. The love child of Søren Kierkegaard and Kim Kardashian, the @KimKierkegaard Twitter account has been admired, praised, and adored in The New Yorker, The Washington Post, The New York Times, Financial Times, The Economist, New York, Buzzfeed, and more, and has amassed nearly (...) a quarter of a million Twitter followers, including J.K. Rowling and Anna Kendrick. A mash-up of Kim's tweets and observations with Kierkegaard's philosophy, Kim Kierkegaardashian shares their musings on fashion, beauty, brunch, and the relentless waves of existential dread that wash over us day after day. Now in a humorous, illustrated gift book, perfectly suited for our existential times, Kierkegaardashian's philosophical insights are juxtaposed for the first time with Dash Shaw's brilliant black-and-white illustrations. A sample of the revelations included in My Beautiful Despair include: - I have majorly fallen off my workout-eating plan! AND it's summer. But to despair over sin is to sink deeper into it. - Obsessed with protecting your skin, lips, hair & face from the sun? Close the cover of the coffin tight, really tight, and be at peace. - I like my men like I like my coffee: a momentary comfort in the midst of all my suffering. - What is the operation by which a self relates itself to its own self, transparently? Selfie. - What if everything in life were a misunderstanding, what if laughter were really tears? Scared LOL!! - Glamour, menswear, top hat. (shrink)

Resumen El siguiente artículo propone una interpretación del Hipias Mayor de Platón. A partir del análisis del contexto dramático, de los interlocutores y de la ejecución del diálogo, se destaca el problema de lo bello en sus implicancias ontológicas y éticas. El repetido esfuerzo por determinar lo bello no sólo responde a un problema filosófico fundamental, sino a una intención terapéutica por parte de Sócrates. El desdoblamiento de Sócrates resultará en el fondo ser un recurso por el cual sea posible (...) superar el olvido de la ignorancia que el interlocutor de Sócrates padece.The following paper proposes an interpretation of Plato’s Hippias Major. From the analysis of the dramatic context, the interlocutors and the execution of the dialogue, it highlights the problem of beauty in its ontological and ethical implications. The repeated effort to determine the beautiful not only responds to a fundamental philosophical problem, but to a therapeutic intention by Socrates. The debated splitting of Socrates will be ultimately a resource by which it is possible to overcome the oblivion of the ignorance that the interlocutor of Socrates suffers. (shrink)

The classic questions of philosophical aesthetics—how and why human beings find certain works of art beautiful or sublime—suffered from something of a hiatus in the twentieth century, but the study of beauty has seen a return in recent years, often calling on rapidly evolving research in cognitive science and neuroscience for assistance. Patrick Colm Hogan's Beauty and Sublimity: A Cognitive Aesthetics of Literature and the Arts is an important contribution to the burgeoning interdisciplinary field of cognitive aesthetics. The book makes (...) a brave attempt to bring together insights from neuroscience, cognitive science, and literature to explain aesthetic response and justification.Hogan's focus is on the minutiae of... (shrink)

Einstein's theories of special and general relativity are unanimously praised by scientists for their extraordinary beauty to the extent that some consider the latter to be the most beautiful theory in physics. The grounds for these assertions are assessed here and it is concluded that the beauty of Einstein's theories can be attributed to two of their aspects. The first is that they incorporate all possible ingredients that constitute the beauty of theories: simplicity, symmetry, invariance, unification, etc. The second concerns (...) the perfect logical consistency of Einstein's theories, a crucial factor in the unanimous praise of their beauty. Theories other than Einstein's are also assessed here, namely, electromagnetism and the various quantum theories, and it is concluded that all these suffer from logical flaws. This has resulted in a lack of consensus among scientists with respect to their beauty. Consequently, the unanimous claim that Einstein's theories are of superior beauty as compared to other theories in physics is hereby substantiated. (shrink)

The purpose of this paper is to explore the role that modernism in the arts might have in articulating the uselessness and incomprehensibility of physical and mental suffering. It is argued that the experience of illness is frequently resistant to interpretation, and as such, it will be suggested, to conventional forms of artistic expression and communication. Conventional narratives, and other beautiful or conventionally expressive aesthetic structures, that presuppose the possibility and desirability of an harmonious and meaningful resolution to conflicts and (...) tensions, may fundamentally misrepresent the patient
s experience. By drawing on the work of Emmanuel Levinas (on useless suffering) and the aesthetic theories of Nietzsche and T. W. Adorno, it will be argued first that a faith in the possibility of harmonious resolution of suffering is misplaced and does violence to the experience of suffering. Second, it will be argued that the expression of suffering lies not in finding words, images or sounds that communicate the experience of that suffering to others, but rather in the persistent and radical disruption of any illusion of meaning and coherence that might be imposed upon the experience, so that the very possibility of communication is also disrupted. (shrink)

A collection, edited by David Bain, Michael Brady, and Jennifer Corns, originating in our Value of Suffering Project. Table of Contents: Michael Wheeler - ‘How should affective phenomena be studied?’; Julien Deonna & Fabrice Teroni – ‘Pleasures, unpleasures, and emotions’; Hilla Jacobson – ‘The attitudinal representational theory of painfulness fleshed out’; Tim Schroeder – ‘What we represent when we represent the badness of getting hurt’; Hagit Benbaji – ‘A defence of the inner view of pain’; Olivier Massin – ‘Suffering pain’; (...) Frederique de Vignemont – ‘The value of threat’; Colin Leach – ‘Bad feelings can be good and good feelings can be bad’; Tasia Scrutton – ‘Mental suffering and the experience of beauty’; Brock Bastian – ‘From suffering to satisfaction: why we need pain to feel pleasure’; Marilyn McCord Adams – ‘Pain and moral agency’; Jennifer Corns – ‘Hedonic rationality’; Jonathan Cohen & Matthew Fulkerson – ‘Suffering and rationality’; Tom McClelland – ‘Suffering invites understanding’; Michael Brady – ‘Suffering as a virtue’; Glen Pettigrove TBA. Further authors TBA. (shrink)

Inasmuch as unmitigated pain and suffering areoften thought to rob human beings of theirdignity, physicians and other care providersincur a special duty to relieve pain andsuffering when they encounter it. When pain andsuffering cannot be controlled it is sometimesthought that human dignity is compromised.Death, it is sometimes argued, would bepreferred to a life without dignity.Reasoning such as this trades on certainpreconceptions of the nature of pain andsuffering, and of their relationships todignity. The purpose of this paper is to laybare these (...) preconceptions. The duties torelieve pain and suffering are clearly mattersof moral obligation, as is the duty to respondappropriately to the dignity of other persons.However, it is argued that our understanding ofthe phenomena of pain and suffering and theirrelationships to human dignity will be expandedwhen we explore the aesthetic dimensions ofthese various concepts. On the view presentedhere the life worth living is both morally goodand aesthetically beautiful. Appropriate``suffering with'''' another can help to maintainand restore the dignity of the relationshipsinvolved, even as it preserves and enhances thedignity of patient and caregiver alike. (shrink)

There is a tendency in contemporary (analytic) aesthetics to consider- ably restrict the scope of things that can be beautiful or ugly. This peculiarly modern tendency is holding back progress in aesthetics and robbing it of its potential contribution to other domains of inquiry. One view that has suffered neglect as a result of this tendency is the moral beauty view, whereby the moral virtues are beautiful and the moral vices are ugly. This neglect stems from an assumption to the (...) effect that virtues and vices simply cannot be beautiful or ugly. The aim of this paper is twofold. First, it develops an account of form, under which, it argues, possession of form suffices for an object’s candidature for beauty and ugliness. Second, it argues that, under the foregoing proposal, the moral beauty view turns out to be a coherent position, and so should be taken seriously in both aesthetics and ethics. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

Cosmetic surgery provides a problematic case for feminist theorizing about femininity and women's relationship with their bodies. Feminist accounts of femininity and beauty are unable to explain cosmetic surgery without undermining the women who opt for it. I argue that cosmetic surgery may have less to do with beauty and more to do with being ordinary, taking one's life into one's own hands, and determining how much suffering is fair.

Passionate and rollicking personal and intellectual essays by philosopher Crispin Sartwell. Philosopher, music critic, and syndicated columnist Crispin Sartwell has forged a distinctive and fiercely original identity over the years as a cultural commentator. In books about anarchism, art and politics, Native American and African American thought and culture, Eastern spirituality, and American transcendentalism, Sartwell has relentlessly insisted on an ethos rooted in unadorned honesty with oneself and a healthy skepticism of others. This volume of selected popular writings combines music (...) and art criticism with personal memoir about addiction and rebellion, as well as cultural commentary on race, sexuality, cynicism, and the meaning of life. “Crispin Sartwell deserves to be recognized as the heir to a distinctively American intellectual legacy. Like the American ‘cynics’ he loves—Twain, Bierce, Mencken—he is fiercely individualistic, deeply antiauthoritarian, and slavishly aligned with no creed or academic discipline. He uses his significant erudition not to escape the ordinary or himself, but rather to let loose riches—of insight, suffering, and beauty—through a relentless examination of life, culture, and reality. Sartwell is also, in my opinion, the best philosophical prose stylist of his generation. His writing—crystalline, vivid, and intoxicating—is an uncontrollable substance. And though Sartwell swaggers, provokes, and sometimes infuriates, he does so with a tacit humility and self-scrutiny, which empowers readers to follow his example and convert their own rage into beauty.” — Elizabeth Walden, Bryant University “Crispin Sartwell is the most important philosophical voice of his generation. He has risen into the public consciousness in the last two decades due to his controversial views on social, political, and cultural subjects. Through television appearances, journalism, and blogging, along with his numerous scholarly books, he has made a reputation as a thinker of serious thoughts. Yet, there is a lightness to his world that is irreverent, fun, and entertaining. These essays reflect some of his best writing from the past fifteen years. They are highly readable, but they are also profound reflections on the subjects that will draw many of us into deeper ponderings about the meaning of life, or, more to the point, the meaning of our lives.” — Randall Auxier, author of Time, Will, and Purpose: Living Ideas from the Philosophy of Josiah Royce. (shrink)

This book represents an attempt to distinguish and define what beauty is in metaphysical terms, to arrive at a better understanding of beauty as a transcendental property of being, and to establish beauty's place in philosophy alongside truth and the good through an exploration of whether there can truly be a philosophy of beauty, or whether beauty is merely a type of aesthetic. The first part of this work outlines the history of philosophical thought on the subject, through an (...) introduction to three great theories of beauty - harmony, form, and relationism - and a discussion of the evolution of the fine arts. The second part introduces first the theory of aesthetics, then the relationship between nature, being, and beauty, and finally the controversy over whether beauty is natural or a product of human knowledge and experience. The third part moves towards a philosophy of beauty in a first sense: something that is real but immaterial, something that can be understood but not seen. This idea is constructed through an examination of beauty's relation to beings and existence, and finally through a juxtaposition of beauty with ugliness. (shrink)

"--J.M.Coetzee "Here is a writer almost magically summoning up the world through words and ideas, in a new way, and so guiding the reader, lovingly, to receive the treasures and accept the pleasures of this book as naturally as breathing.

The consciousness of the hosts is a major theme in Westworld, and for good reason. Hosts are not philosophical zombies. The hosts act like they have feelings, like they suffer and fear, like they enjoy the yellow, pink, and blue tones of a beautiful sunset. This chapter examines the analogs of memory, perception, and emotion in hosts. Hosts have a very troubling relationship to memory. Although using a different visual style would denote unique host experience, using the same visual style (...) to depict both human and host experience is not a strong indicator that the hosts are conscious, or that they have similar experiences to humans. Host perception, memory, and emotions all seem different from human, but the cinematic medium does not grant us immediate access to host experience, and neither the testimony of the creators, nor the hosts is totally reliable. (shrink)

The traditional solutions to the Sleeping Beauty problem say that Beauty should have either a sharp 1/3 or sharp 1/2 credence that the coin flip was heads when she wakes. But Beauty’s evidence is incomplete so that it doesn’t warrant a precise credence, I claim. Instead, Beauty ought to have a properly imprecise credence when she wakes. In particular, her representor ought to assign \(R(H\!eads)=[0,1/2]\) . I show, perhaps surprisingly, that this solution can account for the many of the intuitions (...) that motivate the traditional solutions. I also offer a new objection to Elga’s restricted version of the principle of indifference, which an opponent may try to use to collapse the imprecision. (shrink)

“Separation/disassociation from what is dear is suffering . . . ” declares the first noble truth of suffering, in a statement that is overwhelming in its decisiveness and scope, encompassing both the severance of ties to loved ones and the discontinuity of any attempt to hold on to what is pleasant or liked. However, in first-millennium Indian Sanskrit classical lore, Buddhist not excepted, separation comes to mean and convey much more—in terms of emotional phenomena—than just suffering. It is understood in (...) terms of diverse and sometimes excluding emotional phenomena, which are experienced under different (and sometimes contrastive) contexts. In Sanskrit belletristic literature and aesthetics, where lovers’ experience of “love in separation” is listed under the rubric of the erotic emotion, separation comes with its own particular sub-moods, typical landscapes, and associated practices, all of which are extended also under virahabhakti to the religious realm and the highly aestheticized relations with the divine. And in the case of philosophical texts and themes connected with Śramaṇic ideology, Buddhist and non-Buddhist alike, a sense of doom regarding one’s impending demise and the inevitable separation from all that is dear becomes a dominant mood, and carries with it normative and moral prescriptions, a theorization of action, and a particular kind of perceptual salience. These various outlooks on separation, however, are not unrelated, and often both come into play within the confines of a single work. This is especially true in the case of the Buddhist belletristic poetical works (mahākāvya) of Aśvaghoṣa (second century CE ), Life of the Buddha (Buddhacarita, BC) and Beautiful Nanda (Saundarananda, SN), in which separation—and here I refer primarily to the term viprayoga in both its concrete sense as the separation from loved ones and its broader existential sense—features as a central theme. Exploring the range of meanings and dynamic use of the term within Aśvaghoṣa’s SN, the first part of this article provides a brief theoretical framework with which to approach Aśvaghoṣa’s understanding of separation and its relation to the emotions. In this regard, I argue that separation, more than just an umbrella term for a cluster of associated feelings and emotions, serves as a unique emotional context—prescribing specific kinds of perceptual and moral saliency, practices and regimes of the self—under which emotional phenomena become meaningful. As such, its analysis may also contribute to the ongoing scholarly discussion about the adequacy of using the very category of emotion in the context of Buddhist literature. Drawing on this framework and focusing on Aśvaghoṣa’s BC, the second part of the article turns to deal specifically with the role he allocates in the work to philosophical moral arguments regarding separation. Through analysis of the workings of a particular recurrent argument that I will call “the argument from separation,” I argue that, in addition to its role in justifying Buddhist ideology, it functions in Aśvaghoṣa’s BC primarily as a self-therapy of the emotions. (shrink)

A study of the strain and striving in the heart of human finitude, Brian Treanor’s case for melancholic joy uses the resources of hermeneutic philosophy and the arts to galvanize a hopeful counterweight to despair. Though evil and suffering are tragically ingrained in the tissue of lived experience, and entropy and loss buffet our projects and aspirations, there remains in the landscape of being a durable mystery of goodness, beauty, and grace. Treanor pits such mystery against our calcified pessimisms (...) and arid theodicies by drawing on Paul Ricoeur’s vision for a “second naiveté” of faith, gratitude, and moral responsibility that is worthy of living in – and up to – an order of things which is dark yet shining. Melancholic joy is neither resignation nor optimism, but an attuning praxis that can be realized through responsive modes of vitality, love, attention, and tragic wisdom. (shrink)

The book develops the current hermeneutic discourse concerning the notions of beauty and Being. It includes a discussion of melancholic beauty and its interconnection with the act of art’s creation. According to M. Hołda, the writings of both authors demonstrate a treatment of beauty based on ancient Greek thought, especially from the times of Plato and Aristotle. Gadamer reaffirms the intimate relationship between beauty and Being, which is also revealed in Woolf’s literary work. ---------------------- Received: 08/04/2022. Reviewed: 13/05/2022. (...) Accepted: 14/06/2022. (shrink)

This book closely examines our commonly held beliefs about human suffering, and offers unique insights into God's role in why we suffer. Dr. Perri critically examines what it means to be human from a Judeo-Christian perspective, and extrapolates from the work of Carl Gustav Jung showing a deeply complex development of human transcendence in human suffering. On an interpersonal level, Dr. Perri elaborates on the work of Martin Buber and Emanuel Levinas and shows how our suffering can be shared and (...) lessened by our unconditionality and presence for the other. Scriptural passages are quoted from both the Hebrew and New Testament texts, and are used to depict the suffering of humankind as seen in the face of Job. It was this face, according to Perri, that Jesus saw in the faces of those He came to redeem, and that ultimately brought Him to the crucifix of redemption. Dr. Perri challenges Sartre's position that our existence precedes our essence, and draws on the work of Abraham Joshua Heschel and Christian theology in this regard. He further elaborates a neurodevelopmental paradigm that creates essence as the basis of our freedom to choose. This book can be read and studied by both professionals in the helping and healing professions, and lay persons seeking to better understand our suffering, and how to better help those who suffer. Dr. Perri offers specific ways in how to be present for those who suffer, how to read and receive the hidden language of human suffering, and how to use silence as a communication skill. (shrink)

Being for Beauty: aesthetic agency and value, by LopesDominic McIver. Oxford, UK: Oxford University Press, 2018. Pp. xii + 266.

An acclaimed philosopher argues that living life to the fullest requires seeing life through the lens of beauty Say you and your friend often go hiking. One day, they propose that you go skydiving instead. You're wavering, and they deliver a rousing speech. They tell you, Come on, you only live once! You relent. Why? In This Beauty, philosopher Nick Riggle investigates the things we say to inspire each other and ourselves: seize the day, treat yourself, you only live once. (...) Riggle calls them existential imperatives, and they present a conundrum. They are at best vague, at worst stupid. And yet these exhortations can't help but be profound. Drawing on insights from aesthetics and from his experiences as a professional skater, academic, and new father, Riggle argues that these phrases shock us out of our routines and key us into the beauty of life. Insightful and deeply humane, This Beauty offers a personal and searching inquiry into the mystery of life's beauty. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

This article explores the defense Indian Buddhist texts make in support of their conceptions of lives that are good for an individual. This defense occurs, largely, through their analysis of ordinary experience as being saturated by subtle forms of suffering . I begin by explicating the most influential of the Buddhist taxonomies of suffering: the threefold division into explicit suffering , the suffering of change , and conditioned suffering . Next, I sketch the three theories of welfare that have (...) been most influential in contemporary ethical theory. I then argue that Buddhist texts underdetermine which of these theories would have been accepted by ancient Indian Buddhists. Nevertheless, Buddhist ideas about suffering narrow the shape any acceptable theory of welfare may take. In my conclusion, I argue that this narrowing process itself is enough to reconstruct a philosophical defense of the forms of life endorsed in Buddhist texts. (shrink)

_The Being of the Beautiful_ collects Plato’s three dialogues, the _Theaetetus_, _Sophist_, and _Statesmen_, in which Socrates formulates his conception of philosophy while preparing for trial. Renowned classicist Seth Benardete’s careful translations clearly illuminate the dramatic and philosophical unity of these dialogues and highlight Plato’s subtle interplay of language and structure. Extensive notes and commentaries, furthermore, underscore the trilogy’s motifs and relationships. “The translations are masterpieces of literalness.... They are honest, accurate, and give the reader a wonderful sense of (...) the Greek.”—Drew A. Hyland, _Review of Metaphysics_. (shrink)

Ethics in caring is what we actually make explicit through our approach and how we invite the suffering patient into a caring relationship. This phenomenological study investigates suffering and health and how this presupposes a deeper reflection on ethics in caring. The aim was to try to discover, describe and understand how patients experience their life situation three years after undergoing surgery. The theoretical approach is based on central aspects of Eriksson’s caritative theory (i.e. the view of the person as (...) body, soul and spirit). The informants were four women and four men aged between 55 and 77 years. The empirical material revealed suffering that was connected with both illness and life. Suffering involves experiences of grief, loneliness and struggling. Health implies a yearning for something beyond the current life situation, a yearning to experience some meaning in life. This leads to an awareness of unplumbed possibilities. Understanding the experiences of individual patients demands of us, as both researchers and nurses, to act, seeking after the scientific truth (i.e. a deeper reflection of the ontological, epistemological and methodological questions). The idea of responsibility helps us to interpret and meet the innermost desires of suffering patients in their true presence. Caritative caring ethics means ‘being there’, confirming patients’ absolute dignity; it is a manifestation of the love that ‘just exists’. Compassion requires an inner disposition to go with others to the places where they are weak, vulnerable, lonely and broken. An ontology of caring provides both a starting point and a context for reflection about ethics and the ethical life. (shrink)

Book Review of Being for Beauty: Aesthetic Agency and Value, by Dominic McIver Lopes. This review summarizes the book's main thread of argument and Lopes' positive view, which he dubs the "network theory". It ends by reflecting on whether Lopes' account of aesthetic normativity is ultimately satisfactory.