As a new trend in aesthetics appearing concurrently in the West and the East in the last ten years, the aesthetics of everyday life points to a growing diversification among existing methodologies for pursuing aesthetics, alongside the shift from art-based aesthetics. The cultural diversity manifest in global aesthetics offers common ground for the collaborative efforts of aesthetics in both the West and the East. Given the rapidly growing interest and its potential for attracting new audiences extending beyond the more narrowly (...) focused traditions of twentieth-century analytic and environmental aesthetics, it stands to command its own share of attention in the future of aesthetic studies. The aesthetics of everyday life has become a stream of thought with a global ambition. This interest has led to numerous systematic and in-depth works on this topic, some of which were conducted by the authors represented in this volume. A salient feature of this book is that it not only represents the recent developments of the aesthetics of everyday life in the West, but also highlights the interaction between scholars in the West and the East on this topic. Thus, the project is a contribution toward mutual progress in the collaboration between Western and Eastern aesthetics. What distinguishes this book from other anthologies and monographs on this topic is that it reconstructs the aesthetics of everyday life through cultural dialogue between the West and the East, with a view to building a new form of aesthetics of everyday life, as seen from a global perspective. At present, the aesthetics of everyday life as a newly emergent approach to aesthetics may encounter skepticism among aestheticians accustomed to the rigors of analytic philosophers who prefer to discuss aesthetics at the level of abstract concepts and argument, and who tolerate the particulars of experience mainly as illustrations. But, there is no reason to abandon the pursuit of the aesthetics of everyday life in the face of such objections. On the contrary, there are many benefits to gain in bringing aesthetics to bear on a wider sphere of human life, made possible through efforts to show the relevance of aesthetics to a broader range of human actions. (shrink)
Open peer commentary on the article “A Defence of Starmaking Constructivism: The Problem of Stuff” by Bin Liu. Abstract: I provide a brief account of key elements in Nelson Goodman’s starmaking constructivist philosophy and comment on Bin Liu’s defense of Goodman in the context of contemporary constructivist philosophy.
Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the museum. His (...) performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories. (shrink)
Philosophers, scientists, and artists alike are prone to explore important questions concerning ecology as it relates to the impact of human actions for the future of nature and human civilizations. The main focus in this essay is to consider ecological implications of art understood as a form of leisure. Art is of course more than leisure for the artists and other arts professionals, but its personal and societal roles also serve as leisure activities. Both the production of art and its (...) consumption have important ecological implications. Select philosophical (Hegel) and scientific (Escobar) concerning art and nature provide a context for exploring art’s role in ecology. Complementing the philosophical and scientific understanding of ecological concerns are the efforts of artists and arts institutions to address ecological concerns both in their creative works and in assessing ecological implications of their respective practices. Ecology concerns environmental relationships taking place among the elements of nature (weather, land and water for example) that relate to evolutionary change and the effects on life in the built environments that comprise human civilizations. [i] Leisure, as I shall understand it here functions as a creative force in the life of human persons. [i]Robert A. Stebbins, “Leisure, Happiness, and Positive Lifestyle” and John Haworth, “Leisure, Life, Enjoyment,” in editors, Sam Elkingtonand Sean J. Gammon, Contemporary Perspectives in Leisure (London and New York: Routledge, 2014), 28-64. (shrink)
For readers looking for insights into key issues linking current Eastern and Western views on the arts, aesthetics, and philosophy, Unsettled Boundaries offers fresh and insightful perspectives on current issues as seen by leading Chinese and Western scholars. Represented in the volume are previously unpublished essays of Nöel Carroll, Garry Hagberg, Richard Shusterman, and Jason Wirth alongside writings of Chinese peers Gao Jianping, Peng Feng, Liu Yuedi, Wang Chunchen and Cheng Xiangzhan. The essays in this volume draw attention to evolving (...) cultural and philosophical connections linking the cultures of East and West, while taking note of important differences in the respective cultures. These connections draw upon both traditional Confucian ideas and Chinese Marxist-Leninist aesthetics as well as western pragmatism, somaesthetics, and Wittgenstein-based analytic philosophy. Alongside these philosophical currents, are reflections on issues linking globalization to contemporary Balinese, Chinese, and Japanese arts, by Curtis Carter, Stephen Davies, Garry Hagberg, and Mary Wiseman. (shrink)
Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, (...) and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form ; develop somaesthetics for a wider range of theatre dance ; and relate somaesthetics to more general features of dance necessary for understanding the roles of the choreographer/dancer and the viewer. (shrink)
The new concerns facing aestheticians in the twenty-first century require serious attention if the discipline is to maintain continued viability as an intellectual discipline. Just as art changes as cultures develop, so must aesthetics. In support of this view is a personal account of evolving engagement with aesthetics and the factors that led to embracing change and a plurality of practices as essential to the health of aesthetic today. A brief examination of the state of aesthetics as it has evolved (...) in the American Society for Aesthetics since its inception in the 1940s will follow. These two lines of development, one idiosyncratic and personal, and the other focusing on the aims and outcomes of one prominent national society, will perhaps offer some useful background for understanding the current state of aesthetics and the problems confronting the discipline today. Following these considerations will be a look at some of the main concerns reflected in the social and political aesthetics and the expansion of aesthetics to include the popular arts which again challenges aesthetics to move beyond its historic boundaries. (shrink)
The author reviews two symposia: 'The Video Arts: Demonstration and Discussion', The American Society for Aesthetics, New York City, 28 Oct. 1978, and 'The Aestheticians Look at Television', National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, commercial (...) vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism. (shrink)
The focus here will be on the tension between architecture’s symbolic role and its function as a space to house and present art. ‘Symbolic’ refers both to a building as an aesthetic or sculptural form and secondly to its role in expressing civic identity. ‘Function’ refers to the intended purpose or practical use apart from its role as a form of art. As an art form, it serves important symbolic purposes; its practical purposes are linked to serving individual and community (...) functions requiring the delineation of space. In the present context of museum architecture, certain museum buildings are more likely to be seen as a sculptural object than as functioning buildings. The reasons for this development derive in part from unresolved issues pertaining to the respective roles of symbolic and practicalfunction as is seen in the analysis of architecture provided by G. W. F. Hegel, Rudolf Arnheim and Nelson Goodman. The vocabularies of contemporary architects such Frank Gehry and Santiago Calatrava do not follow the abstract geometrical patterns of Le Corbusier or Louis Kahn who envisioned a universal vocabulary of architectural forms derived from industrial technical forms that underscored Modernist conventions in architecture.By looking at this issue in the contexts provided by the theoretical discussions of Hegel, Arnheim and Goodman, it is possible to see more clearly the importance of examining with a critical eye the relative place of symbolism and function in museum architecture, and to question whether current museum practice has gone astray in allowing the sculptural symbolism to become the dominant element. When either its symbolic or its practical aspects are out of balance the result is sure to be unsatisfactory architecture. If the past is a reliable guide, it works best when the symbolic (sculptural) and the practical in architecture are worked out in harmony with each other. (shrink)
Presents a tribute to American philosopher Nelson Goodman who died on November 25, 1998 in Needham, Massachusetts. Contributions of Goodman to analytic philosophy; Career background; Range of interest from philosophy to art collecting; Major publications on the work of Goodman; Role of Goodman as a gallery director and private art collector.
What are Eric Mullis’s contributions to a pragmatist philosophy of dance? First, the work brings attention to aspects of dance in regional and religious contexts and to a selection of religious dance practices not typically addressed in the literature of dance philosophy, thus adding to the current scope of dance studies. This book’s main strength with respect to pragmatist philosophies is its efforts to apply existing theories of pragmatism to aspects of dance in a particular regional setting. This task is (...) accomplished with three aspects of the research: ecological study of Pentecostal dance, pragmatism in a selection of its manifestations with connections to philosophies of dance, and performance. In the final chapter, the scope is broadened with summary references to alternative theories of dance philosophy and their interdisciplinary relations to dance studies using pragmatist philosophies. The remainder of this essay examines selection of past and current studies that inform the state of dance philosophy with the aim of gathering a broader perspective on the state of dance philosophy. While there is no established long-term tradition of dance philosophy, a generation of twentieth-century scholars—Cohen, Arnheim, Sparshott, Goodman, Van Camp, Banes, Carroll, McFee, Foster, and Fraleigh, among others—has advanced recent philosophical discussion of dance. Joining these are contemporary writers on philosophy of dance, such as Anna Pakes. (shrink)
Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.