Once a group of physicists at my university invited me to a physics colloquium. They were certain that I would get a great deal out of it. I love theoretical physics, although my preparation for understanding the "real stuff" is extremely modest. After the first ten minutes of the lecture, I realized I was in way over my head; though I understood the topic and the trajectory, I was not able to follow the path. But I stayed and continued to (...) enjoy the lecture. No longer was I understanding the lecture as a physics lecture—that is, as a lecture the contents of which was the articulation of a case for understanding a physical phenomenon or the application of a physical theory for understanding a physical phenomenon.... (shrink)

The attribution of perceptually based aesthetic properties to a garden should be indexed to whether that attribution is (1) to the ever-changing dynamic garden or (2) to some phenomenal capture of the garden in one’s experience, frozen like a photograph. Perceptually based aesthetic properties are used to identify objects, to compare them to others, to evaluate them, and to describe them as we seek to interpret or find meaning in them. This set of activities requires aesthetic properties that do not (...) change, or at least not much, if any degree of normativity is to be maintained. But those aesthetic properties that are derived from our immediate sensations of a garden only describe a garden at a certain time, under certain conditions, in certain states—all of which change constantly. Both descriptions are useful, and perhaps necessary, for appreciating gardens. (shrink)

Der Beitrag befasst sich mit den Chancen und Risiken einer allfälligen gesetzlichen Legalisierung der Suizidbeihilfe. Die Argumente, die gegen eine solche Legalisierung sprechen, werden zu drei thematischen Gruppen zusammengefasst und erörtert: „Slippery-Slope“-Argumente, Argumente vom „moralischen Druck“, und die Furcht vor einer „Entsolidarisierung der Gesellschaft“ sowie die „Gefährdung des Arzt-Patient-Verhältnisses“. Diese Gegenargumente erweisen sich als nicht zwingend, sofern Kriterien und Richtlinien für eine legitime Form der Suizidbeihilfe entwickelt und staatlich kontrolliert werden könnten.

In this paper, I explore some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects. I cover three areas. The first deals with general approach, whether a paradigm of engagement is more appropriate to environmental aesthetics than one of detachment and disinterest. The second theme is about preservation and whether the appropriate model is static or dynamic. The final theme is about environmental criticism and the application of aesthetic theory (...) to arguments for preservation. (shrink)

It seems to be the case that when we look at a flower in the way that the scientist does, we see the flower in one way, but when we look at the flower in a way as to view it as a thing of beauty, charm, elegance, we see it in a different way; we see it as an aesthetic object. Viewing the flower in such a way as to see it, or any object, as an aesthetic object, is (...) to be in the aesthetic attitude. What this work means to do is to formulate necessary and sufficient conditions for adoption of the aesthetic attitude. ;Analytically and traditionally, the aesthetic attitude is an attitude or state-of-perceiving that is entered into by an agent which serves to make the agent receptive to the having of an aesthetic experience, and transform the object of the agent's attention from an object-in-the-world into an aesthetic object. ;The aesthetic attitude has figured prominently in aesthetics from the Enlightenment until the present. Its most important formulations are disinterestedness , Psychical Distance , Aldrich's Impressionistic Viewing, Scruton's Empiricistic Account, and the naturalistic work of John Dewey and Monroe Beardsley. I conclude that a naturalistic formulation of the aesthetic attitude is correct. (shrink)

In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

Offering aesthetic judgments of gardens is common. These judgments follow an evidentiary structure that is common to the evaluation of other aesthetic objects: summary judgments evidenced by the attribution of narrow formal aesthetic properties, “formal-adjacent” aesthetic properties, and relevant contextual relations. Yet, in a garden, these evidencing properties and relations take on forms that are different from those of other aesthetic and/or art objects. In this article, I consider these differences and consider whether aesthetic analyses of gardens rest on one (...) or more conceptual mistakes. In the end, I conclude that we can meet all challenges. (shrink)

Philosophie ist der Versuch, durch überzeugendes und durchsichtiges Argumentieren bestimmte Fragen zu lösen. Philosophische Grundthemen sind Fragen nach dem Verständnis der Welt im Ganzen und unserer Stellung in ihr. Diese Fragen können prinzipiell nur kontrovers beantwortet werden. Die Reihe Grundthemen Philosophie möchte der Diskussion solcher philosophischen Grundthemen einen Ort geben. Anstelle einer umfassenden einführenden Darstellung werden in den einzelnen Bänden in Auseinandersetzung mit ausgewählten historischen Positionen die jeweiligen Probleme analysiert und Lösungsmöglichkeiten diskutiert. Dabei setzt der Verfasser/die Verfasserin eigene Akzente und (...) bezieht Stellung, so dass sich nicht bloß ein Blick auf die Geschichte der Philosophie, sondern zugleich auch ein systematischer Beitrag zur Problemdiskussion ergibt. Zur Zeit sind weitere Bände zu den Themen Beziehungen, Kultur, Wissenschaft und Moralbegründung geplant. Die Bände der Reihe richten sich gleichermaßen an Studierende der Philosophie und anderer Fächer sowie an professionelle Philosophen. Außerdem wendet sich die Reihe an alle, die an Grundthemen der Philosophie interessiert sind. (shrink)

At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art (...) where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 40-53 [Access article in PDF] Aesthetic Experience and Aesthetic Analysis David E. W. Fenner The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and allother things aesthetic — aesthetic properties, aesthetic objects, aesthetic attitudes — are (...) secondary in their importance to aesthetic experiences. 1Considering aesthetic experience as the raw data that philosophical aesthetics seeks to explain is a relatively recent phenomenon. This was certainly not the focus in the seventeenth and eighteenth centuries. Aesthetic judgment was the focus of Shaftesbury, Hutcheson, Hume, and Kant: "How do we make meaningful judgments (hopefully real ones) about the aesthetic quality of (certain) objects and events?" But with George Santayana, John Dewey, and Jerome Stolnitz, the focus changes. Now the interest is in the aesthetic experience: what makes those experiences we label "aesthetic" special? Why do we separate those experiences from others?The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with — far from it. There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics. And, although I claim that aesthetic experience is the most basic thing that aesthetics studies, I recognize that this is challengeable and only true from a certain temporal viewpoint.I recently taught the most rewarding undergraduate course in aesthetics. The reason that it was so rewarding was that the students carried the class with deep and insightful discussions, and they were not shy about challenging what was coming out of my mouth. One of the challenges that informed our entire semester focused on the tension between experience and judgment. I lectured comfortably about aesthetic experience as our "raw data," and I lectured equally comfortably about how taking an aesthetic view of an object or event meant focusing primarily, if not exclusively, on [End Page 40] what is available to us through simple sensory acquaintanceship with the object. "Aesthetics," I said, "is about the sensuous aspects of our experiences." And so we could, for instance, take an aesthetic view of a Robert Mapplethorpe photograph which precluded our experiences being mired in the themes that the more famous Mapplethorpe photos take as their content. "Mapplethorpe is a great photographer," I argued, "and one can see this if one is willing to focus strictly on what meets your eye when you look at the picture." In short, I held the position that the aesthetic view is the formal one.Without saying more, what I did was conflate two different things. On the one hand, I argued that aesthetic experience is a natural part of life that aesthetics seeks to explore. On the other, I argued that appreciating something aesthetically was to appreciate its formal qualities, those qualities that one could access simply through looking, hearing, touching, for example. But these really are two different things.Aesthetic experiences, if we are to treat them as "raw data," must be explored without pre-conception, prejudice, or limitation. And, truly enough, the vast majority of aesthetic experiences are not focused exclusively, in terms of their contents, on formal or simple-sensory matters. Aesthetic experiences are, first, experiences. They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object. Later in this essay, I want to explore some of this complexity.The other side of what was happening in my class, the formal focus on the sensory as the basis for an aesthetic viewing, is not the substance of "aesthetic experience" per se. It is rather the basis of what we might call "aesthetic analysis." Aesthetic analysis has to do with separating out from our... (shrink)

Negative eugenics, purposive practices to eliminate some trait from our progeny, is a topic that commands discussion today. We have had the ability to practice negative eugenics for many years, perhaps for our entire history in one form or another, but today we have many options, several quite scientifically sophisticated, for such practices. What concerns me is that the easier is becomes to practice negative eugenics, the greater is the need for some consistent criterion of what makes a given trait (...) properly erasable. In this paper, I will argue that there is a need for a criterion of what makes a given trait properly a candidate for elimination through programs and practices of negative eugenics. I will begin by presenting the problem, then will proceed to explore the topic through a series of three questions: First, can we engage in programs of negative eugenics? Second, should we engage in any such programs? Third, which programs should we practice, and how should they be practiced? The paper will conclude with my own suggested criteria. (shrink)

This paper is written for students of art and for teachers who are working to introduce students to art. It offers a practical answer to a practical question: how much time and attention should be directed toward a work of art that does not seem to be rewarding such an investment before deciding to give up and/or move on to an investment of time and attention in a different work of art? Reductionist tests such as “After fifteen minutes in a (...) cinema where reward seems unlikely, walk out” are clearly unsatisfactory as there are many counterexamples. The answer offered by this paper focuses on a twelve-point calculus of contextual factors: object-focused factors (artform categorization of the artwork, genre categorization of the artwork, genetics, instantiation/performance), collective subject-focused factors (recommendations, strength of venue, provenance, community consensus), and particular subject-focused factors (psychic preparation, engagement, information, interpretation). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 40-53 [Access article in PDF] Aesthetic Experience and Aesthetic Analysis David E. W. Fenner The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and allother things aesthetic — aesthetic properties, aesthetic objects, aesthetic attitudes — are (...) secondary in their importance to aesthetic experiences. 1Considering aesthetic experience as the raw data that philosophical aesthetics seeks to explain is a relatively recent phenomenon. This was certainly not the focus in the seventeenth and eighteenth centuries. Aesthetic judgment was the focus of Shaftesbury, Hutcheson, Hume, and Kant: "How do we make meaningful judgments (hopefully real ones) about the aesthetic quality of (certain) objects and events?" But with George Santayana, John Dewey, and Jerome Stolnitz, the focus changes. Now the interest is in the aesthetic experience: what makes those experiences we label "aesthetic" special? Why do we separate those experiences from others?The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with — far from it. There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics. And, although I claim that aesthetic experience is the most basic thing that aesthetics studies, I recognize that this is challengeable and only true from a certain temporal viewpoint.I recently taught the most rewarding undergraduate course in aesthetics. The reason that it was so rewarding was that the students carried the class with deep and insightful discussions, and they were not shy about challenging what was coming out of my mouth. One of the challenges that informed our entire semester focused on the tension between experience and judgment. I lectured comfortably about aesthetic experience as our "raw data," and I lectured equally comfortably about how taking an aesthetic view of an object or event meant focusing primarily, if not exclusively, on [End Page 40] what is available to us through simple sensory acquaintanceship with the object. "Aesthetics," I said, "is about the sensuous aspects of our experiences." And so we could, for instance, take an aesthetic view of a Robert Mapplethorpe photograph which precluded our experiences being mired in the themes that the more famous Mapplethorpe photos take as their content. "Mapplethorpe is a great photographer," I argued, "and one can see this if one is willing to focus strictly on what meets your eye when you look at the picture." In short, I held the position that the aesthetic view is the formal one.Without saying more, what I did was conflate two different things. On the one hand, I argued that aesthetic experience is a natural part of life that aesthetics seeks to explore. On the other, I argued that appreciating something aesthetically was to appreciate its formal qualities, those qualities that one could access simply through looking, hearing, touching, for example. But these really are two different things.Aesthetic experiences, if we are to treat them as "raw data," must be explored without pre-conception, prejudice, or limitation. And, truly enough, the vast majority of aesthetic experiences are not focused exclusively, in terms of their contents, on formal or simple-sensory matters. Aesthetic experiences are, first, experiences. They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object. Later in this essay, I want to explore some of this complexity.The other side of what was happening in my class, the formal focus on the sensory as the basis for an aesthetic viewing, is not the substance of "aesthetic experience" per se. It is rather the basis of what we might call "aesthetic analysis." Aesthetic analysis has to do with separating out from our... (shrink)

"Nachdem der Anwendungsbezug in der neuzeitlichen Ethik sukzessive in den Hintergrund trat, setzt man angesichts neuartiger gegenwartsdringlicher moralischer Probleme die Hoffnungen auf die Angewandte Ethik. Der Beitrag versucht, die schwierige Verhältnisbestimmung zwischen Theorie und Praxis innerhalb dieses noch jungen Unternehmens "Angewandter Ethik" systematisch zu klären. Im ersten Teil werden die beiden Grundmodelle Angewandter Ethik: das deduktive "Top-down-" und das induktive "Bottom-up-Modell" vorgestellt und anschließend kritisch erörtert. Als ein gangbarer Zwischenweg wird daraufhin die "Prinzipienethik" diskutiert. Es wird gezeigt, wie in einem (...) dialektischen Modell ein Gleichgewicht zwischen Theorie und Praxis gefunden werden kann. Abschließend gilt es, eine geeignete theoretische Basis für die Angewandte Ethik zu skizzieren.". (shrink)

The short answer, which will no doubt frustrate those who read to find the short answer, is yes and no. Yes in respect of the fact that all agents are not the same and so what is good for one agent may be different from what is good for another agent. No in respect of the fact that normativity, or standards which range over agents relevantly similar, is still quite present. The point of this paper will be to unpack this (...) position. (shrink)

In Art in Context: Understanding Aesthetic Value, philosopher David Fenner presents a straightforward, accessible overview of the arguments about the importance of considering the relevant context in determining the true merit of a work of ...

In der Naturethik als einer der neuen akademischen Bereichsethiken stehen sich anthropozentrische und physiozentrische Grundhaltungen gegenüber. Der Beitrag stellt die anthropozentrische Naturethik ins Zentrum und versucht systematisch zu klären, ob und inwiefern eine Begründung naturethischer Normen im Rekurs auf menschliche Bedürfnisse und Interessen überzeugend ist. Nach einer allgemeinen Charakterisierung der anthropozentrischen Naturethik werden die drei wichtigsten anthropozentrischen Argumente vorgestellt und kritisch erörtert : die basic-needs-Argumente , die ästhetischen Argumente und die moralpädagogischen Argumente . Abschließend werden die Gegenargumente der physiozentrischen Naturethik (...) diskutiert . Dabei zeigt es sich, dass weitere Begriffsdifferenzierungen wie diejenige zwischen einem egoistischen und einem universalistischen Anthropozentrismus und zwischen einem epistemischen Anthropozentrismus und einem epistemisch-anthropozentrischen Physiozentrismus notwendig sind. (shrink)

Abstract:This article examines the question of to what degree does having an aesthetic experience rely on being prepared to have such an experience. The answer, affirming that preparation is necessary, is offered in three parts: a volitional model, an expectation model, and a receptivity model.

This paper argues that due to considerations of proximity of particular humans to particular (nonhuman) animals, and to the impact this proximity has on the obligations felt by those humans to those animals, an animal rights strategy as a means of specifying what obligations humans really do have toward animals cannot be successful. The good news, however; is that it is out of these proximity relations that we can begin to understand just what obligations humans properly do have toward animals.

In my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context (...) is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward (...) depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

This paper considers the way that disposal of art—that is, removing it from one’s ownership or guardianship—might rightly be pursued. It is also about what appropriate disposal of art may mean for theories of the value of art. Students of art and aesthetics benefit from such tests as they determine which of the various theories of artistic value have lasting merit. Disposing of art is a particularly good test for educating theory choice as it is pragmatic; it is the equivalent (...) of determining the quality of a theory of normative ethics by looking at its practical implications. (shrink)

: In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

Advancing a claim about the quality of a work of art is critical thinking applied in a particular arena and applies the same rules that advancing a claim about anything follows. Described this way, advancing an art evaluative claim is no different from advancing any claim. On the other hand, advancing claims in differing arenas frequently follow different methodologies. Art criticism, thought of in this way—as a species of critical thinking focused on advancing claims about the quality of works of (...) art—has its own methodology. This paper describes two versions of that methodology, one that is object-focused (or event-focused) and one that is subject-focused. (shrink)

First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

In a series of recent papers, Professor Nick Zangwill has returned our attention to the merits of aesthetic formalism. In this paper, I seek to support formalism as an approach to understanding what counts as an aesthetic property by considering how this approach serves to illuminate identity conditions and critical assessment of a subset of allographic works of art I label “consumable”; these are works that exist as token art objects (as contrasted with art works) only within thetemporal duration of (...) their being reproduced and presented to their audiences. I look at three sorts of consumable art forms: food, theater plays, and dance. (shrink)

In a series of recent papers, Professor Nick Zangwill has returned our attention to the merits of aesthetic formalism. In this paper, I seek to support formalism as an approach to understanding what counts as an aesthetic property by considering how this approach serves to illuminate identity conditions and critical assessment of a subset of allographic works of art I label “consumable”; these are works that exist as token art objects (as contrasted with art works) only within thetemporal duration of (...) their being reproduced and presented to their audiences. I look at three sorts of consumable art forms: food, theater plays, and dance. (shrink)

" Although a historical organization is employed wherever a particular movement unfolds from earlier movements, the text's main organization is not motivated by ...