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

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence (...) on a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Offering an alternative mode of visual cultural analysis to the prevalent discursive model, this book proposes to situate analysis of Image within 'formal' analyses of culture experience. Specifically, the discussion draws on theories of affective aesthetics with the view of addressing the sensual form of culture (i.e. 'cultural form'). Therefore, the volume puts forward a mode of formalist analysis in visual cultural research which takes purchase on the idea of 'cultural form.' A continuum of formalist attention between Image (...) analysis (visual media, industrial design) and probing of 'cultural forms' establishes the theoretical underpinning of the book. These concepts are expounded through a case study which looks at formal experimentations and debates arising from 1960s avant-garde artistic practices in London. (shrink)

The paper proposes a reflection on mathematical beauty, considering the possibility of aesthetic qualities for formal language. Through a concise overview of the way this question is understood by some famous scientists and mathematicians, we turn our attention to Gian-Carlo Rota’s theoretical proposal: his reflections as a mathematician and philosopher offer a perspective, of phenomenological matrix, fruitful for looking at the question. Rota’s contribution allows us to focus on the role of competence, acquired through effort, sedimentation and habit of (...) repetition, in cultivating the potential to recognise the aesthetic quality of formal language. Finally, we draw on some contributions from Gestalt theory, closely connected to twentieth-century phenomenology for chronological and conceptual reasons, applying the idea of gestalt wholeness to the mathematical product and proposing some reflections that may help to clarify some of the dynamics underlying the attribution of qualities of beauty to formulas or the detection of its lack. (shrink)

Kant’s theory of taste supports his political theory by providing the judgment of beauty as a symbol of the good and example of teleological experience, allowing us to imagine the otherwise obscure movement of nature and history toward the ideal human community. If interpreters are correct in believing that Kant should make room for pure judgments of ugliness in his theory of taste, we will have to consider the implications of such judgments for Kant’s political theory. It is here proposed (...) that pure, formal ugliness symbolizes regressive, counter-teleological trends in nature and history. Kant’s paradoxical stance on the right to rebellion, both condemning and supporting the French Revolution, is interpreted as failing to take into account negative social forces signified by ugliness, and therefore neglecting the role of moral agency in social change. (shrink)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume (...) is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

Aesthetic investigations of computation are stuck in an impasse, caused by the difficulty of accounting for the ontological discrepancy between the continuity of sensation and the discreteness of digital technology. This article proposes a theoretical position intended to overcome that deadlock. It highlights how an ontological focus on continuity has entered media studies via readings of Deleuze, which attempt to build a ‘digital aisthesis’ by ascribing a ‘virtuality’ to computation. This underpins, in part, the affective turn in digital theory. In (...) contrast to such positions, this article argues for a reconceptualization of formal abstraction in computation, in order to find, within the discreteness of computational formalisms, an indeterminacy that would make computing aesthetic qua inherently generative. This indeterminacy, it is argued here, can be found by reconsidering, philosophically, Turing’s notion of ‘incomputability’. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to (...) aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output of the past (...) thirty-five years. This edition of Formalized Music is an essential tool for understanding the man and the thought processes of one of this century's most important and revolutionary musical figures. (shrink)

The first and most important impetus motivating a feminist engagement with the complex of art and aesthetics is – as has been the case in many other realms of social life – the exclusion of women from participation in the respective sphere of activity: the denial of women's entry into formal and institutional education, training, active practice in the profession, and the continuous discrimination and marginalization that women have had to endure even after the end of their (...) class='Hi'>formal exclusion. A second stage in the feminist engagement with art and aesthetics is reached when the considerable accomplishments are made visible that women have attained despite all obstacles, although these achievements have so often been overlooked, forgotten, denied, or overtly suppressed. The discovery of the resistance women have always mounted to all hindrances placed in their way, the (re)discovery of “women worthies,” takes place in the fields of art, literary, and music history much in the same way as feminism has begun to dig up the lost memory of women's efforts in the fields of history, science, and so on. (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...) are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

Some rules seem more important than others. The moral rule to keep promises seems more important than the aesthetic rule not to wear brown with black or the pool rule not to scratch on the eight ball. A worrying number of metaethicists are increasingly tempted to explain this difference by appealing to something they call “authoritative normativity” – it’s because moral rules are “authoritatively normatively” that they are especially important. The authors of this chapter argue for three claims concerning “authoritative (...) normativity”: (1) that motivation for it originates in a parochial conception of “normative flavours”; (2) that arguments against alternative ways of explaining e.g., morality’s importance are overblown; and (3) that there are strong reasons against theorizing in terms of “authoritative normativity”. The overarching aim is not to show that “authoritative normativity” is incoherent or entirely unmotivated. Rather, it is to discuss some of “authoritative normativity’s” deeper commitments to correct the impression that is it largely benign or that it is entailed by familiar and popular “metanormative” positions. Authoritative normativity, it seems to us, is a solution in search of a problem. (shrink)

I defend moderate formalism about the aesthetics of nature. I argue that anti-formalists cannot account for the incongruousness of much natural beauty. This shows that some natural beauty is not kind-dependent. I then tackle several anti-formalist arguments that can be found in the writings of Ronald Hepburn, Allen Carlson, and Malcolm Budd.

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)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of (...) suchordinary aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

How does material culture matter for institutions? Material objects are increasingly prominent in sociological research, but current studies offer limited insight for how material objects matter to institutional processes. We build on sociological insights to theorize aesthetic style, a shared pattern of material object presence and usage among a cluster of organizations in an institutional field. We use formal relational methods and a survey of material objects from religious congregations to uncover the aesthetic styles that are part of the (...) “logics of god” in the United States’ Christian religious field. We argue aesthetic styles help structure an institutional field by spanning objects’ meanings across space and time, stabilizing objects’ authority, and demarcating symbolic boundaries. Our research provides a conceptual tool for understanding how objects bridge the material and symbolic dimensions of institutions and a methodological example for examining the meaning of objects across numerous organizations in an institutional field. (shrink)

The formal and empirical-generative perspectives of computation are demonstrated to be inadequate to secure the goals of simulation in the social sciences. Simulation does not resemble formal demonstrations or generative mechanisms that deductively explain how certain models are sufficient to generate emergent macrostructures of interest. The description of scientific practice implies additional epistemic conceptions of scientific knowledge. Three kinds of knowledge that account for a comprehensive description of the discipline were identified: formal, empirical and intentional knowledge. The (...) use of formal conceptions of computation for describing simulation is refuted; the roles of programming languages according to intentional accounts of computation are identified; and the roles of iconographic programming languages and aesthetic machines in simulation are characterized. The roles that simulation and intentional decision making may be able to play in a participative information society are also discussed. (shrink)

The Aesthetic Commonplace is a study of the everyday as a region of overlooked value in the work of William Wordsworth, George Eliot, and Ludwig Wittgenstein. The Romantic poet, the realist novelist, and the modern philosopher are each separately associated with a commitment to the common, the ordinary, and the everyday as a vital resource for reflection on language, on feeling, on ethical insight, and social attunement. The Aesthetic Commonplace is the first study to draw substantive lines of connection between (...) Wittgenstein and the cultural and literary history of nineteenth century England. Tracing conceptual and formal affinities between the poet, the novelist, and the philosopher, the book brings to light significant links between the intellectual history of the nineteenth century and the early decades of the twentieth, making the case for a continuous cultural commitment to the aesthetic as a distinctive mode of investigating thought, feeling, and the everyday language upon which we depend for their articulation. Addressed to both literary studies and to philosophy, The Aesthetic Commonplace makes a compelling case for the interdependence of form, concept, and emotion in the history and interpretive practices of both disciplines. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), (...) while I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

The term “aesthetics” is misleading when applied in the classical Indian philosophical context. Before the modern period, there is substantially no body of speculation on the pleasurable responses to created objects, as such, or on their formal capacities to induce such responses. What we do have, on the other hand, are: (1) several partly distinct traditions having to do with the elements out of which are constructed such objects – including literary “objects” – according to prevailing canons of (...) symbology and use that have a ritual or religious basis; and (2) an intensely developed set of speculations on the narrower question of the observed power (often judged in emotive terms) of the dramatic work to transform us, its spectators. This second problematic, in time, comes to be seen as paradigmatic for all “art,” including poetry, music, and the plastic arts. The first set of traditions focuses on what we might call the semantics of the work, contrasting it, in the case of the written work, with “ordinary” symbolical and ritual uses of language “how does it mean what it means?”; the second set deals with the restorative or transformative capacity of dramatic and other “fictive” works, vis‐à‐vis those that immediately and practically provide, or presume to provide, a transcendent solution on human problems – most importantly, of course, the essentially religious problem of human suffering caused by the bondage of cyclic existence “how does the work of art also accomplish human ends?”. (shrink)

Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her (...) work into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)

This work seeks to highlight that an understanding of aesthetic practices is essential to the analysis of politics and political processes. If today, aesthetics has become a rather overused term, referring to a variety of historical periods and groups, even states of being (love, melancholy...), nonetheless its relevance as a connecting agent between individual, state and society remains strong. Placing it as a central theme for understanding processes of domination, contestation and transversal links highlights the mobilization of spaces, bodies (...) and objects in a struggle for the exercise of power and the challenges to it. It is impossible to study historical shifts or systems of power without examining the mobilisation of aesthetic languages: of splendour and display, austerity, asceticism, minimalism or restraint. In this book the concern is with the dynamics between the custodians of aesthetics and the dissenters, with the moment, and with change over time. This book approaches contemporary politics through the aesthetics of power and its practices: from the more formal and regulated presence of state power in the public space in the form of official buildings, commemorative monuments, to the aestheticisation of sacrifice in politics and judicial spectacles. The studies presented here promise to lead us further to deepening our understanding of the dynamics of political spaces and the politics of the aesthetic in contemporary politics. (shrink)

The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, (...) the aesthetical dimension characterized by the “pleasure” of the perception. Aesthetical pleasure unavoidably implies disclosure, to manifest “signs”, artistic communication. An interpersonal, collective level of consciousness then arises, a larger stage where the actors are mutually dependent. The coherent structure of the brain background state manifests itself in the auto-similarity properties of fractal structures. These are observed to occur also in a large number of natural phenomena and systems. The conception of Nature divided in separated domains is replaced by the vision of Nature unified by laws of form implied by the underlying quantum dynamics of the coherent vacuum, an integrated ecological vision. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic (...) and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

Negrete brings together women writers and artists known for their formal experimentation to show that "the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire."-- taken from back cover.

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own (...) meta-logic. Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

In this paper I reflect on the nature of mathematical beauty, and examine the connections between mathematics and the arts. I employ Plutarch’s distinction between the intelligible and the sensible, to compare the beauty of mathematics with the beauties of music, poetry and painting. While the beauty of mathematics is almost exclusively intelligible, and the beauties of these arts primarily sensible, it is pointed out that the latter share with mathematics a certain kind of intelligible beauty. The paper also contains (...) reflections on the formal beauty and timelessness of mathematics, beauty as richness flowing from simplicity, form and content in mathematics, and mathematics and fiction. It concludes with some remarks on the question of why mathematical beauty is so little appreciated by non-mathematicians. (shrink)

This book reverses the fundamental tenet of phenomenology-that all consciousness is intentional . Mitscherling rehabilitates the pre-modern concepts of 'intentional being' and 'formal causality' in the construction of a comprehensive phenomenological analysis of embodiment, aesthetic experience, interpretation of texts, moral behavior, and cognition.

According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...) is shown to be formally flawed. As a result, the case for the aesthetic irrelevancy of orientation seems still open. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens (...) up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various animal (...) species in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their elders (...) to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

The article is devoted to identifying the value of the phenomenon of aesthetic value and beauty of mathematical knowledge and the beauty of mathematical theory of teaching mathematics. The aesthetic potential of mathematical knowledge allows the use of theater technology in the educational process with the active dialogic interaction between teacher and students. The criteria of beauty in mathematical theories are distinguished: the realization of beauty as the unity of the whole, and in the disclosure of the complex through the (...) elementary; methodological interpretation of the beauty in the community of mathematical structures and optimal information content of the meta-language of mathematics; the practical embodiment of beauty in the formalization of the infinite through the finite. The beauty of mathematics is the force that permeates all the ‘layers of knowledge‘ not along, and across, although the effectiveness of mathematical activity due to aesthetic laws, which do not always lend themselves to unambiguous interpretation. In the article it is stated that, depending on the educational goals of communicative impact on the audience, in fact, ‘mathematical lectures theatricality‘ can have different characteristics, the most important of which are teachers artistry and artistic director’s work of a teacher. This cultural phenomenon that includes the theatrical talent, helps create an atmosphere of cooperation needed in varying degrees of activity for pedagogical interaction. The author believes that such approach, developed on the basis of the Stanislavsky system, allows university professors of mathematics significantly improve mathematical lectures. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from (...) the dense flux of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural (...) properties and reduce to powers to produce aesthetic effects of particular kinds in suitable perceivers under suitable conditions. (shrink)

Introduction. The article is focused on analyzing the aesthetic aspect of A. Kojève’s philosophy, the ability of his philosophy, from an aesthetic point of view, to clarify a number of key problems of the modern political and cultural environment. The purpose of the study is to determine the epistemological attitude of A. Kojève’s philosophy able to clarify the way in which his philosophy problematizes the current cultural and political reality. Methods. Hermeneutics, comparative analysis and deconstruction are used as research methods. (...) Comparative analysis allows us to demarcate A. Kojève’s own line of reasoning, in the context of aesthetic and epistemological theories, as well as Hegelian themes themselves. Hermeneutics is the central method in the work, since the philosophy of A. Kojeve requires interpretation as an aesthetic theory. Deconstruction, formalized to the status of a method according to P. de Man, allows us to detect inconsistencies, the principle of mutual problematization of Kojeve’s philosophy and the current political and epistemological agenda. Scientific novelty of the research. The standard way of interpreting the work of A. Kojève is to evaluate him as an interpreter of G. Hegel. The author analyzes some meaning of A. Kojève’s philosophy, separate from G. Hegel’s explanation of the text. The novelty lies not only in the fact that A. Kojève’s philosophy is defined as theorizing that goes beyond technical hermeneutics (clear presentation), but also as a specific representation of such theorizing as epistemological aesthetic theory. The latter is a rather rare interpretation of the philosophy of A. Kojeve. This allows us to expand the traditional assumption that post-Hegelian epistemesthetics is the property of an extremely limited number of authors (for example, B. Croce). Moreover, such an interpretation of A. Kojève’s theories is a new element in the emerging trend of considering political issues within the framework of epistemological aesthetics. Results. The specific mode of interpreting G. Hegel, which is carried out by A. Kojève, turns the philosophy of the former into a unique aesthetic project. In this project, the category of aesthetic experience comes to the foreground, indicating the empty, formal nature of any discourse. In this regard, any claim to knowledge of reality, to a correct idea of the subject is replaced by the idea of creating the subject of discourse. Consistent treatment of this idea is symptomatic of the philosophy of A. Kojève. This philosophy is a reflection of those historical changes that gave rise to the culture of “aesthetic rationality”: empty and formal. In A. Kojève’s philosophy, one can see how such a culture of the End of History is, contrary to Hegelian ideas, not the era of the struggle decline, but the era of its strange transformation, a symptom of increasing political violence. Conclusions. A. Kojève’s philosophy is considered not as a utopian political project, but as a problematization of the modern cultural and political sphere. The latter is understood as an indication of the inconsistency of ontological discourses of Truth, the discovery in the very essence of discursive practices of an empty, formal principle, and therefore primarily of interest to aesthetics. The modern era of the End of History and the end of the era of persuasive speech gives an idea of the main political paradox (at least for the philosophy of A. Kojève, and at most for the modern political environment). The era of disappointment in discourse should become an era of refusal to fight for discourses, but it becomes an era of maximizing violence, since it is in a situation of disappointment that discourses can only be supported by force. We move from unconvincing speech to convincing violence, but it is possible to understand the origins and specifics of this transition only by considering A. Kojève’s philosophy in the light of such a discipline as aesthetics. (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)

From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of art's formal structures and broader inquiries into the pleasure of tragic tales. _Rasa_, or taste, was the word they chose to describe art's aesthetics, and their passionate effort to pin down these phenomena became its own remarkable act of creation. This book is the first in any language to follow (...) the evolution of rasa from its origins in dramaturgical thought--a concept for the stage--to its flourishing in literary thought--a concept for the page. _Reader on Rasa_ incorporates primary texts by every significant thinker of classical Indian aesthetics, many never translated before. The arrangement of the selections captures the intellectual dynamism that has powered this debate for centuries. Headnotes explain the meaning and significance of each text, a comprehensive introduction summarizes major threads in intellectual-historical terms, and critical endnotes and an extensive bibliography add further depth to the selections. The Sanskrit theory of emotion in art is one of the most sophisticated in the ancient world, a precursor of the work being done today by critics and philosophers of aesthetics. This volume's conceptual detail, historical precision, and clarity will appeal to any scholar interested in a full portrait of global intellectual development. __Reader on Rasa___ is the inaugural book in the Historical Sourcebooks in Classical Indian Thought series, edited by Sheldon Pollock. These text-based books guide readers through the most important forms of classical Indian thought, from epistemology, rhetoric, and hermeneutics to astral science, yoga, and medicine. Each volume provides fresh translations of key works, headnotes to contextualize selections, a comprehensive analysis of major lines of development within the discipline, and exegetical and text-critical endnotes, as well as a bibliography. Designed for comparativists and interested general readers, Historical Sourcebooks is also a great resource for advanced scholars seeking authoritative commentary on challenging works._. (shrink)

Processes observable in contemporary Russian aesthetics are the result of the transformation of the very notion of aesthetics following the emergence of a number of new “aesthetic” objects as well as ways of describing them. The scope of questions studied by aesthetics in its broader interpretation concerns not just professional philosophers in academic institutions, but also researchers whose works formally belong to different disciplines, some close to, some quite distant from aesthetics. The present article offers an (...) overview of contemporary aesthetic theory as well as a general prognostic analysis of the latest trends in this field. (shrink)

The article discusses the possibilities of the formal analysis of the fine-art painting composition on the basis of the classical definitions of beauty and computational aesthetics’ approaches of the second half of the 20th century he authors define the problem and consider solutions for the formalization of aesthetic perception in the context of aesthetic text, i.e., as part of the fine arts composition – a formal sequence of signs simply ordered in accordance with the syntactic rules’ system. (...) The methodology of the research is defined by the general semiotics, distinguishing semantics, syntax, and pragmatics of a sign, by the aesthetic analysis’ methods, ranging according to the author’s message aesthetics, receptive aesthetics, and text aesthetics, as well as by the computational analysis methods connected with neural network means of defining the images’ symmetry. The article reveals preconditions for the emergence and also the current state of computational aesthetics as an interdisciplinary branch of knowledge. Analyzing the problem from the perspective of philosophy, aesthetics, semiotics, and technology, the authors draw attention to the need to improve the computational aesthetics methods. Firstly, the existing methods do not always enable to describe the fine-art object adequately. Secondly, there exists the so-called reduction of aesthetic assertion transforming it into the assertion concerning the object’s external characteristics. As a result, the authors assume that the increasing complexity of the current mathematical models and the experts’ subjective assessment support will allow to reach a compromise solution that enables the development of computational aesthetics as a branch of knowledge. Enhancement and development of the mathematical models, taking into account the rules of semiotics and subjectivism of the human perception, is the relevant objective of computational analysis of the aesthetic fine-arts text. The results of the present research supports the classic statement regarding the underivability of semantic and pragmatic propositions from syntax. The research concludes that relevant objectives are to find a correlation between, one the one hand, the axes and points of symmetry, deriving from the neural simulation, and, on the other hand, aesthetic effect, emerging from the perception of fine-art paintings. (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)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is (...) introduced. Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)