In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In this chapter, we argue that a distinct concept of “aesthetic hope” emerges from the way Kierkegaard’s Aesthete treats hope [Haab] and its relationship to recollection [Erindring] in “The Unhappiest One” and “Rotation of Crops.” We first show that aesthetic hope is distinct from the two other kinds of hope discussed by Kierkegaard: temporal hope and eternal hope. We then consider the suggestion that aesthetic hope is also an expression of despair – an inverse hope against hope, which seeks (...) to avoid disappointment by hoping for things that are in some sense certain. The aesthete’s recommendation that we hope in such a way illuminates Kierkegaard’s view of the “dialectic” of temporal hope and eternal hope. Finally, we explore the treatment of hope in Either/Or as essentially involving a controlled, attentional element that anticipates some contemporary trends in the philosophy of hope. (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In T_he Aesthete in the City_ David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, (...) T. J. Clark, and Jacques Derrida. He provides detailed accounts of a number of painters, among them Thomas Nozkowski, David Reed, and Sean Scully, whose development he followed closely. Carrier argues that the greatest American artistic tradition,Expressionism, provides the basis for an ongoing tradition of abstract painting, a rich system whose potential has not yet been exhausted. Carrier's earlier work was concerned with a philosophical study of the methods of art criticism. This book turns to the theory and practice of art criticism, concentrating on a concrete discussion of individual theorists and artists. (shrink)

Two of the principal roles or positions in the aesthetic/artistic situation are those of artist and aesthete. The former is obviously primarily a creative role, while the latter is obviously primarily an appreciative role. And these roles, as we know, are also interdependent: aesthetes would have little, or at any rate less, to appreciate without artists, while artists would have little, or at any rate less, creative motivation without appreciators, with aesthetes as the most important vanguard therein. But what, (...) more significantly, differentiates artist and aesthete? Do the basic impulses of the two tribes coincide, or are they rather in conflict? Is being an artist fully compatible with being an aesthete, or might there be a fundamental tension between those identities? Are the same talents, inclinations, and attitudes essential to being a successful artist those which make for a successful aesthete, or are they at some level at war with one another? These are some of the questions that are explored in this article. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

This paper discusses how Kierkegaard’s aesthete in Either/or’s “Diapsalmata” and “Rotation of Crops” attempts to apply Hegel’s principle of mediation to everyday decision-making. This paper has two main goals: First, it provides an in-depth analysis of exactly how the aesthete’s approach to decision-making follows the dialectical pattern of Hegelian mediation. Second, it argues that even though the aesthete meets with unfortunate results, the aesthete cannot be so easily dismissed. The aesthete’s Hegelian perspective is still relevant (...) to daily life because it provides an insightful view into how we ourselves sometimes approach decisions and cope with the difficulty of making decisions. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

What is truly beautiful? For Søren Kierkegaard the beautiful is to be found in an integrated self, one that is freely chosen. This article explores Kierkegaard's "aesthetic" stage of existence through the character of Augusto Pérez, the protagonist of Miguel de Unamuno's novel, Niebla. After establishing a solid link between Unamuno and Kierkegaard, Kierkegaard's "ethical" stage is used to critique the "aesthetic" stage on aesthetic grounds, on the basis of the beauty found in life's work, a calling. The conclusion is (...) that the sphere of the "aesthetic" does not achieve Kierkegaard's "aesthetics" of an integrated, fully existing self. (shrink)

This is a book about aesthetics that is both a memoir and design critique. Among questions it addresses are: What inspires an aesthetic adventure? What is the best way to respond to ugliness? Is beauty always "good"? What is the crux of an artist's job? Why is "making nothing" beautiful? And what is a "beautiful human being"? The illustrator is Marco Koren, a young Californian artist with a passion for drawing.

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

What is truly beautiful? For Søren Kierkegaard the beautiful is to be found in an integrated self, one that is freely chosen. This article explores Kierkegaard's "aesthetic" stage of existence through the character of Augusto Pérez, the protagonist of Miguel de Unamuno's novel, Niebla. After establishing a solid link between Unamuno and Kierkegaard, Kierkegaard's "ethical" stage is used to critique the "aesthetic" stage on aesthetic grounds, on the basis of the beauty found in life's work, a calling. The conclusion is (...) that the sphere of the "aesthetic" does not achieve Kierkegaard's "aesthetics" of an integrated, fully existing self. (shrink)

: What is truly beautiful? For Søren Kierkegaard the beautiful is to be found in an integrated self, one that is freely chosen. This article explores Kierkegaard's "aesthetic" stage of existence through the character of Augusto Pérez, the protagonist of Miguel de Unamuno's novel, Niebla. After establishing a solid link between Unamuno and Kierkegaard, Kierkegaard's "ethical" stage is used to critique the "aesthetic" stage on aesthetic grounds, on the basis of the beauty found in life's work, a calling. The conclusion (...) is that the sphere of the "aesthetic" does not achieve Kierkegaard's "aesthetics" of an integrated, fully existing self. (shrink)

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

The characteristics of inductivist historiography of science, as practised by earlier scientist/historians, and Whig historiography, as practised by earlier political historians, are described, according to the accounts of Agassi and Butterfield. It is suggested that the writings of Geikie on the history of geology allow us to characterize him as a Whig/inductivist historian of science who formulated anachronistic judgements. It is further suggested that his writings have had a considerable long-term effect on interpretations of the history of geology. The character (...) of Geikie's historiography is related to his social, political and religious views, his historicism, and his romantic enthusiasm for Nature. His methodological pronouncements are examined: he believed that the present is the key to the past, and also that the past is the key to the present. He was an empiricist and inductivist. These epistemological and methodological views impinged on his historiography of science. If one attempts to criticize Geikie's historiography, though one may try to judge his work according to the norms of his own day and age, historical anachronism cannot be avoided entirely and one may oneself be charged with acting ‘Whiggishly’. Historians of science, in the process of professionalization, have accepted the historiographical norms of general historians , but in so doing have inherited a problem that arises whenever they contemplate earlier historical writings. It is suggested that there may be more room for Whiggish historiography of science than is presently deemed acceptable. Alternatively, one may wish to draw a careful distinction between science and its meta-discipline, the historiography of science. Whig historiography conflates the two, and the work of Geikie provides a good illustration of this. (shrink)

Diffused aesthetics is the formula by which the pervasiveness of aesthetic phenomena in the current scenario is summarized: having overcome the long phase of the exclusive dominance of art as the parameter of aesthetic values, contemporaneity has recognized itself in a plurality of practices in which even the non-aesthetic is thought and experienced as aesthetic. The essay aims to probe the theoretical aspects of this process in which material consumption and immaterial consumption converge into a single, everyday and pervasive scenario. (...) This definition of a globalized aesthetics, in which the role of the aesthetic in consumer culture is fully activated, has configured first of all the opposition between the aestheticization and the aesthetics of the everyday, one approach ideological and critic and another more constrained to the aesthetic experience of the practices of the contemporary life-world. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)