It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in (...) certain working notes he clarifies and intensifies the formal and reflective characteristics of Kant's description of the aesthetic judgment. (shrink)

Aesthetic attitude theories suggest we must attend disinterestedly to the properties of objects to experience aesthetic delight in them: we view them without regard to their use for us. Bence Nanay’s recent revival of the concept explains it through the distribution of our attention over the many properties of individual objects. While agreeing with Nanay’s approach, I argue such perception presupposes certain intentionality towards the object in the Fregean-Husserlian sense. Whether we see the same object as informative (...) or aesthetically gratifying depends on whether we understand it as, say, a map or as a work of design or art. Furthermore, intending an object as aesthetic means we treat it as internally coherent: its properties are defined in relation to one another, rather than the purposes of a subject. This, I conclude, even affects the presentation of historical or moral values that obviously originate outside the object of aesthetic appreciation. (shrink)

I point out some unclarities in Allison's interpretation of Kant's aesthetic theory, specifically in his account of the free play of the faculties. I argue that there is a tension between Allison's commitment to the intentionality of the pleasure involved in a judgment of beauty, and his view that the pleasure is distinct from the judgment, and I claim that the tension should be resolved by rejecting the latter view. I conclude by addressing Allison's objection that my own (...) view fails to accommodate judgments of non-beauty or ugliness. (shrink)

This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the same ontological (...) assumptions to the table. We need to roughly agree about how television works are identified and individuated to ensure we are talking about the same works and that our debates are coherent. Referring to television works as 'texts' can make their ontology seem radically different from what our common creative and critical practices suggest, but I argue that a more precise use of language will help clarify ontological matters. Furthermore, I argue that the tacit ontological conceptions embedded in our creative and critical practices cannot be overturned by revisionist theories; rather, they actually determine the sort of ontological things to which we refer with terms like ‘episode’ and ‘series’. I conclude by attempting to show that our standard critical practices involve the tacit assumption that successfully realized artistic intentions establish the spatio-temporal boundaries of television works. (shrink)

Franz Brentano was a leading philosopher and psychologist of the nineteenth century. Indeed, the impact of his scholarship was so great that he became synonymous with a school of thought and a new approach in scientific philosophy. The Brentano School stood against the Idealistic and post-Kantian German tradition and Brentano played a crucial role in the founding of Austrian philosophy. He had an enormous impact on the work of Husserl and Heidegger, as well as on Moore’s _Ethics_ and Stout and (...) Russell’s analysis of mind. In particular, situated between the phenomenology movement and the analytic tradition, the concept of intentionality was redefined by Brentano and has been—and remains—a key concept of twentieth- and twentieth-first century philosophy of mind. But Brentano not only reshaped philosophy of mind; he was also a remarkable and innovative thinker in several other fields of philosophy, and recent debate in metaethics, metaphysics, and the history of analytic philosophy shows a strong resurgence of interest in Brentano’s thought. Published to coincide with the centenary of Brentano’s death, this four-volume collection, a new title from Routledge Major Works, provides an essential intellectual tool for the exegetical evaluation of all aspects of Brentano’s work. Bringing together early reviews and reactions from his contemporaries—many of which have never before been translated into English—as well as the best critical assessments of Brentano’s work, this ‘mini library’ provides Brentano scholars, historians of philosophy and psychology, and phenomenologists, with a rigorous historical appraisal of Brentano’s thought and influence. Brentano’s relationships with Husserl, Heidegger, and the phenomenological tradition are examined in depth, alongside investigations of key themes from his work on Aristotle, medieval and modern philosophy, philosophy of mind, logic, ontology, ethics, aesthetics, philosophy of religion, and the philosophy of history. (shrink)

Intentionality is a mark of the mental, as Brentano (1874) noted. Any representation or conception of anything has the feature of intentionality, which informally put, is the feature of being about something that may or may not exist. Visual artworks are about something, whether something literal or abstract. The artwork is a mentalized physical object. Aesthetic experience of the artwork illustrates the nature of intentionality as we focus attention on the phenomenology of the sensory exemplar. This (...) focus of attention on the exemplar in aesthetic experience simultaneously exhibits what the intentional object is like and what our conception of it is like. The exemplar is Janus-faced, looking in one direction outward toward the objects conceived and in the other direction inward toward our conceiving of them. It shows us what intentionality is like and how we know it. (shrink)

This article explores several entanglements between human judgments of intentionality and morality (blame and praise). After proposing a model of people’s folk concept of intentionality I discuss three topics. First, considerations of a behavior’s intentionality a ff ect people’s praise and blame of that behavior, but one study suggests that there may be an asymmetry such that blame is more affected than praise. Second, the concept of intentionality is constitutive of many legal judgments (e.g., of murder (...) vs. manslaughter), and one study illustrates people’s subtle considerations of intentionality in making those judgments. Third, controversial recent studies suggest that moral considerations can affect judgments of intentionality, and an asymmetry may exist such that blame a ff ects those judgments more than praise. I report two new studies that may shed light on these recent findings, and I discuss several theoretical models that might account for the impact of moral considerations on intentionality judgments and for the relationship between the two more generally. (shrink)

In Voir l'invisible Michel Henry applies his philosophy of autoaffection (which is both inspired by, and critical of, Husserl) to the realm of aesthetics. Henry claims that autoaffection, as non-objective experience, is essential not only to self-experience, but also to the experience of objects and their qualities. Intentionality tempts us to experience objects merely from the 'outside', but aesthetic experience returns us to the inner life of objects as a lived experience. On the basis of an examination of (...) Henry's aesthetic theory in the light of Husserl's analysis of our experience of visible objects, I conclude that revisions are required in both Husserl's and Henry's approaches: Husserl's noema must be considered to be a lived-through experience, and non-objective lived-through experience must be recognized as primordial evidence; Henry's claim that intentionality makes unreal all that it objectifies must be replaced by a recognition of the interdependence between autoaffection and heteroaffection. (shrink)

This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls (...) short, because it develops hypotheses of aesthetic experience which have no consequences for the understanding of what art is, that is, how artists produce visual meaning effects in their works. This is so because they make the rewarding feeling of beauty the cornerstone of aesthetic experience. Next, I show why and how aesthetic experience should be defined relative to its object and the tools for meaning-making specific to that object, and not relative to the feeling (of beauty) it may elicit. Finally, I sketch the import this fact may have on a research program in empirical aesthetics. (shrink)

IntroductionEddy M. Zemach was born in Jerusalem in 1935. His mother, Helena, was a dentist as well as a poet, and his father, Shimon, was a dentist as well as a political figure. Eddy completed B.A. and M.A. degrees in both Hebrew literature and philosophy at the Hebrew university of Jerusalem. He studied for a doctoral degree in philosophy at Yale University. In 1965 he completed his dissertation on the boundaries of the aesthetic, supervised by Paul Weiss. Another of (...) his teachers at Yale was Wilfrid Sellars, who influenced his philosophical views on mind and language. Aesthetics, philosophy of mind, and philosophy of language formed the center of his philosophical interest, though this interest was extended to other philosophical areas, such as metaphysics and epistemology.Eddy published extensively in both philosophy and Hebrew literature, and also wrote many short stories . He wrote some two hundred papers, and twelve scholarly books .. (shrink)

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality and (...) interpretation in a fine art studio practice (FASP) curriculum and the effects of imbalance in this relationship on students’ learning experiences .. (shrink)

In Aesthetic Legacies, Lucian Krukowski traces the influence of three nineteenth-century theories of art through twentieth-century modernism and into the postmodernist present. Following the theories of Kant, Schopenhauer, and Hegel, Krukowski first discusses how each philosopher locates the aesthetic within the framework of the philosophical system. He then identifies each theory through a dominant theme and traces the transformations of these themes into later thought and practice. The Kantian legacy originates in the theme of beauty and continues through (...) an examination of aesthetic taste into the modernist concern with artistic form. Schopenhauer's legacy moves from the dynamics of will into the themes of creative expression and artistic intentionality. Hegel's identification of art as a symbol of spirit's evolution is traced through the themes of artistic progress and cultural criticism. Krukowski interprets late modernism as a period in which the continuing transformation of aesthetic themes is arrested and congeals into dogma. This precipitates the reaction we now call postmodernism. The author first examines postmodernism through its various rejections of modernist dogma and, in the book's concluding section, evokes the alternative ideologies and practices that characterize present-day art. (shrink)

Is intentionally doing A linked to the intention to do A? Knobe and Burra believe that the link between the English words ‘intention’ and ‘intentional’ may mislead philosophers and cognitive scientists to falsely believe that intentionally doing an action A requires one to have the intention to do A. Knobe and Burra believe that data from other languages..

In aesthetics and in philosophy generally, Dewey and Heidegger have many surprising convergences. Both find the contemporary world unsuitable for full human flourishing: Dewey because of the separation of art and religion from everyday life; Heidegger because of the disappearance of the sense of Mystery. Both go back to a time before the problems emerged. Both hold for the intentionality of consciousness, the bodily inhabitance of a common world having priority over a sovereign consciousness, the founding role of language (...) in the life-world, the distinction between the art-product and the working of art upon its audience, the founding role of poetry, and the way a sense of the Whole can open up in the working of art. But Dewey, centering upon the aesthetic as integral experience, underscored its linkage with the rhythmic character of the body interacting with the environment, while Heidegger focused upon the sense of the surrounding Mystery. (shrink)

In this provocative new study, Richard Eldridge presents a highly original and compelling account of Wittgenstein's _Philosophical Investigations_, one of the most enduring yet enigmatic works of the twentieth century. He does so by reading the text as a dramatization of what is perhaps life's central motivating struggle—the inescapable human need to pursue an ideal of expressive freedom within the difficult terms set by culture. Eldridge sees Wittgenstein as a Romantic protagonist, engaged in an ongoing internal dialogue over the nature (...) of intentional consciousness, ranging over ethics, aesthetics, and philosophy of mind. The picture of the human mind that emerges through this dialogue unsettles behaviorism, cognitivism, and all other scientifically oriented orthodoxies. Leading a human life becomes a creative act, akin to writing a poem, of continuously seeking to overcome both complacency and skepticism. Eldridge's careful reconstruction of the central motive of Wittgenstein's work will influence all subsequent scholarship on it. (shrink)

ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an (...) altogether subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)

The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many (...) interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture.By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. (shrink)

In aesthetics and in philosophy generally, Dewey and Heidegger have many surprising convergences. Both find the contemporary world unsuitable for full human flourishing: Dewey because of the separation of art and religion from everyday life; Heidegger because of the disappearance of the sense of Mystery. Both go back to a time before the problems emerged. Both hold for the intentionality of consciousness, the bodily inhabitance of a common world having priority over a sovereign consciousness, the founding role of language (...) in the life-world, the distinction between the art-product and the working of art upon its audience, the founding role of poetry, and the way a sense of the Whole can open up in the working of art. But Dewey, centering upon the aesthetic as integral experience, underscored its linkage with the rhythmic character of the body interacting with the environment, while Heidegger focused upon the sense of the surrounding Mystery. (shrink)

The discourse regarding intentionality and interpretation in analytic philosophy of art, although ample and lively, has concerned itself almost exclusively with the literary medium. Starting from a paper published by Hans Maes, I discuss the complications that may arise in straightforwardly applying current intentionalist strategies to the realm of the contemporary visual arts. I first present a detailed account of the difference between hypothetical intentionalism and moderate actual intentionalism which will help to better understand the nature of Maes’s arguments (...) in his paper. I then argue that the characteristics which shape the approach of moderate actual intentionalism cannot be accommodated by certain contemporary visual artworks. I will demonstrate how in certain contemporary artworks, should a viewer be interested in accepting actual intentions within her interpretation, she will have to do so with an extreme intentionalist posture rather than a moderate actual one. (shrink)

This collection of essays takes as its focus Mitscherling’s comprehensive phenomenological analysis of embodiment, aesthetic experience, the interpretation of texts, moral behavior, and cognition, and exemplifies subsequent work in the field of realist phenomenology being conducted by an international collection of active scholars influenced by Mischerling’s Aesthetic Genesis.

Edmund Husserl (1859—1938) was an influential thinker of the first half of the twentieth century. His philosophy was heavily influenced by the works of Franz Brentano and Bernard Bolzano, and was also influenced in various ways by interaction with contemporaries such as Alexius Meinong, Kasimir Twardowski, and Gottlob Frege. In his own right, Husserl is considered the founder of twentieth century Phenomenology with influence extending to thinkers such as Martin Heidegger, Jean-Paul Sartre, Maurice Merleau-Ponty, and to contemporary continental philosophy generally. (...) Husserl’s philosophy is also being discussed in connection with contemporary research in the cognitive sciences, logic, the philosophy of language, and the philosophy of mind, as well as in discussions of collective intentionality. At the center of Husserl’s philosophical investigations is the notion of the intentionality of consciousness and the related notion of intentional content (what Husserl first called ‘act-matter’ and then the intentional ‘noema’). To say that thought is “intentional” is to say that it is of the nature of thought to be directed toward or about objects. To speak of the “intentional content” of a thought is to speak of the mode or way in which a thought is about an object. Different thoughts present objects in different ways (from different perspectives or under different descriptions) and one way of doing justice to this fact is to speak of these thoughts as having different intentional contents. For Husserl, intentionality includes a wide range of phenomena, from perceptions, judgments, and memories to the experience of other conscious subjects as subjects (inter-subjective experience) and aesthetic experience, just to name a few. Given the pervasive role he takes intentionality to play in all thought and experience, Husserl believes that a systematic theory of intentionality has a role to play in clarifying and founding most other areas of philosophical concern, such as the theory of consciousness, the philosophy of language, the philosophy of logic, epistemology, and the philosophies of action and value. This article presents the key elements of Husserl’s understanding of intentionality and intentional content, specifically as these are developed in his works Logical Investigations and Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy. (shrink)

The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the (...) role that such contingent associations play in our aesthetic life. In contemplating a work of art, as in loving or desiring another person, we focus intently upon the single object, but its value to us is enhanced by our seeing it from and through and in the light of our personal and collective 'historical' imagination. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired (...) interviews with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

This is an interdisciplinary study of what is cognitively going on when we interpret, respresent, or evaluate cultural entities, works of art included. In addition, the role of interpretation in experience and in cultural objects is elucidated from a cognitive point of view. The book relies on theories of action, perception, possible worlds, modalities, intentionality. cognition, and brain research, and it contains anumber of case studies. The book ptovides some new insights into some much-discussed problems related to interpretation.

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the (...) traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. (shrink)

In this paper, I explore Husserl’s view on the normativity of intentionality and its neutralization. Husserl reaches his mature, normative-transcendental conception of intentionality by way of critical engagement with Brentano’s position. As opposed to Brentano, Husserl does not conceive of the normativity of intentionality as deriving from the more basic character of polar opposition. Normativity comes first and it is an original, though not universal determination of intentionality which is expressed in the identificatory achievement of constitution. (...) Even where it is absent, this absence makes itself felt since neutrality is never the simple omission of normativity but essentially its neutralizing modification. The discussion of neutrality-modification in Ideas I is, however, problematic, as I will argue by drawing upon Husserl’s research manuscripts. I aim to show that neutralization is not a single but a group of closely related intentional modifications and that ways of neutralization are best conceptualized as changes of attitude. I will then examine phantasy and aesthetic consciousness as involving two such neutralizing attitudes. What they have in common is a spirit of playfulness in contrast to the serious commitment to truth that characterizes original intentionality. The neutralization of normativity takes place in play. (shrink)

Essays on Aesthetic Genesis is a collection of essays written on Jeff Mitscherling s work in realist phenomenology, Aesthetic Genesis: The Origin of Consciousness in the Intentional Being of Nature. The authors explicate, expand, contextualize and apply the concepts of intentional being, the New Copernican Hypothesis, the idea of intentional structures in nature, and the foundational concepts of Aesthetic Genesis as they appear in the work of Aristotle, Ingarden and Gadamer amongst others. This book takes as its (...) focus Mitscherling s comprehensive phenomenological analysis of embodiment, aesthetic experience, the interpretation of texts, moral behavior, and cognition, and exemplifies subsequent work in the field of realist phenomenology being conducted by an international collection of active scholars influenced by Aesthetic Genesis.". (shrink)

This collection is the final volume of a four book survey of the state of phenomenology fifty years after the death of Edmund Husserl. Its publication represents a landmark in the comprehensive treatment of contemporary phenomenology in all its vastness and richness. The diversity of the issues raised here is dazzling, but the main themes of Husserl's thought are all either explicitly treated, or else they underlie the ingenious approaches found here. Time, historicity, intentionality, eidos, meaning, possibility/reality, and teleology (...) are the main concerns of this collection devoted to studies in aesthetics, metaphysics and literary interpretation, written by such authors as, among others, R. Cobb-Stevens, C. Moreno Marquez, J. Swiecimski, Sitansu Ray and M. Kronegger. These original studies of phenomenological aesthetics and literary theory by scholars from all parts of the world were gathered by the World Institute for Advanced Phenomenological Research and Learn ing during the year 1988/89 during its assessment of the phenomeno logical movement, fifty years after Husserl's death. IX A -T. Tymieniecka (ed.), Analecta Husserliana, Vol. XXXVII, ix. (shrink)

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the (...) traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. (shrink)

Due to the complexity of aesthetic ideas and the lack of a determinate concept that is adequate to the experience, we search for the words to describe our encounters with art. Sometimes, that search is in vain, and we have difficulty expressing ourselves. In such cases, we are so taken aback by the sheer amount of cognitive activity spurred by our aesthetic experience that we are silenced by art. Instead of viewing what happens in judgments of taste as (...) “discursively mute,” as does Joseph Cannon in his essay, “The Intentionality of Judgments of Taste in Kant’s Critique of Judgment,” I will show how the excess of aesthetic experience has the potential to foster sociability, communication, and ultimately, community. .. (shrink)

One approach sees aesthetic pleasure as distinctively caused (by interplay of the cognitive faculties involved in apprehending an object) and accompanied by a distinctive judgment (that everyone ought to respond thus). I suggest a closer tie between affective and cognitive aspects: the pleasure is referred to its object, Not simply through causal relations with the cognitive faculties involved, But through itself receiving the very form constituting apprehension in the first place. This avoids certain difficulties concerning intentionality. It also (...) respects kant's claim that while aesthetic judgment's demand for assent is the same in form as that of predicative judgments, One's pleasure itself, And not a judgment externally connected with it, Is what expresses that demand. (shrink)

This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out (...) a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised. (shrink)

Scholars who mention the turn to Aristotelian virtue ethics in the Mid-Twentieth Century tend to cite G. E. M. Anscombe’s famous ‘complaint’, and sometimes Alasdair MacIntyre’s After Virtue. It is less usual to write of Roger Scruton. Placed in the context of Bernard Williams and John Casey’s works – at the intersection of moral philosophy and the philosophy of the emotions – Scruton’s theory of the imagination is shown to concern the rationality of moral attitudes. In short, it concerns virtue (...) ethics. Of broader interest, following Scruton’s arguments, his aesthetics may be conceived as concerning stores of moral knowledge; this is by virtue of the sensuous conditioning of the thought-content of moral judgement. The centrality of imitation to Aristotelian ethics, in other words, finds its concomitant in the object of imitation as the artwork. It is my view that Scruton’s work, Art and Imagination (his PhD thesis of 1973), is an attempt to provide a framework for the judgement involved in virtue ethics, concerning both intentionality and object. (shrink)

This book argues that the philosophical significance of Kant’s aesthetics lies not in its explicit account of beauty but in its implicit account of intentionality. Kant’s account is distinct in that feeling, affect, or mood must be operative within the way the mind receives the world. Moreover, these modes of receptivity fall within the normative domain so that we can hold each other responsible for how we are "struck" by an object or scene. Joseph Tinguely composes a series of (...) investigations into the philosophically rich but regrettably neglected topics at the intersection of Kant’s aesthetics and epistemology, such as how we orient ourselves in the world, whether tonality is a property of the subject or object, and what we hope to accomplish when we quarrel about taste. Taken together, these investigations offer a robust and defensible picture of mind, which not only resolves tensions in a Kantian account of intentionality but also offers a timely intervention into contemporary debates about the "aesthetic" nature of the way the mind is in touch with the world. Kant and the Reorientation of Aesthetics will appeal to scholars and students of Kant, as well as those working at the intersection of aesthetics and philosophy of mind. (shrink)

Using the resources found in the classical authors he studies, Robert Wood develops his own understanding of art primarily in the conclusion of the book. He distinguishes between the consciousness proper to sensory experience on the one hand, and the intentionality proper to reason on the other, which strives to go beyond the surrounding environment toward a grasp of the whole of things. The former, the response to the sensory field, is an awareness suited to the organic side of (...) human being, and it involves what he calls “dashboard” cognition, knowing what we have to push or pull in order to adjust, survive, and flourish biologically. The latter, the drive to totality, is at first an empty knowledge of the most comprehensive referent, the world as a whole and the best and highest entity in the world. Between these two extremes, between biological sensibility and rational transcendence, there lies what Wood, following many of his authors, calls “the heart.”. (shrink)

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

Enactivist approaches claim that cognition arises through a dynamic interaction between an acting organism and its environment. An ongoing challenge for these approaches is the problem of accounting for normativity while avoiding overly reductionist outcomes. This article examines a few proposed solutions, including agent-environment dynamics, participatory sense-making, radical enactivism, the skillful intentionality framework, and enactivist cultural psychology. It argues that good examples of enacted normativity are gestures of appreciation/disapproval performed in the aesthetic domain. Both Wittgenstein and Dewey explore (...) this issue and their ideas could be productively worked upon in an enactive account. (shrink)

The essays in this collection focus on the essentially moral desire within humanistic inquiry to seek a point of contact between personal experience and intellectual reflection. The book is concerned with the development of a plural vocabulary of transformation that stems from the language of historians, philosophers, feminists, and aestheticians. It delineates a significant and widespread change in intellectual perspective that resists homogenizing the objects of study to abstract conceptual models and structures. What emerges from this volume are personal, responsible, (...) situated languages that engage intellectuals after the waves of abstract theory of the past twenty years. ContentsChristie McDonald and Gary Wihl/PrefaceNancy F. Partner/History Without Empiricism/Truth Without FactsJudith Schlanger/How Old Is Our Cultural Past?Isabelle Stengers/The Humor of the PresentNancy Austin/Naming the Landscape: Leisure Travel and the Demise of the SalonKarsten Harries/Beauty, Language, and Re-Presentation: Notes Toward a Critique of Aesthetics--With Special Reference to ArchitectureMary Ann Caws/Making Space: For a Poetry of ArchitectureCharles Altieri/Intentionality Without Interiority: Wittgenstein and the Dynamics of Subjective AgencyJacques Schlanger/Changing One's BeliefsRosi Braidotti/Theories of GenderSarah Westphal/Stories of GenderMary Bittner Wiseman/Three Renaissance Madonnas: Freud and the Feminine. (shrink)