The theory of beauty has always rested on the representation of the infinite, understood in its finite expression and perceptible through the senses. The relationship of beauty to truth, of art to science, is inevitably modified with the new way of treating the infinite in the modern conception of the world. Non-classical science works with the notions of “infinitely large” and “infinitely small,” modifying their meanings in terms of experimental observations. We put these words in quotation marks because the Whole (...) may be considered as finite or infinite according to the angle from which it is viewed: the “infinitely small” only becomes so in determined circumstances, for example, when we consider the extended and discrete elements of space and time in a macroscopic approximation, as infinitely small elements of perpetual motion. Modern science studies these two poles of being—the Whole and its parts—in their interaction, admitting the dependence of macroscopic and even cosmic processes with regard to the processes being created in infinitely small spheres (or, according to another interpretation, finite but extremely small). However, as characteristic of our time as these concepts are—most often hypothetical—they nonetheless express a very old historical tradition that contemporary retrospection, turned toward classical science and the past of science in general, allows us to discern very clearly. All the culture of the past was dominated by the principle of the authority of the Whole over its parts. In peripatetic cosmology and physics, individual processes depended on the cosmic harmony of the center and frontiers of the universe, on the spheres and places toward which bodies tend. This authority of the general law, of universal harmony, of the system hinging on individual processes, is confirmed in Aristotle's Physics, but not only there: we find it in almost all the thinkers of antiquity. On the plane of general logic, it received expression in the Hegelian concept of the true infinite, a concept constituting to a high degree the philosophical equivalent of classical science. In Hegel's time, this last was already drawing away somewhat from the idea of an absolute and strict subordination of elementary processes to integrating systems and general laws, laws being realized through the probability of microprocesses, thus statistical laws, and whose exact application ignored individual acts, for example, the mechanism of molecules in thermodynamics. The statistical theory of heat has rendered continual a discrete microcosm—for the movement of individual molecules it substituted the average speed of the molecules—and continual laws became supreme points determining macroscopic processes. These laws had a differential nature. In other words, they prescribed the defined relationships between the infinitely small increases in size. Also, the schema of the classic law consisted in defining infinitely small processes by an infinitely large integral legality because of the number of processes. The infinitely true of Hegel is the actual infinite being realized in each of its finite elements; it is the subjection of the finite element to the infinite. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Many well-known works in twentieth-century continental aesthetics, such as Martin Heidegger's “Origin of the Work of Art,” Jacques Derrida's The Truth in Painting, Michel Foucault's “Las Meninas,” and the two most influential Frankfurt School texts on aesthetics, Walter Benjamin's optimistic “The Work of Art in the Age of its Technical Reproducibility”1 and Theodor W. Adorno and Max Horkheimer's pessimistic “The Culture Industry: Enlightenment as Mass Deception,”2 treat aesthetics as an occasion for a critique of metaphysics. Hence, it (...) is reasonable to assess these works by reference to whether they retain metaphysical categories, concepts, or methodologies. In this regard, the essays…. (shrink)

ABSTRACT George Berkeley is usually not discussed in the canonical histories of modern aesthetics. Similarly, Berkeley scholars do not seem to have paid attention to his possible contribution to modern aesthetics. Berkeley exploited certain theoretical potentials of the emerging aesthetic experience that was invented and formulated especially by his contemporaries like Joseph Addison, Richard Steele and Lord Shaftesbury. He applied these elements in shaping a theologico-aesthetic language in the very same period when Francis Hutcheson and Alexander Baumgarten (...) wrote their widely acclaimed first aesthetic theories in Europe. At the same time, Berkeley advances the linguistic and religious aspects of the modern aesthetic experience not in his theoretical, but in his pragmatical and popularizing writings. Instead of relying on a purely rational theology or a negative theology, he offers an ‘aesthetic’ one based on the model of the beautiful and the sublime. Aesthetically, this meant a re-interpretation and re-configuration of the duality of the beautiful and the sublime – decades before Edmund Burke's Philosophical Enquiry. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Asian Art:The Study of Montien Boonma in the Undergraduate Education ClassroomMary Ann Maslak (bio)John Dewey, in his Experience and Nature, expounds on the developmental nature of human experience premised on the concept of qualitative propinquity—the integration and harmonization with the environment exemplifies the essence of experience. This principal line of reasoning shapes his fundamental argument in Art as Experience, one of Dewey's most significant educational (...) works used today.1 In it he argues that the roots of experience lie in the commonplace occurrences in the course of human life. The integration of the meaning and value drawn from previous and present circumstances results in an "experience," which, in turn, constitutes a foundation of learning for the individual. Dewey's ideas are not only appropriate but also useful in the field of education. In what ways may future teachers experience art? How does the experiential process of examining art contribute to future teachers' pedagogical tools that can be used to incorporate art into the elementary school classroom?This article demonstrates how an experiential study of a work of art in an undergraduate education course—part of the St. John's University/Lincoln Center Institute for the Arts in Education (LCIAE) Higher Education Collaborative program in New York City—contributes to the pedagogical repertoire of process-based learning for teachers and their future students. The article begins by providing a theoretical background for the work, followed by the definitions of three concepts that are pertinent to this piece: aesthetic education, the experiential approach to learning, and process-based instruction.2 The article then focuses on the specific aims of the university's arts course, the LCIAE Partnership Program, and data and analyses from the process-based aesthetic learning for the students enrolled in the course. It ends with conclusions about aesthetic education. [End Page 67]Theoretical BackgroundAssuming the sociocultural nature of learning suggested by Dewey demands consideration of the layers of experience, it is necessary to discern the learners' emerging thoughts in light of various experiences. As a teacher, I subscribe to this belief and wanted to note how I could employ scaffolding practices to the aesthetic education learning experience for my undergraduate students. I aimed to accomplish this goal by scaffolding aesthetic experiences for students from their personal points of understanding, the university's classroom setting, and the context of museum exhibitions.Scaffolding instruction has a lengthy and persuasive history that provided the underpinning for my approach to the course.3 The intent of scaffolding is to help a learner undertake a task or goal that is beyond the learner's present level.4 Effective scaffolding encompasses a number of key features within cognitive and emotional domains.5 Cognitive elements include (1) selecting challenging activities for students; (2) monitoring their efforts; (3) using guiding questions to develop self-regulation; and (4) using indirect questioning strategies to extend and enhance the learning experience. Emotional support includes (1) structuring experiences to discourage frustration and encourage confidence; and (2) creating an atmosphere of comfort. While not all these features are applicable to scaffolding activities in an art education course of a university's teacher education program, I was mindful of their importance in structuring this course.Given that this course was my undergraduate students' initial exposure to aesthetic education, scaffolding served as an appropriate systematic pedagogical approach. In the words of Maxine Greene, aesthetic education is an intentional experience "designed to nurture appreciative, reflective, cultural, participatory engagements with the arts" by enabling the student to observe, analyze, and interpret meaning.6 In other words, it is the interactive study of the nature and expression of beauty. It seeks to enhance perception and affect, cognitive development, and personal growth by assuming that works of art provide an inexhaustible resource for exploration and reflection by the learner and an understanding based on the cultural context in which the artwork was created. Greene's philosophy, developed from the work of Dewey, posits that understanding a work of art is based on the active connection to and association with the piece. Therefore, the approach to its study is of the utmost importance.The experiential approach to learning is a... (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one (...) is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

Film theory has for so long been concerned with sociological, empirical and psychoanalytic approaches that its place within our aesthetic sensibilities seems to have been forgotten.Deleuze and Cinema aims to bring back debates about film as an art form - as part of an aesthetic process which incorporates the 'bodies' of our material, technological and molecular worlds. While much film theory has looked at desire in terms of (visual and spectator) pleasure, Barbara Kennedy suggests, in this provocative new study, that (...) these different perceptions of 'body' are responsible, as well as the brain/mind, for the ways in which visual elements of colour, movement, rhythm and sensation are acquired within, through and beyond our consciousness.Film is visceral, vital and dynamic, and wider frameworks of understanding are needed to explain these aesthetic resonances. Deleuze and Cinema asks: how can we begin to understand the cinematic experience as one of material capture, processuality and movement - as opposed to a spectator/text relationship - where desire and pleasure are part of a complex 'aesthetics of sensation'?Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon the book offers a new and creative collusion between Deleuzian philosophy - specifically Deleuze's ideas about desire, pleasure, sensation, affect and 'becoming-woman' - and contemporary film studies. (shrink)

The rapid acceleration of societal change has subjected contemporary individuals to prolonged periods of diverse pressures, leading to substantial psychological strain, resulting in anxiety, depression, and compromised mental well-being. Within this context, the home has evolved into a vital refuge for modern individuals, offering both physical and psychological respite. Through experimental intervention, this study examines two distinct residential groups: those adhering to traditional housing and those residing in characteristic folk houses, specifically Gannan Hakka architecture. Analysing the psychological state of contemporary (...) individuals and integrating Gannan Hakka architectural elements into folk house design through a psychologically informed approach, this research aims to enhance residents’ aesthetic experiences and alleviate psychological distress. The study involved 120 volunteers with varying psychological stress levels, categorised into characteristic and traditional folk house groups. Psychological assessments evaluated stress, self-efficacy, and quality of life. Findings reveal significantly improved psychological well-being, self-efficacy, and quality of life among the characteristic residential group, affirming the benefits of Gannan Hakka architecture integration. This research underscores the importance of addressing modern individuals’ environmental needs and proposes the integration of Gannan Hakka cultural elements into residential design to enhance well-being. Contribution: This study demonstrates the application of Hakka culture in contemporary housing profoundly influences residents’ lives, enabling both relaxation and a deeper cultural connection. This integration facilitates a comprehensive understanding of Hakka culture, promoting its preservation. Notably recognised for hospitality and diligence, Hakka culture enhances individuals’ appreciation of tradition, fostering physical and mental rejuvenation. These findings offer valuable insights for practical theology scholars and practitioners exploring the impact of religious aspects on modern residential design from a psychological perspective. (shrink)

Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting (...) that these were present in early sapiens and continue to influence human art making and aesthetic response today. Keywords: Aesthetic Mind; Neuroaesthetics, evolutionary aesthetics, cognitive aesthetics, evolution of art. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Throughout the twentieth century, critical art history often chose to ally itself with a restrictive brand of formalism. As a result, representation- and ideology-critical analyses regularly reduced the artwork to the bare bones (Hegel) of the material signifier in its social use. By contrast, in the texts assembled here, elements of a critical materialism are combined with an effort to reevaluate the meta-physical implications of modern abstraction and art since the 1960s. Taking Gilles Deleuze s readings of Spinoza, Nietzsche, (...) and Bergson as his starting point, the author delineates a topic in which the artwork s capacity for resistance is grounded in its relationship to an immanent infinity: the Spinozian substance, Nietzsche s Becoming, Bergson s duree. Against the backdrop of a critical rereading of Heidegger, this infinite dimension is interpreted in temporal and ontological terms as the vertical past of production, which can only be grasped in broken and technically encrypted form in the present shape and materiality of the artwork. Hence the notion of an aesthetics of production does not imply a nostalgia for the artisanal or for the artwork s singularity. The concept of production developed in this book aims at a realm that lies beyond finite representation but is still understood in materialist terms, and that threatens the circulation of positive, conceptually standardized knowledge. In case studies on Piet Mondrian, Marcel Duchamp, Thomas Hirschhorn, and Michael Asher and in framing essays on Kant and Nietzsche as well as Heidegger and Spinoza, this book articulates a concept of the artwork in the long modern era which takes account of the twentieth century s critique of metaphysics but without surrendering the truth claim of art and philosophy in favor of a culturalist and sociological relativism. ". (shrink)

But that which remains the poets have founded.In contemporary rhetorical theory, the relationship between rhetoric and art tends to be articulated in terms of aesthetics. This increasingly popular discourse on “aesthetic rhetoric,” however, is characterized by a remarkable diversity. The rhetoric of fiction, poetry, and other literary genres, for example, has been explored in these terms (e.g., Booth 1983), as has the rhetoric of film (Haskins 2003), photography (Hariman and Lucaites 2007), and even natural landscapes (Clark 2004). From a (...) different perspective, aesthetics has been distilled to a range of “features” or “elements” that a given text is said to possess. Nathan Crick and Jeremy Engels, for example .. (shrink)

This article identifies temporality as a constructed and elemental level of aesthetic experience, and exposes the elemental role of such aesthetic experience in the unfolding of contemporary Latin American liberatory thought. This particularly with regard to the sense of temporality that underlies the unfolding of the development of modernity, a development that occurs throughout the colonization of the Americas in the construction of a rational European ego cogito and its "other." Temporality in the westernizing linear sense figures a projective horizon (...) for the perception and understanding of existence and its coming. The key aim and meaning of all existence under this linear temporality is order and progress. However, ultimately in looking at Latin American thought and experience one finds a distinct sense of history and temporality beyond the possible determination of that sustaining westernizing European thought. In the recognition of distinct temporalities space-times open for rethinking modernity and the accompanying senses of humanity, life, freedom, and philosophical thought's issues and ways of articulating beings. (shrink)

Antoni Tàpies’ essays and interviews display how his conception of art is impregnated with an Oriental nondualistic aesthetics.1 I argue that, among them, the Chinese aesthetics of qi 氣 plays the most pivotal role and leaves an indelible imprint in his corpus. Tàpies’ encounter with this Asian thinking probably came through the translated writings of Laozi 老子, Confucius 孔子, Mencius 孟子, Zhuangzi 莊子, Mozi 墨子, and Lin Yutang 林語堂, among others, thanks to the publications of different Western-based Sinologists.2 (...) However, instead of the term qi, Tàpies was prone to using the words “energy” or “spirit” to designate this element, which he understood as a cosmological principle and force, as was mentioned... (shrink)

v. 1. Aesthetic beauty & bliss in Indian literature & philosophy -- v. 2. Two streams of Indian Art. pt. 1. History, thoughts, and canon of Indian iconography -- pt. 2. The Tāntrika iconography -- pt. 3. Indian gesturology -- pt. 4. Primitive arts, crafts, and ālpanā.

The subject of the study is the aesthetics of early Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, focusing special attention on the principles of the beautiful and sublime in art. Schlegel considers beauty, like morality, to be inherently inherent in a person who, along with the moral, has an "aesthetic imperative". As a "transcendental factor", beauty is based on disinterested pleasure and represents an ideal that ancient Greek art approached at one time, (...) and the aspiration for which modern art lacks so much. The highest beauty is organic like nature; two main "elements" make up the essence of beauty: "phenomenon" and "good". The beautiful in its broad sense also encompasses the sublime. Schlegel pays special attention to the ugly as an aesthetic category opposed to the beautiful and sublime, and gives an outline of the future theory of the ugly. He connects the ugly with the animal nature of man and shows that it is based on the disgusting, painful, monstrous, "beggarly chaos" of being, manifesting an absolute denial.  The central aesthetic principles – the beautiful and the sublime – are opposed by two types of the ugly: the own ugly and the "sublimely ugly". Schelling considers art to be one of the main components of culture as a humanitarian factor and sees three types of culture: natural, organically growing on the basis of mythology, artificial, created on the basis of reason according to aesthetic laws and aesthetic, which means a special emphasis in culture on aesthetic essence, on artistry. Schlegel is convinced that further positive development of culture and art is possible only under the guidance of the "correct" aesthetic theory, the beginnings of which he learns from his contemporaries. (shrink)

Agriculture is a serious contributor to pollution and other environmental harms, making it an important site of action for the development of environmentally friendly products and practices. However, farmer adoption of such options is varied and dependent on a wide range of factors including the visual appeal of sustainable farming. Recent studies have shown that negative aesthetics related to more environmentally friendly ways of farming can delay or prevent adoption of such practices. Drawing on the concepts of good farming, (...) cultural capital, and the aesthetics of waste, this paper aims to assess the status of biodegradable plastic mulch in relation to a range of alternative and conventional specialty crop growers’ aesthetic perceptions. BDM has the potential to significantly reduce non-biodegradable polyethylene mulch waste, thus addressing serious environmental and human health concerns. However, the aesthetics of BDM may present a challenge. BDM looks identical to PE plastic, and its degradation throughout the season results in scraps in the soil. To investigate aesthetics as a possible barrier to BDM adoption, we conducted five photo-elicitation focus groups with specialty crop growers in Washington State. Results indicate that alternative growers are slightly more adverse to the aesthetics of BDM, especially because of its ‘plastic’ appearance. Conventional growers had higher rates of BDM adoption, even though they felt a strong aesthetic aversion to the messy nature of BDM degradation. Confidence in the product, particularly as a result of education and experience, was believed to be the key to overcoming this negative aesthetic. Study participants offered a variety of ways to enhance the acceptability of BDM, such as making the mulch brown instead of black. These findings have wider implications for the acceptance and adoption of practices that, although environmentally friendly, have an unattractive visual element. (shrink)

This paper examines the varied cultural meanings of computer game play in competitive and professional computer gaming and live-streaming. To do so it riffs off Andrew Feenberg’s 1994 work exploring the changing meanings of the ancient board game of Go in mid-century Japan. We argue that whereas Go saw a de-aestheticization with the growth of newspaper reporting and a new breed of ‘westernized’ player, the rise of professionalized computer gameplay has upset this trend, causing a re-aestheticization of professional game competition (...) as a result of the many informal elements that contribute to the successes, and public perceptions, of professional players. In doing so we open up the consideration of the aesthetics of broadcasted gameplay, how they reflect back upon the players and the game, and locate this shift historically and culturally within the last two decades of computer games as a creative industry, entertainment industry, a media form, and as an embodied practice. (shrink)

Throughout his career, Alexis de Tocqueville was deeply concerned about the replacement of public-minded politics by materialistic egoism in modern democratic societies. Though there is a substantial literature on his response to democratic materialism, the poetic aesthetic category of the ideal and beautiful has been rarely discussed as a major element of his remedy for the crisis. Contrary to a common scholarly assumption, this article argues that Tocqueville conceived democratic individuals’ poetic taste for the ideal and beautiful as a key (...) source of materialistic democracy’s political redemption. Focusing on his poetic idealisation of the French revolutionaries of 1789, the article recovers a branch of his political aesthetics according to which the beauty of a heroic moral ideal inspired by revolutionary political actors can play a significant role in generating public-spirited politics in a democratic society. Unlike contemporary neo-Tocquevillian scholars who tend to privilege the language of interest or duty in reinvigorating the public life of liberal democracy, Tocqueville believed in an alternative strategy premised on the essentially poetic nature of democratic citizens. (shrink)

Aesthetic discourse has always openly or secretly been linked to political projects. According to some main strands of aesthetic discourse modern aesthetics mirrors the structure of social and political emancipation and key elements of aesthetic discourse coincide with the political ontology of the left. Marxist and Post-Marxist critics have emphasized that the struggle for emancipation is indirectly present in the historical constitution of aesthetics as a discipline – although in a merely imaginary and displaced form. Therefore, however, (...) it is also partly of the same structure as what is normally described as “aesthetic”. Against this background aesthetic attributes (‘beauty’) can be ascribed to forms of emancipatory politics as well. (shrink)

In order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film director Michelangelo Antonioni. From the perspective of this present study, the decisive role of semiotics in relation to photography is that it promotes an interactive process between artist and spectator. The methodology employed (...) in this study to demonstrate how previous systems of language inspire a semiotic dialogue and produce multiple interpretations is a combination of Umberto Eco’s concept of open work and French narratological theories of hypertextuality. Through an examination of the Italian cinematic influence in the work of Miles Aldridge, this paper demonstrates how generating interpretations becomes an essential element of a photograph’s aesthetics. (shrink)

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to (...) create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. (shrink)

In this research we will examine the paradox nature of self-reference. This concept appears in the form of pure feedback loops in language and mathematics and naturally extends towards many different domains such as biology, sociology, art and philosophy. The basic elements of human experience show the manifestations of such loops. Their results are noticeable in internal or external, mental or body processes. Our interest with these loops focuses on the domain of brain processes in observing, thinking and interpreting (...) as it is meticulously analysed in the books Gödel Escher Bach and I Am a Strange Loop. Through the interactive artistic experiments ‘Ouroboros VR Self-Reference Apparatus’ by John Bardakos (2015) and ‘Anima’ by Elhem Younes (2016) we explore applied and theoretical concepts and experiences in logic, dream aesthetics and the human creativity. These experiments were conducted using ‘perception’ as a natural model of aesthetics generator via self-reference. Within this model, the loops were enriched with an artistic metamorphose of data from measurements of the human space to the aesthetic objects in the virtual space. Through the quantifiable perception feedback loop and the digital interaction, the spectator changes his role and becomes an active artist expressing himself or herself to a digital output with the support of data. The now post-conscious artist, with the use of visual and audio-visual tool sets, observes the fusion of art technology and aesthetics being transformed into basic elements that form consciousness. (shrink)

Against a remarkable hardware oblivion in discussions of algorithmic intelligence, this article insists that algorithmic thought, or abstract computation, cannot be separated from its technological implementation. It requires a material medium for an abstract mechanism to become a procedural event. Temporality is both the condition and the limiting (and irritating) factor in the computational function. ‘Radical’ media archaeology is proposed as a method for such an analysis, and the neologism of techno lógos to describe some aspects of algorithmic reason which (...) only unfold in the moment of its techno-processual coming-into-being. Some core operations, such as the time-discrete rhythm of actual computing algorithms, are discussed, where the ‘tempoReal’ flashes up in computing. In a wider sense, the time-discreteness of digital computing is related to an aesthetics of existence which acknowledges the machine element within human reasoning itself, while at the same time re-actualizing previous cultural techniques of non-narrative chronology. Turing the ‘man’ himself, in the sense of the Turing machine, can be addressed ‘itself’, in its archival sense as a sequence of expressions by symbols. (shrink)

Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure as an (...) aesthetic category, eldritch Priest shows failure to be a duplicitous concept that traffics in paradox and sustains the conditions for magical thinking and hyperstition. Framing recent experimental composition as a deviant kind of sound art, Priest explores how the affective and formal elements of post-Cagean music couples with contemporary culture's themes of depression, distraction, and disinformation to create an esoteric reality composed of counterfactuals and pseudonymous beings. Ambitious in content and experimental in its approach, Boring Formless Nonsense will challenge and fracture your views on failure, creativity, and experimental music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the (...) heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

Nicola Perullo's Taste as Experience draws on the author's philosophical background and his experience as a professor of aesthetics at a culinary institute. He aims to understand the experience of taste, analyzing it into three 'modes of access': pleasure, knowledge, and indifference. His perspective, influenced by Dewey, illuminates various elements of taste, eating, and drinking.

This book offers a powerful, comprehensive and compelling rereading of Hobbes's theory of representation, by reinstating it in a wider pattern of Hobbes’s theorizing about human thought and action in relation to images, roles and fictions of various types.

Through the concept of enjoyment in Levinas, this paper examines the phenomenological and ontological dimension of everyday aesthetics. Enjoyment, in Levinas, forms an essential element in the constitution of the subjectivity of the human being and is no longer to be seen as a moment of ‘inauthenticity’ or ‘alienation’. The experience of the objects of everyday experience is not related to that of objects of representation or of tools, but rather to that of a system of nourishment into which (...) the subject is integrated, as in an ‘element’ or ‘atmosphere’. This constitutive closeness of enjoyment indicates the fundamental difference between what we understand as everyday aesthetics and other aesthetics characterised by contemplation or disinterest. (shrink)

Through the concept of enjoyment in Levinas, this paper examines the phenomenological and ontological dimension of everyday aesthetics. Enjoyment, in Levinas, forms an essential element in the constitution of the subjectivity of the human being and is no longer to be seen as a moment of ‘inauthenticity’ or ‘alienation’. The experience of the objects of everyday experience is not related to that of objects of representation or of tools, but rather to that of a system of nourishment into which (...) the subject is integrated, as in an ‘element’ or ‘atmosphere’. This constitutive closeness of enjoyment indicates the fundamental difference between what we understand as everyday aesthetics and other aesthetics characterised by contemplation or disinterest. (shrink)

In both politics and art in recent decades, there has been a dramatic shift in emphasis on representation of identity. Liberal ideals of universality and individuality have given way to a concern with the visibility and recognition of underrepresented groups. Modernist and postmodernist celebrations of disruption and subversion have been challenged by the view that representation is integral to social change. Despite this convergence, neither political nor aesthetic theory has given much attention to the increasingly central role of art in (...) debates and struggles over cultural identity in the public sphere. -/- Connecting Hegelian aesthetics with contemporary cultural politics, Jason Miller argues that both the aesthetic and political value of art are found in the reflexive self-awareness that artistic representation enables. The significance of art in modern life is that it shows us both the particular element in humanity as well as the human element in particularity. Just as Hegel asks us to acknowledge how different historical and cultural contexts produce radically different experiences of art, identity-based art calls on its audiences to situate themselves in relation to perspectives and experiences potentially quite remote—or even inaccessible—from their own. Miller offers a timely response to questions such as: How does contemporary art’s politics of perception contest liberal notions of deliberative politics? How does the cultural identity of the artist relate to the representations of cultural identity in their work? How do we understand and evaluate identity-based art aesthetically? -/- Discussing a wide range of works of art and popular culture—from Antigone to Do the Right Thing and The Wire—this book develops a new conceptual framework for understanding the representation of cultural identity that affirms art’s capacity to effect social change. (shrink)

This essay brings together critical perspectives from the discrete traditions of artists’ books and the medical humanities to examine artists’ books by three contemporary artists – Penny Alexander, Martha A. Hall and Amanda Watson-Will – that treat experiences of illness and wellbeing. Through its focus on a multimodal and multisensory art form that has allegiances with, but is not reduced to, narrative, the essay adds to recent calls to rethink key assumptions of illness narrative study and to challenge utilitarian approaches. (...) In particular, it draws attention to the aesthetic and imaginative elements of illness communication by exploring how artists’ books represent lived experiences in a distinctively palpable way and offer an “intimate authority” that extends beyond narrative legitimacy or a form of struggle against the medical gaze. By interrogating narrative’s dominance in medical humanities research, the essay further expands awareness of illness experiences that resist conventional forms of representation (such as chronic illness), and of alternative reflective practices within healthcare education that encourage engagement with both mind and body. (shrink)

This book examines the ways that Heidegger, Lacoue-Labarthe, and Nancy adopt and reconfigure the Kantian understanding of "aesthetic presentation." In Kant, "aesthetic presentation" is understood in a technical sense as a specific mode of experience within a typology of different spheres of experience. This study argues that Heidegger, Lacoue-Labarthe, and Nancy generalize the elements of this specific mode of experience so that the aesthetic attitude and the vocabulary used by Kant to describe it are brought to bear on things (...) in general. The book goes beyond documenting the well-known influence of Kant's Critique of Judgment , however, to open up a new way of approaching some of the central issues in post-Kantian thought—including why it is that art, the art work, and the aesthetic are still available as a vehicle of critique even, or especially, after Auschwitz. It shows that a genealogy of contemporary theory needs to look at the question of presentation, which has arguably been a question that has worried philosophy from its very beginning. (shrink)

Is it possible to be both modern and tragic? Kierkegaard’s modern Antigone, the figure he creates as an exemplar of the modern tragic, is generally taken to be an endorsement of the tragic as an aesthetic ideal, but this overlooks the cautionary elements in Kierkegaard’s essay, “The Tragic,” in Either/Or. Tracing the limits he imposes, I argue that Kierkegaard is acutely aware that his Antigone, the heroine he puts forward, is trapped precisely by her desire to be a tragic (...) figure, which in turn forces a sacrifice of who she is. (shrink)

Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet perhaps (...) more difficult to assess: that he should gain permission to interrupt an unspeakably cruel and final punishment, an essentially hopeless…. (shrink)

Balthazar-Georges Sage (1740–1824), a chemist, mineralogist, and the founder of the École Royale des Mines (1783), owned two mineral collections: a mineralogy collection used for his research and teaching, which later became the property of the École Royale itself; and a private cabinet of objets d'art, consisting largely of artistically worked mineral objects. Although created for different purposes, Sage valued both for their utility and their aesthetics. This paper explores the dual character of the collections by presenting Sage as (...) a man of science and an art lover. It argues that his lifelong concern with aesthetics was the underlying link between the two collections, his teaching practices, and his aim in founding of the École Royale des Mines to improve France's mining industry. Through aesthetics, Sage sought to build a coherent whole, which he referred to as a “national monument,” consisting of the collections, the school, and his work as a teacher and a mineralogist. In the years leading up to the French Revolution, the collections—a central part within this coherent whole—were the key element in establishing the social identity of the new institution as well as that of Sage himself. In the context of political upheaval, the social, economic, and aesthetic value of the collections became tied to the political aims of the republic, in particular, its interest in building the new nation through its heritage as conserved in its national monuments: the new republican museums. Sage used the term museum to define both collections: this analysis of their relationship and the different functions he attributed to them reveals how profoundly collecting practices were changing in revolutionary and post-revolutionary France. (shrink)