A scientific theory, in order to be accepted as a part of theoretical scientific knowledge, must satisfy both empirical and non-empirical requirements, the latter having to do with simplicity, unity, explanatory character, symmetry, beauty. No satisfactory, generally accepted account of such non-empirical requirements has so far been given. Here, a proposal is put forward which, it is claimed, makes a contribution towards solving the problem. This proposal concerns unity of physical theory. In order to satisfy the non-empirical requirement of (...) unity, a physical theory must be such that the same laws govern all possible phenomena to which the theory applies. Eight increasingly demanding versions of this requirement are distinguished. Some implications for other non-empirical requirements, and for our understanding of science are indicated. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

One of the distinctive features of Hume's presentation of disinterested aesthetic pleasure in the Treatise is its basis in sympathy as the communication of sentiment between a spectator and specifically an owner of a beautiful object. By tracking the recurring example of the beautiful house, which properly provides pleasure only to the owner who dwells in it, I reconsider the operation of sympathy in relation to property. My central argument is that sympathy underwrites the disinterested sociality of judgments of taste (...) for Hume not by enabling the spectator to feel a pleasure that corresponds to the owner's pleasure in beauty but rather by rendering this pleasure as a sentiment that does not originally belong to anyone and does not exist prior to its sympathetic communication. (shrink)

A new philosophical analysis is provided of the notorious Sleeping Beauty Problem. It is argued that the correct solution is one-third, but not in the way previous philosophers have typically meant this. A modified version of the Problem demonstrates that neither self-locating information nor amnesia is relevant to the core Problem, which is simply to evaluate the conditional chance of heads given an undated Monday-or-Tuesday awakening. Previous commentators have failed to appreciate the significance of the information that Beauty (...) gains upon waking, and which is relevant to the conditional chance of heads: de re acquaintance with the awakening itself and the non-locating knowledge that it is an experimental awakening. David Lewis and company are committed to several unjustifiable and unacceptable probability assessments. Previous commentators have in effect confused the information that Beauty undergoes this particular experimental awakening for the information that she undergoes some experimental awakening or other. Lewis in particular thereby illegitimately tips the scales both in favor of heads and in favor of Monday. The Sleeping Beauty Problem is equivalent to a ball-in-urn word problem in elementary probability theory. (shrink)

The arithmetical -- Tripartite city, tripartite soul -- The one, the two, and the three -- The arithmetical character of Kallipolis -- Eros -- Intimations of Eros -- The three waves -- Kallipolis v. The republic -- Democracy, psychology, poetry -- Democracy -- Narrative psychology -- Psychological narrative -- Appendix -- The meaning of "dialectical" -- The technical meaning of "dialectic" -- The non-technical of "dialectic" -- Dialectic in The republic.

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common (...) view that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non-conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

Adam Elga takes the Sleeping Beauty example to provide a counter-example to Reflection, since on Sunday Beauty assigns probability 1/2 to H, and she is certain that on Monday she will assign probability 1/3. I will show that there is a natural way for Bas van Fraassen to defend Reflection in the case of Sleeping Beauty, building on van Fraassen’s treatment of forgetting. This will allow me to identify a lacuna in Elga’s argument for 1/3. I will (...) then argue, however, that not all is well with Reflection: there is a problem with van Fraassen’s treatment of forgetting. Ultimately I will agree with Elga’s 1/3 answer. David Lewis maintains that the answer is 1/2; I will argue that cases of forgetting can be used to show that the premiss of Lewis’s argument for 1/2 is false. (shrink)

The challenge of teaching classic religious texts with flawed moral messages from a contemporary point of view is examined in the case of the Beautiful Captive of War (Deuteronomy 21:10–14). A moral dilemma is generated by contradictory ethical stands within the Jewish tradition, between which students have to choose. This dilemma is explored in the context of a kind of religious education which strives for critical commitment to sacred tradition. That kind of education is analysed for its roots in self‐persuasion, (...) moral agency in complex social settings and an educational philosophy based on norms and conscience. Other issues explored are sexual education, international human rights, the relationship of abstract moral vignettes to real‐life situations and behaviour and the relationship of religious to moral education. (shrink)

Hegel has identified what I have preemptively designated a third aesthetic realm--in addition to natural beauty and artistic beauty--one greatly connected with human life . . . art applied to the enhancement of life . . . But the other border of what I shall designate the Third Realm is equally non-exclusionary, especially when we consider what Hegel singles out under the head of beautiful people--the kind of beauty possessed by Helen of Troy, say, which we must (...) suppose a wonder of nature. But Helen's choice of hairstyles, makeup, or garments would have belonged to the Third Realm, since it would have been chosen for enhancement, like the setting of a jewel. (shrink)

: Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus on (...) the artistic act itself, on its formal features, and its effects on us as the perceiver. Thus, a representation that evokes the mixed feelings of pleasure, appreciation, and rejection is superior to ‘pure’ beauty, in that it better refers us to higher forms of perfection: the perfection of the perceiving and creative subject. It is the nagging, near-painful impression of mixed sentiments that, according to Mendelssohn, guides our self-perfection, the highest aim of all human endeavors. (shrink)

Aesthetics in philosophy of mathematics is too narrowly construed. Beauty is not the only feature in mathematics that is arguably aesthetic. While not the highest aesthetic value, being interesting is a sine qua non for publishability. Of the many ways to be interesting, being explanatory has recently been discussed. The motivational power of what is interesting is important for both directing research and stimulating education. The scientific satisfaction of curiosity and the artistic desire for beautiful results are complementary but (...) both aesthetic. (shrink)

In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a (...) thought from Frank Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kinds of lives we live. I show how we might think that a variety of aesthetic affect represents its object as embodying life-affirming value and as such we can see a variety of aesthetic affect as a kind of love of life. It remains to be seen whether this can be leveraged into a theory of beauty narrowly construed. (shrink)

Kant often seems to suggest that a cognition – whether an everyday cognition or a scientific cognition – cannot be beautiful. In the Critique of Judgment and the Lectures on Logic, he writes: ‘a science which, as such, is supposed to be beautiful, is absurd.’ (CJ 184 (5:305)) ‘The expression "beautiful cognition" is not fitting at all’ (LL 446 (24:708)). These claims are usually understood rather straightforwardly. On the one hand, cognition cannot be beautiful since on Kant’s account, it is (...) all about concepts whilst beauty is defined by its non-conceptual nature. On the other hand, beauty cannot contribute to cognition since the former is grounded on subjective feelings whilst cognition is all about objective knowledge. However, I will argue that Kant’s view of the relationship between cognition and beauty is not as straightforward as it may seem, and that both of these claims are in fact false. As I will show, cognition can be beautiful, and the feeling of beauty is cognitively valuable. Yet it is not because beauty is a sign of the truthfulness of a theory. Nor is it because the process that gives rise to the feeling of beauty, the free play, furthers scientific progress. Rather, it is because the experience of beauty stimulates our cognitive powers and thereby enhances our cognitive activity. On this basis, contrary to what is usually thought, cognition can, and in fact should, be beautiful for Kant. (shrink)

Background: Previous studies have investigated the effects of dance interventions on Parkinson’s motor and non-motor symptoms in an effort to develop an integrated view of dance as a therapeutic intervention. This within-subject study questions whether dance can be simply considered a form of exercise by comparing a Dance for Parkinson’s class with a matched-intensity exercise session lacking dance elements like music, metaphorical language, and social reality of art-partaking.Methods: In this repeated-measure design, 7 adults with Parkinson’s were tested four times; before (...) and after a Dance for Parkinson’s class, as well as before and after a matched-intensity exercise session. Physiological measures included heart rate and electrodermal activity. Self-reported affect and body self-efficacy were collected. Gait symmetry and dual task cost were analyzed using the 6 min walking test and Timed-Up-and-Go test, respectively.Results: Average heart rate was the same for both conditions, while electrodermal activity was higher during Dance for Parkinson’s. Significant differences were found in body self-efficacy, beauty subscale, symmetry of gait, and dual task performance.Conclusion: Dance, compared to an exercise intervention of matched intensity, yields different outcomes through the means of intrinsic artistic elements, which may influence affective responses, the experience of beauty, self-efficacy, and gait performance. (shrink)

The Stoa might be not the first philosophical school that comes to mind when considering the most important ancient contributions to aesthetics, yet multiple extant fragments show that the Stoics had a non-marginal theoretical interest in aesthetic properties. Probably the most important piece of evidence for the Stoic attempts to theorize beauty is the definition of beauty as summetria of parts with each other and with the whole. In the first half of this article, I present and analyse (...) the main evidence for this definition. Then I discuss Plotinus' critique of the definition and argue that it contains some pertinent remarks that, with support of additional evidence, lead to the conclusion that the Stoics conceptualized aesthetic properties as supervening on functional composition. (shrink)

How is the painter’s body related to the process of making a beautiful brush stroke? Those interested in this question will benefit from Jianping Gao’s findings, in The Expressive Act in Chinese Painting, a book that presents the aesthetic ideas of Chinese literati painters and art critics. Gao’s assigns five features to the actual practice of painting that results in the making of brush strokes that literati audiences would call “naturally beautiful.” These five are the interaction of idea and body, (...) the concentration on paper, the suspension of the perception of natural objects, the emergence of a “pure self”, and the intersection of self with nature. I begin with the practice of concentration on paper and find that the literati painter observes the whole of the visible paper. After that, I introduce Maurice Merleau-Ponty’s late writings on the flesh of the body that belongs to the working painter. By developing the idea of an innate, interior whole of visibility, which persists through fleeting perceptions and Gestalts, Merleau-Ponty offers us a way to describe the individual painter’s innate corporeality, the transformation of thepainter, and intimate contact with nature. With Merleau-Ponty’s term “flesh of the body,” I return to interpret the five features of the literati process of making naturally beautiful strokes. I conclude that the literati writings help to reshape present-day aesthetics, and I note the philosophical language for a non-physical corporeality helps us appreciate the ideas of Chinese literati painters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beauty in the Context of Particular LivesPauliina Rautio (bio)IntroductionThere is a village in the north of Finland with some thirty inhabitants. While the villagers do not lead the idyllic lives that are sold as images to tourists, they also do not lead lives of depression, alcoholism, poverty, and seclusion—an image generated by research results from the likes of National Research and Development Centre for Welfare and Health. The (...) ill-being of rural northern villages is well documented in large-scale quantitative research,1 but qualitative research on the actual well-being, of what is already good and fulfilling, is scarce.In this paper I present a research project in education in which I have collected the data through a year-long correspondence with four participants from a small village. Letters in this correspondence were exchanged once a month in a way that everyone read everyone’s letters. I asked the participants to write about beauty. The aim of this research has been to find out what kind of place beauty, as defined by the participants themselves, holds in the their everyday lives. In this paper I will discuss some challenges of researching everyday beauty empirically. I will also concentrate on selected findings that highlight the importance of context in discussing experiences and use of beauty.Everyday life2 has been characterized in research by concepts such as “time,” “space,” “rhythm,” and “bodily movement.”3 These concepts embrace an idea of a continuum and refer to everyday life as subjectively experienced and actively engaged in. Everyday life is a contextual process but one that nevertheless defies definitions bound in time and space. This is because as subjectively experienced, it entails simultaneously the past, the present, and the future as necessary for the managing of it. By managing of everyday life I mean a practice that consists of constant reflection, evaluation, and steering, but one that we are mostly unaware of engaging [End Page 38] in. We are in a way creating our everyday lives as we go. This makes the everyday a subjective construct instead of an objectively definable unit such as “a Monday.” And so, instead of an attempt to tame the very vague notion of “everyday” as something universally shared,4 this research delves into particular individuals’ everyday lives as uniquely managed continuums. And to strike a rare positive chord to research on rural northern villages, I have chosen aesthetics, the notion of beauty in particular, as the vantage point to this making of everyday.I’m aligning with Ludwig Wittgenstein and quoting Katya Mandoki in stating that “beauty is a linguistic effect used by a particular subject to describe personal experiences and social conventions... a linguistic categorisation of a non-linguistic experience.”5 And despite the ambivalence that surrounds beauty as a concept in scholarly discussion, it is to be noted that it has remained in constant use in everyday conversation of common experience. When commonly used, “beautiful” still signals admiration, excellence, and that which is desirable.6 Beauty is therefore future-oriented, bringing about replication, distribution, and a wish to protect.7 As such a concept and a word of everyday use, “beauty” orients us to concentrate on the desirable in our lives at present. In doing so it guides us to evaluate this desirableness in light of the past and commits us to replicate and protect it for the future. Embedded in the use of the concept of beauty is thus a continuum of evaluating one’s relation to her surroundings. As beauty is not a quality of objects in themselves but an effect of the relation between the experiencing subjects and certain objects,8 it is not the objects of everyday beauty that I explore but the relation of particular people to their everyday life environments through ways of using and expressing beauty.The significance in thinking of beauty as something we create and use rather than something that exists objectively is in the realization that we can change what we find beautiful. Beauty as used by a particular subject is not fixed but changes and mirrors the changing of that subject herself. In realizing beauty this way, it becomes a... (shrink)

The moral commonly drawn from Zhuangzi’s butterfly dream is that there is no distinction between the subjectivity of the dreamer and the awake. It is, however, tenuous to incorporate this insight into an overall view of Zhuangzi, whether as a perspectival relativist, a mystic, or an anti-rationalist, just to name the more popular positions. The parable, despite its brevity and clarity, is difficult because the assertion about metaphysical distinction in the last two lines does not cohere with the preceding text (...) about knowledge. To cope with this problem, there are recent interpretations that advocate textual revision or adumbrate a non-skeptical Zhuangzi. In this article, I shall evaluate these strategies and explain the discrepancy in understanding the butterfly dream. Besides employing the concept of self-locating belief to account for the paradox of waking and not-knowing, I shall also argue for an epistemic grounding of the metaphysical distinction. (shrink)

This article presents a critical analysis of Disney's animated film and stage production of Beauty and the Beast, especially of the heroine, Belle, within a more general and brief historiography of the fairy tale. It is argued that Disney's version displaces the heroic focus from Belle to Beast, while also narrating a response to feminism that involves compressing feminist ideology into conventions of popular romance. The broader representation of femininity in Disney is also examined with reference, particularly, to Snow (...) White and the Seven Dwarfs, and with reflections also on non-fictional characters from media with a relationship to Disney, specifically, Diana Princess of Wales, Lillian Disney and Ellen DeGeneres. Teresa de Lauretis's `elsewhere of vision' is introduced to disrupt and rewrite the domesticating effects of Disney's feminism on its heroines. (shrink)

Inspired by the Monty Hall Problem and a popular simple solution to it, we present a number of game-show puzzles that are analogous to the notorious Sleeping Beauty Problem (and variations on it), but much easier to solve. We replace the awakenings of Sleeping Beauty by contestants on a game show, like Monty Hall’s, and increase the number of awakenings/contestants in the same way that the number of doors in the Monty Hall Problem is increased to make it (...) easier to see what the solution to the problem is. We show that these game-show proxies for the Sleeping Beauty Problem and variations on it can be solved through simple applications of Bayes’s theorem. This means that we will phrase our analysis in terms of credences or degrees of belief. We will also rephrase our analysis, however, in terms of relative frequencies. Overall, our paper is intended to showcase, in a simple yet non-trivial example, the efficacy of a tried-and-true strategy for addressing problems in philosophy of science, i.e., develop a simple model for the problem and vary its parameters. Given that the Sleeping Beauty Problem, much more so than the Monty Hall Problem, challenges the intuitions about probabilities of many when they first encounter it, the application of this strategy to this conundrum, we believe, is pedagogically useful. (shrink)

Notions of space and place are often used interchangeably in everyday speech, but they are distinguished both conceptually and historically. When put in relation to space and place, beauty reveals all its vitality and ties to socio-political issues, like: why do we consider a place beautiful and another place ugly? How do taste judgments about places influence planning, tourism, heritage policies, urban, and landscape architecture? I will develop my argument in four points. First, I will shortly pin down the (...) main tenets of a concept of beauty that is inherently spatial, by rephrasing Roger Scruton’s insights on the beautiful and Ed Casey’s notion of ‘implacement’. Second, I will address the interconnection between the modern emergence of a quantitative and objectivist concept of space and a non-relational idea of beauty. Third, I will expose the relationship between the concept of place, idiographic and qualitative, and the emergence of a site-specific, phenomenologically based concept of beauty. In conclusion, I will show how non-relational conceptions of beauty risk to colonize aesthetic experience and I will take a stand for a relational conception of beauty against the risk of standardization of both landscape appreciation and planning. (shrink)

The paper aims at connecting the concepts of beauty and possession, traditionally coupled with the male gaze, with eros as felt by women, by homosexuals, and by those who do not identify with a defined gender. First, I will outline the concepts of beauty and possession according to “male thinking”, well formulated by Freud, Plato, Levinas, and Sartre. I will show that, in Western tradition, beauty is seen from a masculine perspective, as a set of charms arousing (...) the subject and stimulating his will to possess. The erotic relationship is consequently considered in a dualistic way: the subject is masculine and active, and desires his “object”, who can be either a man or a woman. However, the mentioned authors also highlight a crucial point: desire is doomed to be unfulfilled, because the transcendence of the other person is ungraspable. I will argue that, despite the latter point, such authors bring forward a reductionist view of eros and relationships between genders. I will suggest a solution to this reductionism, taking inspiration from the concepts of gender performativity, theorized by Butler, and queer orientation, developed by Ahmed. I will also propose to rely on Merleau-Ponty’s idea of the flesh, especially as it concerns its features of reversibility and divergence, in order to give account of every gender identity, including non-binary ones. The concepts of beauty and possession, together with the impossibility to grasp the transcendence of the other person, will not be rejected, but reconfigured through a different way of conceiving subjectivity. (shrink)

Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different (...) but related accounts have appeared, both of which address the above issues. On the one hand, James McAllister has argued that aesthetic criteria in science reflect scientists' judgements about what kind of theory is most likely to be empirically successful, based on the relative empirical success and failure of different kinds of theories in the past. Scientists employ what McAllister dubs "the aesthetic induction". On the other hand, I have argued that we need to see science as making a hierarchy of metaphysical assumptions about the comprehensibility and knowability of the universe, these assumptions asserting less and less as one ascends the hierarchy. One of the more substantial of these assumptions is that the universe is physically comprehensible. The key non-empirical feature a body of fundamental theories in physics must possess to be acceptable is unity. The better such a body of theory exemplifies the metaphysical thesis that the universe is physically comprehensible, in the sense that it has a unified dynamic structure, so the more acceptable such a body of theory is, from this standpoint. This affects not just theoretical physics, but the whole of natural science. In this paper I compare and contrast, and try to assess impartially the relative merits of, these two views. (shrink)

Emmanuel Levinas’s doubts about the ethical value of artistic beauty have been widely acknowledged by the vast majority of Levinas’s commentators. However, though it is true that in “Reality and Its Shadow” Levinas persistently rebukes artistic beauty for its nonethicality, it is undeniable that he at least upholds the value of artistic criticism and modern literature. In this article I intend to relate Levinas’s exploration of the possibility of spiritual–ethical teaching in literature to Immanuel Kant’s reflections on the (...) relation between the feeling of beauty, that of sublimity, and sensible feeling in his third Critique. This up-close comparative examination fosters understanding of Levinas’s religious and philosophical approach to the sublime elements in some literary works, especially those of Fyodor Dostoevsky. (shrink)

Paul de Man calls for rhetorical reading attentive to the materiality of language and the metaphorical nature of all words and concepts. He insists that tropes are purely cognitive and devoid of any aesthetic function, and describes language as mechanical and non-human. He contests Schiller’s account of aesthetic education, in which the ‘aesthetic state’– enjoyment of beauty or pure aesthetic form – leads man to truth and moral freedom. He links Schiller’s advocacy of pure form with the idea in (...) Kleist’s short story about marionette theatre that human perfection in dance can best be achieved by mechanization and mutilation. Schiller argued that the ideal man is represented by the State; de Man quotes Goebbels on how the statesman is an artist who ‘mechanizes’ the masses and shapes an aesthetic State out of the people, just as artists shape their material. But even though the Nazis aestheticized politics, the essence of fascism remains power rather than language or form. Whether or not the late de Man’s account of the aesthetic is a consequence of his wartime espousal of an implicitly fascist notion of aesthetic totality, the aesthetic is not as inherently dangerous as he describes it. (shrink)

The most lucid and penetrating survey of classical Indian philosophy in the Tibetan language. Beautiful Adornment of Mount Meru by Changkya Rolpai Dorje (1717-86) is a work of doxography, presenting the distinctive philosophical tenets of the Indian Buddhist and non-Buddhist schools in a systematic manner that ascends through increasingly more subtle views. It is a Tibetan corollary to contemporary histories of philosophy. The "Mount Meru" of the title is the Buddha's teachings, and Changkya's work excels in particular in its treatment (...) of the two Mahayana Buddhist schools, the Yogacara (here called the Vijñaptimatra) and the Madhyamaka. Unlike Jamyang Shepa's (1648-1722) much longer Great Exposition of Tenets, which was one of the key sources and inspirations for Changkya, Beautiful Adornment is often praised for the clarity of its prose and its economical use of citations from Indian texts. At the same time, like Jamyang Shepa's work, Changkya's text is not simply a catalog of assertions; it skillfully examines core philosophical issues, including a number of intriguing ancillary discussions. Also like Jamyang Shepa's text, Changkya's is very much a Geluk work, drawing heavily on the works of Tsongkhapa and his disciples. The manageable size of Beautiful Adornment and, more importantly, its lucid literary style, made this work the classic source for the study of Indian thought, used by students the across Tibetan cultural sphere. In contemporary academic circles, it has also been a central source for studying the Tibetan interpretation of the classical Indian philosophical systems. (shrink)

Scientific observation has led to the discovery of recurring patterns in nature. Symmetry is the property of an object showing regularity in parts on a plane or around an axis. There are several types of symmetries observed in the natural world and the most common are mirror symmetry, radial symmetry, and translational symmetry. Symmetries can be continuous or discrete. A discrete symmetry is a symmetry that describes non-continuous changes in an object. A continuous symmetry is a repetition of an object (...) an infinite number of times. A consequence of continuous symmetry is the existence of conservation laws. A natural system with discrete and continuous symmetries displays several physical properties, such as the existence of long-range order. Geometric shapes exhibit symmetry as mirror reflections of each other. Symmetry in nature has been a model of beauty since the beginning of civilization. Since the earliest times, nature itself has manifestly been a model, evincing regularity in sundry forms and occurrences–from minerals and plants to the anatomy of living beings, to the regularly recurring stellar constellations. For Ancient Greek philosophers, proportion, symmetry, and harmony, were the basics to determine whether something is beautiful or not. Ancient Greek philosophers were known for bringing logic and rational thinking to phenomena that were previously explained by mythology and Gods. They observed the natural world around them and used their knowledge to answer questions about the proportion in observable objects and the origin of Earth. The Greek words _summetria_ and _summetros_ appear frequently in the Timaeus, defined as parts with each other and with the whole. Plato has a very rough concept of symmetry, and when he uses “beauty” to characterize the so-called Platonic Solids in the Timaeus, he seems to be emphasizing their regularity and indirectly their symmetry. Plato believes the four elements (earth, air, fire, water) have been constructed by the Demiurge, or a divine craftsman who appoints order in an otherwise chaotic universe. Minerals are representative examples of beauty, order, and symmetry in inorganic materials. Well-formed minerals (crystals) are a collection of equivalent faces related by symmetry. The goal of this paper is to relate the perspective of symmetry in ancient Greek philosophy with the modern scientific evidence of the geometric description of crystal structures. The five Platonic solids are ideal models of geometrical patterns that occur throughout the world of minerals. In this paper, minerals serve as a model of connecting the symmetry theory in Plato’s philosophy and modern advances in mineralogy. (shrink)

“Aesthetic valuism” maintains that aesthetic properties harbor an ineliminable evaluative component, and that to correctly and sincerely apply an aesthetic predicate to a thing just is to give an appraisal of its aesthetic goodness or badness. Anti-valuism denies this, and holds that even in the identification and ascription of evaluatively-loaded aesthetic properties, such as beautiful or graceful, we may identify a non-evaluative, purely descriptive, and patently aesthetic form of judgment or discrimination. In this essay, I formulate a new definition of (...) aesthetic properties that is consistent with anti-valuism, in order to see how well it serves us, in comparison with a valuist definition that appears in the published philosophical literature. If my definition is at least as intuitively plausible as the valuist’s, it should be preferred. This is because the most complicated concept my definition asks you to understand is perceptual resemblance . Value is harder to understand, and we don’t make it very easy on ourselves if we use one mystery to define another . I end by reflecting on how my definition fits into wider aesthetic concerns. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

The quintessence of Byzantine faith is the twofold identification of the God-Man. Yet, the image of God Jesus Christ and the transcendent Trinity is a one-God concept. Inevitability, I argue Byzantine aesthetics had to recognize God as both anthropomorphous and divine. Since, omission of God’s divinity would verify God as divisible. In line with apophatic theology, Byzantine aesthetics used non-categorizations and non-identifications, what I denominate meta-images, to teach about God’s divinity and that God is. Since 'holy' equals right manner and (...) right teaching about God , anything else would have been heresy. The desired effect of salvation would come to naught if the image did not concur with 'right opinion' . Contemplation and imitation as well as communion with God depend on aesthetics 'of right belief' . God is Beauty and God is Truth, and vice versa. In context of aesthetics, the idea of beauty refers to potential impetus to restore the natural image in the believer. Beauty identifies in deification , spiritual knowledge of the supreme beauty of God. Beauty does not refer to the perishable, but to the imperishable, not to physical strength and vigor, but to spiritual strength, yearning, and purity. Aesthetic approaches that help believers go beyond physical law to divine law, beyond the corporeal mundane to spiritual knowledge are good and beautiful. Interaction of narration, flattened corporeality, inverted perspectives, and meta-images such as light, brilliance, and patterned borders identifies the twofold reality of God and the historical event within and beyond time and space. This interaction of Incarnation and Grace refers to the Beauty of God, the prerequisite for salvation of humankind. (shrink)

This essay discusses four definitions of beauty from Western philosophy in light of recent experimental work from the more modern fields of psychology and biology. The first idea, derived from Plato, that beauty consists of relationships between parts, is partially confirmed by recent psychological experiments on infants and adults. The second idea, that beauty consists of one salient feature amid a mass of details, is more recent, perhaps from Hume, and is confirmed by some experiments on adults, (...) but this finding has not been replicated in non-Western cultures. The third idea, that beauty is based on utility, occurs in Plato but is more difficult to support through experiments; biology suggests that a longing for beauty, not merely for survival, is an evolutionary target. Finally, the fourth idea, that beauty is a type of cognitive pleasure, is a constant thread from Plato through the work of Aquinas and Kant and seems to confirm a preference for an optimum level of complexity by adults, but cannot explain a parallel preference for complexity in human infants. (shrink)

This paper accesses continental philosophy to explore an analogy between the destruction caused by lack of resistance to National Socialism and the destruction caused by climate change denial. Husserl, Levinas, et alia identified a spirit of abstraction and ideology as elements of a catastrophic cultural crisis. Just as human beings were denuded of personhood, the natural world is denuded of inherent meaning. Social communication degenerates into anti-rational propaganda. Together these undermine response to climate change. Invigorating a genuine desire for truth (...) and appreciation of the non-utilitarian good of beauty may provide some resource for undoing denial. (shrink)

This paper discusses the views of Moritz Schlick connecting aesthetics with the meaning of life. The fundamental question that Schlick asks is how anything appears beautiful. The discussion of the beautiful comes down to a discussion of aesthetic pleasure. Aesthetic pleasure has the characteristic of having no use defined in survival terms of self-preservation and propagation. Art, for Schlick, is seen as essentially play. Schlick addressed how his view that connects aesthetic pleasure and play essentially to the non-useful, can be (...) explained in light of the theory of natural selection. Then this is related to the meaning of life as play or youth. (shrink)

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...) of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

In this paper, I present a piece of natural theology, whose pro tanto conclusion is the existence of god-the-artist, that is a lower case “g” god, a creator who creates for the sake of beauty, but who is not worthy of worship, a god who can be admired but should not be loved. I then consider some only partially successful responses to this dismal conclusion. Finally, I show to reconcile the idea of a god motivated by love of (...) class='Hi'>beauty with the religious tradition of an upper case “G” God, who is not merely to be worshiped but loves us and invites a loving response. (shrink)

This article considers the role of beauty in Costa Rican sex work. In the context of sex tourism, beauty operates as affective labour performed by sex workers, labour that is mediated by deeply contradictory understandings of race and nation. Theorising beauty as a form of affective labour means thinking about beauty as value, as something that circulates, can be exchanged and is ultimately relational. While Costa Rica's national mythology has long focused on claims to white origins, (...) sex tourists identify local women's ‘exoticism’ and non-whiteness as particularly appealing. Commercial sex does not simply depend on an imperial male gaze, but rather requires us to consider how particular national mythologies about race are linked to ideals of attractiveness in complex ways. I also explore how women experience and manage their sexual attractiveness to foreign tourists in their daily lives and work. (shrink)

In this dissertation I outline a theory of non-cognitive ethics--a theory of how ethics is possible in response to feeling rather than to concepts--that is drawn from the ethical philosophy of Emmanuel Levinas and the aesthetic thought of Immanuel Kant. In general I argue that in the work of Levinas we can find a description of non-cognitive ethics in which community and subjectivity are still meaningful, and that Kant's third Critique can contribute to this project by providing some of the (...) transcendental conditions for such an ethics. ;I begin with a discussion of the general nature of Levinas's ethical project, and the three principal axes of that thought: the singular Other before whom we are obligated, the community of others to which we also belong, and the nature of the subject that must respond to both. Next, I focus on the contribution that Kant's third Critique can make to a Levinasian theory of non-cognitive ethics. After arguing that this contribution is rooted in a general affiliation between Kant's approach to aesthetics and Levinas's approach to ethics, I address three particular connections between Levinasian ethics and the third Critique. These connections involve the sublime and the fact of obligation, the beautiful and non-purposive communities, and finally orientation and ethical subjectivity. (shrink)

The aim of this paper is to examine whether and, if so, how far, the Augustinian notion of pulchrum is related to Plotinus’ concept of beauty, as it appears in Ennead I. 6. The Augustinian notion of beauty will be analyzed by focusing on the De natura boni, considering plurality and unity in Augustine’s identification of bonum with esse, both in their ontological and axiological dimensions. Topics selected for special consideration will be, first, beauty as outcome of (...) modus, species and ordo naturalis, and, secondly, corruptio as cause of deformitas. The first part of the paper will attempt to explain the Augustinian identification of esse with bonum and pulchrum.The second part will analyze Plotinus’ notion of beauty, as spelled out in Ennead I. 6, considering the Plotinian identity of to kalon and to agathon. Topics selected for analysis will be, first, the concept of form as cause of beauty, and secondly, the notion of to aischron as partial or absolute lack of form. The second part of the paper will attempt to explain Plotinus’ concept of good as yielding the nature of beauty through an analysis of Plotinus’ reflections on being and unity. The third part of this paper will consider the differences between Plotinus’ and Augustine’s identity of ugliness and non-being, as related to the notion of matter. Topics selected for analysis will be, firstly, Plotinus’ identity of matter and to aischron, and, secondly, Augustine’s concept of matter as capacitas formarum. The conclusion will prove how Plotinus’ concept of matter as coinciding with ugliness shows a wide theoretical difference between Augustine’s and Plotinus’ ontological-axiological patterns. (shrink)

Darren Bradley has recently appealed to observation selection effects to argue that conditionalization presents no special problem for Everettian quantum mechanics, and to defend the ‘halfer’ answer to the puzzle of Sleeping Beauty. I assess Bradley’s arguments and conclude that while he is right about confirmation in Everettian quantum mechanics, he is wrong about Sleeping Beauty. This result is doubly good news for Everettians: they can endorse Bayesian confirmation theory without qualification, but they are not thereby compelled to (...) adopt the unpopular ‘halfer’ answer in Sleeping Beauty. These considerations suggest that objective chance is playing an important and under-appreciated role in Sleeping Beauty. 1 Introduction2 Confirmation in Everettian Quantum Mechanics3 Sleeping Beauty4 The Selection Model5 Bradley’s Argument6 The Right Route to ⅓7 The Breakdown of the Analogy8 Alternative Diagnoses9 God’s Gambling Game10 Non-chancy Sleeping Beauty Cases11 Conclusion. (shrink)

To a great extent, Kant more than Tolstoy influenced twentieth-century aesthetics in Eurocentric cultures. Formalist theorists insisted that disinterested apprehension of directly perceivable properties (color, rhythm, meter, balance, proportion, etc.) distinguished aesthetic experiences from all others. Kant never won the day in many non-Eurocentric cultures, however. Native Americans, for example, continued to connect aesthetic activity directly to "interested" and functional objects and events. Decriptions of objects or events as "beautiful" in most African cultures never required distinguishing "What is it for?" (...) from "How does it look?" Even in Eurocentric cultures, outside the rather narrow "mainstream" art world (professional artists, critics, curators, etc.) formalism was never wholly accepted or practiced. Attributions of beauty made by ordinary persons-on-the-street have been unabashedly affected by moral values and factual beliefs. Recognition of this has resulted in what I have elsewhere described as a "contextual turn" in aesthetics. Feminists and ethicists have contributed greatly to this turn. As the title of this symposium suggests, beauty matters (verb) and beauty matters (noun) have really never stopped being centrally important for a whole lot of reasons beyond the pleasure taken in morally and factually disinterested apprehension of form. Tolstoy thought if Kant were correct, beauty could not matter--or at least could not matter enough. His tack was to look elsewhere to explain the importance of art. but suppose we go another way and say, _but beauty does matter_. then Kant must not be correct. But just where did he go astray? (shrink)

In this article I reply to Jon Robson's objections to my argument that God does not contain any possible worlds. I had argued that ugly possible worlds clearly compromise God's beauty. Robson argues that I failed to show that possible worlds can be subject to aesthetic evaluation, and that even if they were it could be the case that ugliness might contribute to God's overall beauty. In reply I try to show that possible worlds are aesthetically evaluable by (...) arguing that possible worlds are maximally rich representations of possible events. I further argue that nothing in God's being can be aesthetically non-evaluable since God must be maximal beauty – a beauteous maximality which needs no ugliness. Finally I show in what sense Christ's heavenly scars can be beautiful. (shrink)

This article contributes to a theory of the lyric essay film by bringing studies of the essay film and lyricism to bear on Pietro Marcello’s Lost and Beautiful (2015). We argue that the lyric essay film delivers its argument by leveraging the tension between words and images, narrative and counter-narrative components, and the (non)human subjectivities (i.e. the director’s, characters’ and camera’s) its text embodies and enacts. These tensions generate interstitial sites from which the ethics and politics of the lyric essay (...) film emerge. Insofar as the lyric essay film is marked by the intrusion of subjectivity in the genre’s argumentative structure, the polyvocality that this intrusion allows in terms of both critical and affective contribution to the film’s argument is what enables the lyric essay film to undermine ideological homogenisation and the naturalisation of situated subjective positions. Moreover, the felt participation of the subjectivity of the camera in the rendering of reciprocal processes of subjectivation becomes ethically meaningful as it embodies a conception of subjectivity as co-determined by otherness. The ethical significance of this interaction is also relevant to contemporary environmental thought, as it maintains that human subjectivities are co-determined by human and nonhuman others. (shrink)

Although football is often referred to as ‘the beautiful game’, to take that idea very seriously — by aestheticizing the target of spectating — is to misunderstand a purposive sport such as football. Yet such a view seems required by Stephen Mumford’s endorsement of the purist spectator, in contrast to the partisan, as attending to ‘… only aesthetic aspects of sport’. But, first, not all non-purposive appreciation is thereby aesthetic appreciation, as Mumford assumes. And, second, while a technical understanding of (...) the aesthetic includes both positive and negative aesthetic concerns, an everyday version addresses only positive aesthetic value. Now, there are concepts of grace, line and so on, applicable to football: that is, concepts suitable to aesthetic appreciation. And sometimes, for instance, in TV’s ‘Goal of the Month’ competition, such appreciation sets aside the purposive dimension of such sports. Yet that dimension is fund.. (shrink)

Recent results confirm that long‐term expression of therapeutic transgenes can be achieved by using a transposon‐based system in primary stem cells and in vivo. Transposable elements are natural DNA transfer vehicles that are capable of efficient genomic insertion. The latest generation, Sleeping Beauty transposon‐based hyperactive vector (SB100X), is able to address the basic problem of non‐viral approaches – that is, low efficiency of stable gene transfer. The combination of transposon‐based non‐viral gene transfer with the latest improvements of non‐viral delivery (...) techniques could provide a long‐term therapeutic effect without compromising biosafety. The new challenges of pre‐clinical research will focus on further refinement of the technology in large animal models and improving the safety profile of SB vectors by target‐selected transgene integration into genomic “safe harbors.” The first clinical application of the SB system will help to validate the safety of this approach. (shrink)

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of (...) aesthetic qualities, I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)

Ever since the eighteenth century, when Kant opened the floodgates of subjectivism in aesthetics, common men and philosophers alike have despaired of finding a basis for judgments about beauty. This book provides a comprehensive theory that encompasses beauty in art and nature, as well as intellectual, utilitarian, and moral beauty. The author argues that the beauty of objects can be reduced to the beauty of properties of those objects, which in turn can be understood in (...) terms of "properties of qualitative degree." The theory, developed first with respect to color, is then extended to include all sensory and non-sensory qualities. The author shows how the theory explicates and resolves disagreements about what is beautiful and discusses its relevance to the traditional notions of harmony and sublimity. His is an objectivist theory of beauty, and it enables him, in conclusion, to demonstrate why we enjoy perceiving beauty. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

I present a brief overview of different theories of the beauty of nature. I will start by discussing two historical accounts that I believe have most impacted our current conception of the beauty in nature: the picturesque and the sublime. I then turn to a discussion of contemporary accounts of the beauty of nature, dividing these accounts into conceptual accounts, non-conceptual accounts, and hybrid accounts of nature appreciation. What I hope to show is that there is no (...) one-principle-fits-all solution for all aesthetic experiences of nature. An immersive experience of river rafting will be different from birdwatching. Knowledge in some cases will add depth to our aesthetic experiences, while in other cases will impede our ability to appreciate. We should thus embrace a pluralistic model of aesthetic engagement, one that allows us to employ different models to different objects—or different models at different times in our life. (shrink)