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Articles 1 - 12 of 12
Full-Text Articles in Arts and Humanities
Ariadne At The Movies, John Dilworth
Ariadne At The Movies, John Dilworth
Contemporary Aesthetics (Journal Archive)
Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend the legitimacy of the example, and conclude by offering an alternative, representational view of the nature of films that can also …
Between Battlefield And Play: Art And Aesthetics In Visual Culture, Renée Van De Vall
Between Battlefield And Play: Art And Aesthetics In Visual Culture, Renée Van De Vall
Contemporary Aesthetics (Journal Archive)
Mona Hatoum's video installation Corps étranger is an example of an artwork that critically comments on particular aspects of contemporary visual culture, such as the colonization of the body's interior by medical image technologies. It has indeed been interpreted in those terms by several authors from within the new academic field of Visual Culture. Here it is argued that the critical cultural impact of the installation might be more fully described when one grants art a relative autonomy within the cultural field and, moreover, draws on concepts from more traditional academic disciplines and approaches, such as aesthetics and phenomenology. Art …
Melancholy As An Aesthetic Emotion, Emily Brady, Arto Haapala
Melancholy As An Aesthetic Emotion, Emily Brady, Arto Haapala
Contemporary Aesthetics (Journal Archive)
In this article, we want to show the relevance and importance of melancholy as an aesthetic emotion. Melancholy often plays a role in our encounters with art works, and it is also present in some of our aesthetic responses to the natural environment. Melancholy invites aesthetic considerations to come into play not only in well-defined aesthetic contexts but also in everyday situations that give reason for melancholy to arise. But the complexity of melancholy, the fact that it is fascinating in itself, suggests the further thought that it may be considered as an aesthetic emotion per se. To this end, …
Poiesis And Art-Making: A Way Of Letting-Be, Derek H. Whitehead Ph.D.
Poiesis And Art-Making: A Way Of Letting-Be, Derek H. Whitehead Ph.D.
Contemporary Aesthetics (Journal Archive)
This article is both philosophical and practical in its intent. It endeavors to bring into focus an idea with an Ancient Greek lineage, poiesis, and determine whether it may revitalise our thinking about the 'making' of art. The art-making considered in this paper will concentrate exclusively on Western art and its historical and contemporary manifestations. I suggest that poiesis - that which "pro-duces or leads (a thing) into being'" - may enable practitioners in the varying art forms, and aestheticians who reflect upon them, to come to a deeper sense of how artworks work: that they realize themselves inter-dependently …
An Exchange On Disinterestedness, Ronald Hepburn
An Exchange On Disinterestedness, Ronald Hepburn
Contemporary Aesthetics (Journal Archive)
The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.
Multiple Inheritance And Film Identity: A Reply To Dilworth, Aaron Smuts
Multiple Inheritance And Film Identity: A Reply To Dilworth, Aaron Smuts
Contemporary Aesthetics (Journal Archive)
I argue that Dilworth has not shown the type / token theory of film identity to be non-viable, since there is no reason to think that a single object cannot be a token of two types. Even if we assume a single inheritance view of types, Dilworth's argument runs into other problems. Dilworth does not provide any convincing argument for why intentions are necessary for identifying film and why production history alone will not suffice for identifying hardly conceivable forgeries. Intention is not necessary for distinguishing between fakes and the real thing, nor is it necessary to differentiate between two …
Ariadne Revisited, John Dilworth
Ariadne Revisited, John Dilworth
Contemporary Aesthetics (Journal Archive)
My article, "Ariadne at the Movies," provided a detailed, double film counter-example to the claim that films are types. Here I defend my views against various criticisms provided by Aaron Smuts. The defense includes some necessary clarification of the Ariadne article's broader theoretical structure and background, as well as some additional anti-type arguments to further withstand his criticisms.
Two Monsters In Search Of A Concept, Robert Yanal
Two Monsters In Search Of A Concept, Robert Yanal
Contemporary Aesthetics (Journal Archive)
What is a monster? At least three concepts have been proposed: Aristotle thinks a monster to be a "mistake of purpose" in nature; Noël Carroll thinks a monster to be a scientifically impossible being that arouses disgust and fear; Cynthia Freeland thinks a monster to be an evil being. Thus a two-headed calf is an Aristotelian monster; a werewolf a monster on Carroll's definition; and Norman Bates of Hitchcock's Psycho a monster on Freeland's concept. These have no interesting overlaps. My project is to discuss Norman Bates and Mark Lewis (of Michael Powell's Peeping Tom). Bates and Lewis are monsters, …
Reflecting The Pacific, Wolfgang Welsch
Reflecting The Pacific, Wolfgang Welsch
Contemporary Aesthetics (Journal Archive)
The title of my article has a double meaning: on the one hand, I intend to reflect the Pacific Ocean in the sense of mirroring it; and on the other, of course, also to think about this mirroring, to reflect on it.