Arts and Humanities Commons^™

The Incorrigible Social Meaning Of Video Game Imagery, Stephanie Patridge

Religion & Philosophy Faculty Scholarship

In this paper, I consider a particular amoralist challenge against those who would morally criticize our single-player video play, viz., 'come on, it's only a game!' The amoralist challenge with which I engage gains strength from two facts: the activities to which the amoralist lays claim are only those that do not involve interactions with other rational or sentient creatures, and the amoralist concedes that there may be extrinsic, consequentialist considerations that support legitimate moral criticisms. I argue that the amoralist is mistaken and that there are non-consequentialist resources for morally evaluating our single-player game play. On my view, some …

All Play And No Work: An Ontology Of Jazz, Andrew Kania

Philosophy Faculty Research

If we consider different Western musical traditions, such as classical, rock, and jazz, we can find the same kinds of entities employed in all three traditions. For instance, there are recognizable, reinstantiable songs in all three traditions. There are also events we would happily call live performances of those songs, as well as recordings of them. Yet it is also true that these kinds of entities are treated differently in each of these traditions. For instance, those who produce and listen to rock recordings take, for the most part, a very different attitude toward what counts as acceptable use of …

A Sense Of Life In Language Love And Literature, Lawrence Kimmel

Philosophy Faculty Research

The fundamental human activity of telling stories, extended into the cultural tradition of literature, leads to the creation of alternative worlds in which we find resonance with the whole range of human thought and emotion from different and often conflicting perspectives. Fiction has no obligation to the ordinary strictures that bind our public lives, so the mind is free, engaging in literature, to become for the moment whatever imagination can conceive. So we become, in fictive reality, madman and poet, sinner and saint, embrace and embody sorrow and joy, hope and despair and all the rag tag feelings that flesh …

The Pragmatic Picturesque: The Philosophy Of Central Park, Gary Shapiro

Philosophy Faculty Publications

New York's Central Park is one of the world's iconic works of landscape architecture. The park has achieved global recognition through its representations in film and photography, it is visited by millions every year and every sunny day sees a procession of engaged or newly married couples having their official photographs taken against the background of its picturesque scenery and monumental structures.

In the twenty-first century it may sound slightly odd to consider Central Park as a form of gardening, but the eighteenth-century founders of modern aesthetics and the philosophy of art would have called it a garden or park. …

Nietzsche’S Aesthetic Critique Of Darwin, Charles H. Pence

Faculty Publications

Despite his position as one of the first philosophers to write in the “post- Darwinian” world, the critique of Darwin by Friedrich Nietzsche is often ignored for a host of unsatisfactory reasons. I argue that Nietzsche’s critique of Darwin is important to the study of both Nietzsche’s and Darwin’s impact on philosophy. Further, I show that the central claims of Nietzsche’s critique have been broadly misunderstood. I then present a new reading of Nietzsche’s core criticism of Darwin. An important part of Nietzsche’s response can best be understood as an aesthetic critique of Darwin, reacting to what he saw as …

Plants As Objects: Challenges For An Aesthetics Of Flora, John Charles Ryan

Research outputs 2011

This paper presents the conceptual challenges to an aesthetic model of living plants based in embodied interaction with flora through smell, taste, touch, sound and sight. I argue that the science of aesthetics is deterministically visual. Drawing from theories of landscape aesthetics put forth by Carlson and Berleant, I outline four primary obstacles to an embodied aesthetics: plants as objects of sight, plants as objects of art, plants as objects of disinterestedness and plants as objects of scientific discourse. A multi-sensorial aesthetics of flora requires auto-centric proximity and degrees of intersubjectivity between the appreciator and the appreciated plant that raise …