Philosophy Commons^™

Reflections On “Catching The Ghost: House Dance And Improvisational Mastery”, Renee Conroy

Contemporary Aesthetics (Journal Archive)

Contemporary Aesthetics recommends first reading Christian Kronsted’s article, “Catching the Ghost: House Dance and Improvisational Mastery,” appearing before this article.

This essay is a constructive response to Christian Kronsted’s “Catching the Ghost: House Dance and Improvisational Mastery,” in which he develops three topics introduced in his novel treatment of this club dance form. First, I consider the nature of the relationship between house dancing and house music. Second, I address the significance of “the vibe” in house culture. Third, I apply these reflections to Kronsted’s three puzzles of improvisational agency to demonstrate that an apt, aesthetic analysis of …

Architecture Emerging From Landscape: A Reading Of Spinoza In Landscape Architecture, Gokhan Balik

Contemporary Aesthetics (Journal Archive)

In what follows, Benedict de Spinoza’s ontology of immanence and monism is deployed as a means to launch a rethinking in between landscape and architecture. Public urban landscape, I suggest, is not a static and neutral construction, but a complex system of dynamic relationships within a continuous process of becoming and a generative field of non-oppressive, non-hegemonic power. This study focuses on two temporary structures by different European practices in the Royal Park of Kensington Gardens, in London. This study uses these works to ground a philosophy of radical immanence within our understanding of a contemporary world of landscape architectural …

Catching The Ghost: House Dance And Improvisational Mastery, Christian Kronsted

Contemporary Aesthetics (Journal Archive)

This article received the 2020 Outstanding Student Paper Award from the American Society for Aesthetics. Contemporary Aesthetics recommends reading Renee Conroy’s article, “Reflections on ‘Catching the Ghost: House Dance and Improvisational Mastery,’” following this article.

I interviewed seven expert house dancers regarding their improvisational practice and discovered several intriguing testimonial consistencies. House dancers articulated a feeling of simultaneously being in control and not in control of their movements. Furthermore, in peak moments of improvisation, interviewees were often surprised by their own capabilities. How do we award artistic credit to someone who is seemingly not aware of his or …

Baking As A Means Of Non-Verbal Expression: An Aesthetic Inquiry On Conventual Pastry, Maddalena Borsato

Contemporary Aesthetics (Journal Archive)

The aim of this essay is to philosophically explore the domain of conventual pastry by understanding baking as a form of aesthetic expression. I intend to investigate the aesthetic meaning of making sweets, both for the specificity of this taste and for the link between tacit knowledge and the meaning of gift through cloistering. From the very beginning of its production in the monasteries, pastry developed not only as an economic livelihood but also as a way to create a meaningful language beyond the so-called intellectual activities. The philosophical interest lies in the relationship of food practice with intimate …

Aesthetics From The Visual Artists’ Viewpoint, Dena Shottenkirk

Contemporary Aesthetics (Journal Archive)

How to characterize aesthetics has been revived with Bence Nanay’s Aesthetics as Philosophy of Perception. Reviewing criticisms made by Dustin Stokes, this paper makes the argument that Nanay’s problem is broader than what Stokes points to, as it involves the problem of property attribution and the difference between perceiving a property in a nonaesthetic situation and an aesthetic one. The latter context involves not attributing a property to an object, but rather the process of perceiving low-level features. The problem of how to characterize aesthetics is thus solved by looking at three things: recent research into gist perception, Gareth …

Authenticity, Universality, And Expression In Song: The Case Of Flamenco, Peter Manuel

Contemporary Aesthetics (Journal Archive)

This article explores questions of aesthetic expression and meaning in song, focusing in particular on the enigmatic dynamics involved in song’s combination of abstract and lyrical dimensions of import. These questions are especially overt and actively debated in flamenco, where an ideology of authenticity and suffering, akin to that in African-American genres such as blues or rap, implies that a singer must draw on certain profound biographical experiences rather than universal emotions. However, the accounts of various performers suggest alternate expressive processes in which singers of any background can use a certain sort of role-playing to generate actual emotions that …

Making Sense Of ‘Tropical’ Kitsch, Max Ryynänen, Anna-Sofia Sysser

Contemporary Aesthetics (Journal Archive)

The ‘tropical’ has not just been “imported” to Northern spas and travel agency advertisements. Plastic palm trees and inflatable pineapples echo tourism experiences, have roots in “feel-good” Americana, and belong to colonial imagery. The tropical is often portrayed in simplified ways, even though there is a huge diversity of cultures, inhabitants and landscapes within the tropical zone. Could the concept of kitsch help us to understand the construct of the tropical? Could the ‘tropical’ help us to understand kitsch? If one takes away the nearly deceased modern conception of kitsch as pretentious pseudo-art and concentrates on sentimental and/or sugared knickknacks …

The “Body In Motion” As The Substance Of Dance Improvisation? Based On Motifs From Maurice Merleau-Ponty’S Phenomenology Of Perception, Lilianna Bieszczad

Contemporary Aesthetics (Journal Archive)

In the beginning of my academic career, it was my personal experience of dance practice that provided a direct impulse for studying the phenomenon of dance as art from a philosophical perspective. It was that same experience that drew my attention to the concept of aesthetic engagement proposed by Arnold Berleant. His theory, in my view, captures the fundamental aspects of dance in a unique way.[1] That early study led me to develop and promote the aesthetics of sensitivity, which in turn created a basis for the appreciation of dance as a practice that is inseparable from life.[2] Many problems …

Disinterestedness, Disdain And The Reception Of Berleant’S Major Idea, Cheryl Foster

Contemporary Aesthetics (Journal Archive)

Arnold Berleant’s philosophical theories have proven to be prescient in their identification of an aesthetic interface between human beings and the natural world – the interface he calls “engagement,” a form of participatory aesthetics. This essay presents the context out of which Berleant’s theory of engagement has evolved and then touches upon the application of engagement first to cases of aesthetic appreciation and then to a very recent case in coastal ecology and management. It is suggested that Berleant’s elaboration of a “participatory aesthetics” both mirrors and informs the scientific model of “participatory research,” which in turn has implications for …

Negative Aesthetics In Art, Environment, And Everyday Life: Arnold Berleant’S Theory And The Novels Of Kirino Natsuo, Mara Miller

Contemporary Aesthetics (Journal Archive)

Arnold Berleant’s valuable analysis of ‘negative aesthetics’ in his 2010 book Sensibility and Sense: The Aesthetic Transformation of the Human World provides an analytic framework not only for general investigation of negative aesthetics but for understanding their extension into daily life and literature. It illuminates the work of Japanese novelist Natsuo Kirino (1951- , 夏生桐野), just as her novels illustrate Berleant’s negative aesthetics. In Kirino’s narratives, negatively aesthetic landscapes determine characters’ mindsets, even as they mirror the moral and aesthetic bleakness of society at large, revealing characters’ internal dynamics and the larger social world with the same destructive efficacy Berleant …

Editorial Introduction To Special Volume 9: Aesthetics Beyond Philosophy: Exploring Berleant’S Concept Of Engagement Editorial Introduction, Bogna J. Gladden-Obidzińska

Contemporary Aesthetics (Journal Archive)

No abstract provided.

A Philosophical Retrospective, Arnold Berleant

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Arnold Berleant’S Project Of Post-Kantian Aesthetics, Krystyna Wilkoszewska

Contemporary Aesthetics (Journal Archive)

Changes in art and culture toward the end of the twentieth century have become a challenge for aesthetics. Arnold Berleant is one of the forerunners of the revising of modern aesthetics, and has been from the very start of his research. He has especially examined the relationship of aesthetics to philosophy.

His critique resonates with views expressed by Nietzsche, Merleau-Ponty, James, and Dewey, in addition to ecological and feminist departures from Kantian aesthetics. He has criticized the category of disinterestedness and the aesthetics of separation, isolation, contemplation, and distance. This critical analysis is linked to overcoming the notion of experience …

Arnold Berleant’S Environmental Aesthetics And Chinese Ecological Aesthetics, Cheng Xiangzhan

Contemporary Aesthetics (Journal Archive)

Professor Arnold Berleant has visited China academically several times since the early 1990s, becoming more and more popular in Chinese academia. Almost all of his books have been translated into Chinese, which produced a significant impact on Chinese scholars, especially on the development of Chinese ecological aesthetics, or ecoaesthetics. They generated a hot topic on the similarities and differences between Western environmental aesthetics and Chinese ecological aesthetics, in view of which this paper first outlines Berleant’s academic activities in China, then focuses on the impact of his environmental aesthetics on the ecological aesthetics mainly advanced by the Chinese scholars Zeng …

Berleant's Opening, Crispin Sartwell

Contemporary Aesthetics (Journal Archive)

Throughout modernity, aesthetics had been marked by a significant narrowing of its subject matter, the early peak of this trend being Kantian aesthetics of disinterestedness and modernist formalism based on distance. Arnold Berleant’s mission in aesthetics has been to re-open its domain towards all elements of every-day life, including consumer products, political systems, and the environment. By defining the aesthetic field as an environment of continuity between the self and the non-self, Berleant has managed to transform the Kantian subject-object relation into one of unity. However, the paper argues that such an environmental aesthetics requires a basically realist or materialist …

The Role Of Aesthetics In World-Making, Yuriko Saito

Contemporary Aesthetics (Journal Archive)

Arnold Berleant’s oeuvre spanning five decades is devoted to restoring aesthetics’ connection to the rest of our lives. In this paper, I shall join him by highlighting the crucial role aesthetics plays in shaping our lives and the world by interacting with objects, environments, and people. I show how our seemingly innocuous and trivial aesthetic tastes and preferences regarding everyday objects and activities have a surprisingly significant power to determine our attitudes, judgments, and actions, often with serious political, environmental, and moral implications. In light of this power of the aesthetic to affect the quality of life and the state …

Berleant’S Phenomenology Of Sculptural Space: Brâncuşi, Alicja Kuczyńska

Contemporary Aesthetics (Journal Archive)

The distinction between reason and senses, until recently maintained in philosophy, has now grown to cause serious doubts. The situation requires creating new forms of cognitive continuity revealed in various levels of emotional experience. Constantin Brâncuşi’s art is analyzed as an example of transgression of this distinction through building a vinculum between the earthly and the heavenly and between the external and the internal. The author refutes the common attribution of Brâncuşi’s art to the Parisian trends or to primary organic forms. In Brâncuşi’s understanding, art creates its own philosophy whose aim is to attain the essence of being. Thus, …

Visual Interlude I, Mara Miller

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Visual Interlude Ii, Mara Miller

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Reflections, Arnold Berleant

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Sculpture And Its Meaning In The Context Of Berleant’S Aesthetic Engagement, Anna Wolińska

Contemporary Aesthetics (Journal Archive)

It is not my intention to provide a comprehensive analysis of Berleant’s notion of aesthetic engagement. My goal is modest. I hope to account for the key significance of the philosophical problematization of sculpture, in the context of engaged aesthetics. In writing about the philosophical problematization of sculpture, I am thinking most of all about the problem of space, a phenomenon that emerges in the relationship of the solid form to its surroundings. It is a relationship that is usually perceived as directly connected with the sculpture. I want to emphasize that Alicja Kuczyńska was well aware of the …

Editorial, Editorial Office

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Notices, Editorial Office

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Recent Publications, Editorial Office

Contemporary Aesthetics (Journal Archive)

No abstract provided.

Keeping Score: Some Lessons For Artists From The Later Wittgenstein, Nickolas Calabrese

Contemporary Aesthetics (Journal Archive)

This text rounds up a few lessons fashioned after the idea of keeping score as it relates to the later work of Ludwig Wittgenstein. These lessons are emphatically related to the production of art, so this text might be at its best in the hands of an artist. They all loosely demonstrate the normative dimension of aesthetic production, which amounts to the claim that one is committed, by the act of production, to a communal endorsement for why an artwork ought to exist at all. The final part of this text will expand on this principle of normativity, but it …

Reconstructing Heritage: Places, Values, Attachment, Lisa Giombini

Contemporary Aesthetics (Journal Archive)

As natural catastrophes alter the environment, historical towns and other sites of heritage significance are at risk of being damaged, if not disrupted altogether. How should we confront the prospect of these disasters? And how are we to cope with the reconstructions that will be needed as these phenomena occur?

In this paper, I explore philosophical tools for thinking more deeply about the choices surrounding heritage conservation. Recent work in environmental psychology has investigated people’s emotional bond to places and how changes in a place’s structure may pose a threat to individual and social cohesion. Similarly, everyday aestheticians emphasize the …

Floating Gardens In The Urban Landscape, Victor Rivera-Diaz

Contemporary Aesthetics (Journal Archive)

No abstract provided.

On Japanese Minimalism, Paul Haimes

Contemporary Aesthetics (Journal Archive)

Shibumi, a Japanese term referring to a subtle elegance, but at times suggestive of austerity or even bitterness, captures a certain sense of restraint that is reflected in much traditional Japanese design. Although concepts derived from Japanese Zen Buddhism, such as ma, wabi-sabi, and iki, may be more commonly known to English-speaking audiences, this article proposes that shibumi is the more appropriate concept to apply when considering the minimalist nature inherent in much Japanese design. Moreover, this article suggests that shibumi and modernist design tastes may be compatible, despite past suggestions to the contrary. To support …

The Hospitality Of The Abyssal Ground Or Perceptual Architectures Of Indeterminacy, Natasha Lushetich

Contemporary Aesthetics (Journal Archive)

There never has been such a thing as solid ground. As profoundly transient beings, all we can hope for is the hospitality of the abyssal ground.[1] Perhaps that is why our everyday aesthetic appreciation of our natural environment is inseparable from indeterminacy, as change and ambiguity but also potentiality; think of the immensely pleasurable journeys through the rapidly changing shapes in fire- or cloud-gazing. But can the same be said of our machinic environment? In this article, I discuss indeterminacy as a generative principle in four realms: elemental, evental, linguistic, and machinic. Anchoring the transubstantiating potential of the four …

A Philosophical Account Of Listening Musically, Paskalina Bourbon

Contemporary Aesthetics (Journal Archive)

What is the distinctive character of musical experiences? An answer: musical experience is distinctive because it is of music. I argue, however, that the difference between musical and nonmusical experience cannot be explained with an ontological account of music per se. Instead, we have musical experiences of sounds whenever we listen and attend to sounds in a particular kind of way. I call this special kind of attention “musical listening.” One can explain why musical experiences are distinctive by explaining what makes musical listening distinctive. This account of musical listening suggests an anti-realist stance towards music; there is no …