Aesthetics And The Philosophy Of Art, 1840-1900,
2010
University of Richmond
Aesthetics And The Philosophy Of Art, 1840-1900, Gary Shapiro
Philosophy Faculty Publications
The question can be raised whether the category or discipline of philosophical aesthetics existed before the eighteenth century. Unlike "logic:' "ethics:' and "physics:' a traditional Stoic division of philosophy with great staying power, "aesthetics" is clearly a product of modernity. As Paul O. Kristeller demonstrated in "The Modern System of the Arts:' it was in the eighteenth century that the idea of the aesthetic as a distinctive human capacity and the parallel consolidation of the notion of the fine arts crystallized in the writings of (mostly) French, German, and English philosophers and critics. The modern concepts of art and aesthetics …
Embodied Cognition As Refutation To Langer's "Illusory Powers": "I Move, Therefore, I Know",
2010
University of Texas at El Paso
Embodied Cognition As Refutation To Langer's "Illusory Powers": "I Move, Therefore, I Know", Ruby Amanda Montana
Open Access Theses & Dissertations
Thesis Objective: To refute Susanne Langer's notion within her philosophy of dance which holds that emotional forces in dance are solely "virtual" and thus illusory. I plan to do so by means of the growing research in the branch of cognitive science known as Embodied Cognition.
In Brief: Susanne Langer, one of the most prominent philosophers of Aesthetics, contends that dance is able to express emotions as an external force, while creating what she calls a "primary illusion". Langer attributes gesture as the basic abstraction whereby the dance illusion is made and organized. Furthermore, she contends that dance is not …
Report: The Xviiith International Congress Of Aesthetics- "Diversities In Aesthetics" (Peking University, Beijing, China, 9-13 August 2010),
2010
Stockholm University
Report: The Xviiith International Congress Of Aesthetics- "Diversities In Aesthetics" (Peking University, Beijing, China, 9-13 August 2010), Michael Ranta
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Interpretations: Deep, Reasonable, And Free,
2010
University of Pennsylvania
Interpretations: Deep, Reasonable, And Free, Paul Guyer
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Musical Presence: Towards A New Philosophy Of Music,
2010
University of London
Musical Presence: Towards A New Philosophy Of Music, Charles Ford
Contemporary Aesthetics (Journal Archive)
Most recent writings about the philosophy of music have taken an analytic or linguistic approach, focusing on terms such as meaning, metaphor, emotions and expression, invariably from the perspective of the individual listener or composer. This essay seeks to develop an alternative, phenomenological framework for thinking about music by avoiding these terms, and by extrapolating from the writings of Hegel, Husserl, and Heidegger. On the basis of discussions of musical time, its multiple levels of matter, and its internal dialectics, the essay presents a particular understanding of “style” as the primary basis for mediation between production and reception. It concludes …
A Functional Model Of The Aesthetic Response,
2010
Rhode Island School of Design
A Functional Model Of The Aesthetic Response, Daniel Conrad
Contemporary Aesthetics (Journal Archive)
In a process of somatic evolution, the brain semi-randomly generates initially-unstable neural circuits that are selectively stabilized if they succeed in making sense out of raw sensory input. The human aesthetic response serves the function of stabilizing the circuits that successfully mediate perception and interpretation, making those faculties more agile, conferring selective advantage. It is triggered by structures in art and nature that provoke the making of sense. Art is deliberate human action aimed at triggering the aesthetic response in others; thus, if successful, it serves the same function of making perception and interpretation more agile. These few principles initiate …
Editorial,
2010
Rhode Island School of Design
Notices,
2010
Rhode Island School of Design
Recent Publications,
2010
Rhode Island School of Design
The Third Tear In Everyday Aesthetics,
2010
Universidad Autónoma Metropolitana, Mexico City
The Third Tear In Everyday Aesthetics, Katya Mandoki
Contemporary Aesthetics (Journal Archive)
Although totally overlooked by mainstream aesthetic theory, various paths were nevertheless left open for addressing everyday aesthetics, a natural yet surprisingly controversial topic. Why they were never taken until recently, when the theme of everyday aesthetics is now becoming fashionable, can be explained not only by the obvious fact of philosophical aesthetics’ restrictive focal point on art but, among other reasons, by a kind of fetishism that demands an object of recognized value for legitimating an aesthetic inquiry. This new popularity entails, however, certain theoretical risks such as clinging to traditional art-centric and beauty-centric categories to explain the everyday and …
Water And Stone: Contemporary Chinese Art And The Spirit Resonance Of The World,
2010
The Graduate Center of The City University of New York
Water And Stone: Contemporary Chinese Art And The Spirit Resonance Of The World, Mary Bittner Wiseman
Contemporary Aesthetics (Journal Archive)
My claim that the new art in China operates at the level of matter and gesture, below that of discourse, is twofold. First, much of the art that is being made exemplifies principles articulated by Hsieh Ho (fifth century) and Shih Tao (seventeenth century) and refracted through the changes wrought by Mao in 1949 and Deng in 1979. Through their art, experimental Chinese artists ask what can art be in a world turned upside down, and what can it be to be artist in such a world and, in particular, to be a Chinese artist.
Second, in the course of …
Why Beauty Still Cannot Be Measured,
2010
Aalto University
Why Beauty Still Cannot Be Measured, Ossi Naukkarinen
Contemporary Aesthetics (Journal Archive)
This article focuses on the question of whether the latest results achieved in sciences such as evolution studies and brain research can help us understand the nature of aesthetic judgments. It suggests that such approaches may offer interesting insights for understanding many problems in aesthetics, but for clarifying aesthetic judgments one needs a philosophical point of view. Aesthetic judgments cannot be proven right or wrong by scientific methods, and beauty or other aesthetic qualities cannot be directly measured. The “method” of both making and analyzing aesthetic judgments is discussion, and the article clarifies why this is still the case, even …
A Symposium On Laurent Stern's Interpretive Realism,
2010
University of Louisville
A Symposium On Laurent Stern's Interpretive Realism, John Gibson
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Interpretation, Sincerity & "Theory",
2010
University of Louisville
Interpretation, Sincerity & "Theory", John Gibson
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Laurent Stern's Interpretive Reasoning,
2010
Rhode Island School of Design
Laurent Stern's Interpretive Reasoning, Mary Wiseman
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Response To Critics,
2010
Rutgers University
Response To Critics, Laurent Stern
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Allowing The Accidental; The Interplay Between Intentionality And Realism In Photographic Art,
2010
Bath Spa University
Allowing The Accidental; The Interplay Between Intentionality And Realism In Photographic Art, Katrina Mitcheson
Contemporary Aesthetics (Journal Archive)
We experience photographs both as intentional and as prone to the accidental. The photograph is both capable of being an artwork with its own, constructed world and of drawing our attention to the reality of the objects used in creating it. In this article I employ the insights contained in the concepts of Barthes’ studium and punctum in order to explore how the artist’s intentions and the realism of photography interact aesthetically. I advance the idea that a unique aesthetics of photography can be rooted in the tension between the intentional, culturally coded message of a photograph and the emanation …
Home Life: Cultivating A Domestic Aesthetic,
2010
Rhode Island School of Design
Home Life: Cultivating A Domestic Aesthetic, Jessica J. Lee
Contemporary Aesthetics (Journal Archive)
Home Life is an exploration of environmental aesthetics as it applies to the domestic realm. I consider Kevin Melchionne’s argument that through notions of taste, grace, and performance, everyday domestic chores can become heightened artistic practices. I argue that this does not go far enough in overcoming the traditional view of art as aesthetically superior to popular or everyday artefacts and practices; rather, it encourages the limitations of traditional aesthetics values within the domestic setting. Through examples, including Pauliina Rautio’s study on laundry, I consider the possibility that domestic practices are made up of actions that are not performed with …
Nightwatch,
2010
Basel University
Nightwatch, Justin Winkler
Contemporary Aesthetics (Journal Archive)
In this essay I examine the features of night, in particular, urban night. I try to highlight the epistemological divide between day and night, light and darkness. Even as light-based experiencing, acting, and thinking, and their cultural tools colonize urban night, nocturnal elements relate dialectically to our daytime reasoning. I conclude with the question of whether a kind of half-tone thinking contained in a trialectic of light, twilight, and darkness would be capable of appreciating the peculiar qualities of night.
The reveries of the weak light guide into the innermost recesses of the familiar. It looks as if there are …
The Curatorial Muse,
2010
Rhode Island School of Design
The Curatorial Muse, Michael J. Kowalski
Contemporary Aesthetics (Journal Archive)
An appreciation of the tension between the predicate, "to curate," and the subject, "the curator," is essential to understanding the convergence of creation, criticism, and administration in the graphic arts of our time. Curators were ideally positioned to step to the fore when the idea-versus-object dichotomy began to collapse in the work of Duchamp. The roots of activist curating can be found in Western Classical culture. The prevalence of conceptual art at the end of the twentieth century, combined with the explicit denigration of physical craft by artists, created a void into which activist curators moved. The curator's role as …
