Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Aesthetics (60)
- Art (23)
- Everyday aesthetics (20)
- Environmental aesthetics (17)
- Aesthetic experience (12)
-
- Kant (12)
- Phenomenology (12)
- Philosophy (12)
- Imagination (11)
- Music (11)
- Artification (10)
- Film (10)
- Expression (9)
- Ontology (9)
- Painting (9)
- Race (9)
- Beauty (8)
- Disinterestedness (8)
- Ethics (8)
- Politics (8)
- Taste (8)
- Interpretation (7)
- Performance (7)
- Aethetics; symposium (6)
- Architecture (6)
- Arts (6)
- Contemporary art (6)
- Dewey (6)
- Discussion (6)
- Emotion (6)
Articles 511 - 540 of 577
Full-Text Articles in Philosophy
Interrupting Danto's Farewell Party Arrangements: Comments For Grigoriev, Kalle Puolakka
Interrupting Danto's Farewell Party Arrangements: Comments For Grigoriev, Kalle Puolakka
Contemporary Aesthetics (Journal Archive)
This paper is a response to Serge Grigoriev's article "Living Art, Defining Value: Artworks and Mere Real Things" (Contemporary Aesthetics Volume 3, 2005) in which he develops Joseph Margolis' provocative Danto-criticism. He especially criticizes Danto's art-philosophical starting point, the problem of indiscernibles, claiming that it presupposes an objective value judgment that cannot be maintained and that it misrepresents the way in which people interact with art. In this article, Grigoriev's argument is found lacking mainly on two grounds. First, it overlooks where the source of Danto's starting point lies; and second, I argue that it does not lead to the …
A Reply To Puolakka, Serge Grigoriev
A Reply To Puolakka, Serge Grigoriev
Contemporary Aesthetics (Journal Archive)
No abstract provided.
From Aesthetics To Politics: Rancière, Kant And Deleuze, Katharine Wolfe
From Aesthetics To Politics: Rancière, Kant And Deleuze, Katharine Wolfe
Contemporary Aesthetics (Journal Archive)
What does politics have to do with aesthetics? Surely, both politics and aesthetics are concerned with imagining, envisioning, and even creating, yet aren't the kinds of things these fields of inquiry imagine, envision and create greatly disparate? Jacques Rancière argues that what is at stake in politics, just as it is in aesthetics, is the distribution of the sensible, and that politics happens not only through the disruption of a certain aesthetic organization of sense experience but through the eruption of a distinct aesthetics. Here I elaborate the Kantian foundation for Rancière's conception of the kind of aesthetics that politics …
A Plea For A Cognitive Iconology Within Visual Culture, Ian Verstegen
A Plea For A Cognitive Iconology Within Visual Culture, Ian Verstegen
Contemporary Aesthetics (Journal Archive)
A place is needed for a 'cognitive iconology' within "visual culture." Like Logical Positivism before it, visual culture must reexamine its tacit assumption that conflation of psycho-sociological contributions to visual meaning is an adequate methodology, and that sociologism is a worthwhile overriding philosophy. Cognitive iconology isolates the psychological contribution to the study of images and does not monopolize it but isolates the foundational basis for it on which narrower interpretations must be built. With examples from the work of Titian, it is shown how the cognitive and 'cultural' contributions must work together to make meaning. Using the philosophy of Maurice …
Wittgenstein And Haydn On Understanding Music, Yael Kaduri
Wittgenstein And Haydn On Understanding Music, Yael Kaduri
Contemporary Aesthetics (Journal Archive)
Wittgenstein's remarks about music have motivated philosophers to build a comprehensive picture of his philosophy of music, concentrating on the central issues of musical meaning. It is often claimed that, according to Wittgenstein, understanding music consist in grasping the internal relationships between musical events. Musical practice, however, is naturally saturated with what philosophers often call extra-musical meanings. The present study, by considering a musical issue in Haydn's instrumental music, attempts to show that musical language games in the Wittgensteinian sense involve explanations of music that enhance the listener's ability to understand music by broadening his musical competence. Nevertheless, constituting understanding …
The Color Of The Sublime Is White, Jeffrey Downard
The Color Of The Sublime Is White, Jeffrey Downard
Contemporary Aesthetics (Journal Archive)
In this paper, I examine Melville's discussion in Moby Dick of the whiteness of the whale from the perspective of a Kantian account of the sublime. My aim, in the first instance, is to see if the comparison helps to shed light on Melville's puzzling discussion of the color white and why this color serves to heighten the feeling of being overwhelmed by terror when confronted with something extremely large or powerful. In turn, I intend to use Melville's discussion of whiteness to put pressure on some of the philosophical assumptions behind a Kantian analysis of the sublime. In particular, …
Realism And The Riddle Of Style, Catharine Abell
Realism And The Riddle Of Style, Catharine Abell
Contemporary Aesthetics (Journal Archive)
No abstract provided.
The Special And General Theory Of Realism: Reply To Abell, Armstrong, And Mcmahon, Dominic Lopes
The Special And General Theory Of Realism: Reply To Abell, Armstrong, And Mcmahon, Dominic Lopes
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Does Sad Music Make One Sad? An Ethnographic Perspective, Peter Manuel
Does Sad Music Make One Sad? An Ethnographic Perspective, Peter Manuel
Contemporary Aesthetics (Journal Archive)
The question of the presence and role of negative emotions in the experience of music - Does sad music make one sad? - has been recognized as a key to understanding much musical experience, especially in terms of the apprehension and expressive power of specifically formal features of music. One set of scholars, sometimes loosely labeled "emotivists," has argued that negative emotional responses do play a central role in the apprehension of much music, that is, that actual sadness is a natural, intentional and essential response to sad music. Advocates of this view base their arguments in large part on …
Are Video Games Art?, Aaron Smuts
Are Video Games Art?, Aaron Smuts
Contemporary Aesthetics (Journal Archive)
In this paper I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that some video games should be classified as art, and that the debates concerning the artistic status of chess and sports offer some insights …
Anchorage To The World, Ken-Ichi Sasaki
Anchorage To The World, Ken-Ichi Sasaki
Contemporary Aesthetics (Journal Archive)
We are anchored to the world because we are bodies. For us, the world means human society based upon nature. Nature is an essential constituent. For human being is bodily existence: social relationships are basically formed through the contact between these bodily existences, one with another, and the cultural space, that is, the city, is based on matter and surrounded by nature. Hence the possibility and the necessity of anchorage. An inanimate object is simply thrown into the sea of matter. Human bodies, on the contrary, do not only belong to this material texture in a passive way but can …
Living Art, Defining Value: Artworks And Mere Real Things, Serge Grigoriev
Living Art, Defining Value: Artworks And Mere Real Things, Serge Grigoriev
Contemporary Aesthetics (Journal Archive)
In this essay I examine the conceptual difficulties generated by drawing a distinction between artworks and mere real things. I argue that the distinction is an unfortunate one, requiring for its operation an assumption of possibility of an objective value judgment with regard to aesthetic productions, which, in reality cannot be defensible on purely philosophical grounds. The distinction, in fact, may be useful in describing the interactions between the artworld, qua a cultural institution, and the socio-economic environment in which it is situated; yet, it proves misleading when introduced into discussions about the nature of artworks and the nature of …
Aesthetic Functionalism, Sven Ove Hansson
Aesthetic Functionalism, Sven Ove Hansson
Contemporary Aesthetics (Journal Archive)
According to the strongest version of aesthetic functionalism, aesthetic value is completely determined by and therefore reducible to practical function. According to the opposite view, function and aesthetic value are completely independent of each other. Both these views are shown to be untenable, and instead aesthetic dualism is defended. By this, I mean that some aesthetic judgments that can legitimately be made about an object refer to it under descriptions of its practical function, whereas others refer to it, for instance, under descriptions of its physical appearance. Since valuations of the former type are in most cases positively correlated with …
Response To Jon Boone's Critique, Yuriko Saito
Response To Jon Boone's Critique, Yuriko Saito
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Natural And Empty Desires: An Epicurean View Of Musical Experience, Daniel Putnam
Natural And Empty Desires: An Epicurean View Of Musical Experience, Daniel Putnam
Contemporary Aesthetics (Journal Archive)
Epicureans distinguish natural desires, which have their origin in the body itself, from empty desires which are imposed by society. Natural desires allow a person to enjoy pleasures free from anxiety and worry. Empty desires such as those for status or luxury are endless and lead to a life of frustration, resentment and anxiety. In this paper I apply this distinction to musical experience and differentiate between the genuine enjoyment of music and musical experience tainted by empty desires.
The Evolution And Revolutions Of The Networked Art Aesthetic, Jeanne Marie Kusina
The Evolution And Revolutions Of The Networked Art Aesthetic, Jeanne Marie Kusina
Contemporary Aesthetics (Journal Archive)
Mail art, artist books, artist amps, assemblings, experimental and visual poetry, Email art, video, and performance art have all, at various times, been considered members of the loosely configured classification known as "Networked art". Yet the common thread associating these diverse media is not the manner of their production, but rather the dynamic way in which they are distributed throughout artist networks. Emphasizing communication and generosity, Networked artists attempt to subvert conventional systems of exchange while also maintaining an intimacy of expression. I will discuss these qualities and how they often evolve from subtle attempts to undermine an allegedly flawed …
Symposium: The Body (Concluded From Vol. 2)
Symposium: The Body (Concluded From Vol. 2)
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Art And Embodiment: Biological And Phenomenological Contributions To Understanding Beauty And The Aesthetic, Adrienne Dengerink Chaplin
Art And Embodiment: Biological And Phenomenological Contributions To Understanding Beauty And The Aesthetic, Adrienne Dengerink Chaplin
Contemporary Aesthetics (Journal Archive)
Increasing awareness of the crucial and complex role of the body in making and experiencing art has led to a diverse range of biological and phenomenological philosophies of art. The shared emphasis on the role of the body re-connects these contemporary theories of art to aesthetics' pre-Kantian origin as a science of sense-perception (aesthesis) and feeling. Tracing some of the current positions in such diverse thinkers as Dissanayake, Langer, and Merleau-Ponty, this paper will examine their shared interest in art as a pre-reflective, non-discursive mode of knowing, symbolizing, and being-in-the-world. This paper argues that while some biologically based theories have …
Foreword, Ossi Naukkarinen, Arto Haappala
Foreword, Ossi Naukkarinen, Arto Haappala
Contemporary Aesthetics (Journal Archive)
No abstract provided.
Aesthetics And Mobility - A Short Introduction Into A Moving Field, Ossi Naukkarinen
Aesthetics And Mobility - A Short Introduction Into A Moving Field, Ossi Naukkarinen
Contemporary Aesthetics (Journal Archive)
Aesthetics cannot by any means be defined only as philosophy of art. Everything can be approached from an aesthetic standpoint. Aesthetically interesting ways to move about can be found in most everyday situations. Our everyday mobility consists of various ways of getting about, and sometimes our approach to them is aesthetically colored. That we move in different ways and link them with aesthetic considerations of some sort is deeply rooted in our thinking. Our bodily experiences of the world are typically movement experiences, and our conceptual thinking is also built on them: We simply cannot make sense of the world …
Learning From Venice, Max Ryynänen
Learning From Venice, Max Ryynänen
Contemporary Aesthetics (Journal Archive)
What role does arrival play in our aesthetic interaction with a city? Traveling to Venice drastically changed following the building of the railway. The way the city was perceived was wholly altered. The facade of Venice moved from the harbor to the railway station, without any changes being made to the city itself or its architecture. How did this change Venice and how did it change visiting it, and what can we learn from this case?
Mobility: The Fourth Dimension In The Fine Arts And Architecture, Gerd-Helge Vogel
Mobility: The Fourth Dimension In The Fine Arts And Architecture, Gerd-Helge Vogel
Contemporary Aesthetics (Journal Archive)
Mobility is a basic behavioural pattern of human beings that has been accelerating in the course of its social development. Especially since the beginnings of the industrial revolution, mobility has caused a fundamental change in human relationships that continues today. This becomes visible when we look at the aesthetic and spiritual impact on architecture and the fine arts. It is my intention to present significant examples in order to give an idea of the different stages of its development today.
Aesthetics Of Movement And Everyday Aesthetics, Pentti Määttänen
Aesthetics Of Movement And Everyday Aesthetics, Pentti Määttänen
Contemporary Aesthetics (Journal Archive)
How the general notion of experience is understood determines to some extent what one thinks about art and aesthetic experience. Pragmatism widens the concept of experience from that of sense experience. Action, practice and movement are epistemologically significant elements of experience. The environment is not just perceived, it is experienced also by acting, moving around and participating in different practices, as can be spelled out in terms of Peircean semiotics. From the pragmatist point of view, aesthetic experience is not characterized only as disinterested contemplation of art works and other elements of our environment as objects of perception. Aesthetic experience …
From Mobile Ontologies To Mobile Aesthetics, Jos De Mul
From Mobile Ontologies To Mobile Aesthetics, Jos De Mul
Contemporary Aesthetics (Journal Archive)
We are living in a globalizing world, characterized by constant and rapid innovation. As we are inclined to go with this flow and its accompanying discourse of mobility, there is a danger that we overlook the persistence of cultural traditions. However, this paper argues that important differences exist between pre-modern, modern and post-modern traditions with regard to the form mobility takes. After a short discussion of the role information and communication technologies play in post-modern traditions, it is argued that these technologies transform our world, and not only our electronic files, into a global database and, as a consequence, generate …
The Aesthetics Of The Road, Road Art, And Road Traffic, Yrjš Sepänmaa
The Aesthetics Of The Road, Road Art, And Road Traffic, Yrjš Sepänmaa
Contemporary Aesthetics (Journal Archive)
Three things are required for a good road: economy, safety and beauty. A key concept of this trinity is fitting: how to fit the road into the landscape. Together, the road and the landscape form a work of road art. Art attached to the road environment - in this case the other meaning of road art - is at its simplest art works placed beside a road. Art in a more demanding form gives the landscape new dimensions of meaning. Road and art in unison are more than the sum of their parts. Furthermore, travelling is a way to get …
Movement And Participation: Journeys Within Everyday Environments, Johanna Hällsten
Movement And Participation: Journeys Within Everyday Environments, Johanna Hällsten
Contemporary Aesthetics (Journal Archive)
Motion is an elementary part of our everyday life; it determines our perception and appropriation of environmental features. We are immersed in the world while on foot, grounding awareness of the three-dimensionality of the world and ourselves through movement. As a site-specific installation artist, movement is a crucial aspect of my practice in the sense that it makes the work occur. I argue that the installation comprises the experience of the participant through his or her interaction with the space and the intervention that has occurred through movement. The experience is one which unfolds and changes as the participant walks …