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Rhyme Or Reason:That Is The Question?, Jim Roche

Articles

Noting that “the aesthetic should not be limited merely to the way things look” the organisers of this conference sought “in part to address the discursive limitation in architecture and related subjects by broadening the aesthetic discourse beyond questions relating to purely visual phenomena in order to include those derived from all facets of human experience”.

So where does etchics come in? Well, the introductory brochure noted that most philosophical trained aestheticians will say that “the aesthetic is everything” hinting perhaps of the necessity for a more haptic experience of architecture. It also drew on Wittgenstein’s quote that “ethics and …

In Defence Of Higher-Order Musical Ontology: A Reply To Lee B. Brown, Andrew Kania

Philosophy Faculty Research

In a recent article in this journal, Lee B. Brown criticizes one central kind of project in higher-order musical ontology—the project of offering an ontological theory of a particular musical tradition. I defend this kind of project by replying to Brown’s critique, arguing that musical practices are not untheorizably messy, and that a suitably subtle descriptivist ontology of a given practice can be valuable both theoretically and practically.

A Musical Photograph?, Richard Beaudoin, Andrew Kania

Philosophy Faculty Research

This article compares two objects: a photographic negative made by William Henry Fox Talbot in 1835 and the score of a solo piano work composed by Richard Beaudoin in 2009. Talbot’s negative has come to be known as Latticed Window (with the Camera Obscura), August 1835, and Beaudoin’s musical composition is called Étude d’un prélude VII—Latticed Window. As suggested by their titles, the composition owes a debt to the negative and thereby joins a long list of musical compositions indebted to particular visual images. However, the relationship is deeper, and by explicating their respective ontologies, we hope …

Concepts Of Pornography: Aesthetics, Feminism, And Methodology, Andrew Kania

Philosophy Faculty Research

There are two broadly philosophical literatures on pornography. By far the largest is concerned with moral issues raised by pornography. This literature falls into two phases. The first phase comprises the debate between moral conservatives, who objected to pornography on the grounds of its explicit sexual nature, and liberals, who defended pornography on grounds of something like freedom of speech or expression. Though this debate is not stone cold, the liberals seem to have won it. However, it has been largely replaced by a different one between feminists who object to pornography on the basis that it contributes to the …

Toward A History Of Aesthetics Of The Twentieth Century, Curtis Carter

Philosophy Faculty Research and Publications

No abstract provided.

Aesthetics In Contemporary Art: Philosopher And Performer, Curtis L. Carter

Philosophy Faculty Research and Publications

No abstract provided.

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 …

The Paradoxical Beauty Of The Cross: Theological Aesthetics And The Doctrine Of The Atonement In Athanasius’ Contra Gentes-De Incarnatio, Marcus Little

Liberty Theological Review

In his two-part treatise Contra Gentes-De Incarnatio, Athanasius offers an interesting apologetic for the Christian doctrine of the atonement by employing various aesthetic themes and forms of expression drawn from the classical notion of beauty found particularly in the Platonic and neo-Platonic traditions. Although Athanasius never mentions the term “beauty” in Contra Gentes-De Incarnatio, the concept certainly looms in the background. Writing against the Platonic, Epicurean, and Stoic systems of his day, Athanasius centers his apologetic on the philosophical tension evident in the doctrine of divine transcendence/immanence. This paper argues that Athanasius implicitly characterizes the tension of divine transcendence/ immanence …

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. …

The Flower Of Human Perfection: Moses Mendelssohn's Defense Of Rationalist Aesthetics, Aaron M. Koller

Philosophy - Dissertations

This work is an analysis of Moses Mendelssohn's contributions to aesthetic rationalism, a tradition that arose in 18-century Germany. Rationalists held that aesthetic experience is primarily explained by the perfection of the object being considered, where perfection is a fundamental, rational (law-governed) property. As this work shows, Mendelssohn was among the first to acknowledge and effectively address several significant objections to the rationalist theory: its seeming inability to account for pleasure generally, tragedy and tragic pleasure more specifically, and the sublime; and its apparent blindness to the claims of genius and Rousseau's ethical critique of the arts. Many commentators have …

The Ethical Significance Of The Aesthetic Experience Of Non-Representational Art, Taylor Rogers

Honors Papers

This paper’s aim is to give an account of the distinctive ethical significance of the aesthetic experience of non-representational art. It demonstrates how perceptual skills necessary for such engagement prove to be ethical as well as aesthetic skills. First, some background on the nature of aesthetic experience, before Noël Carroll’s content-oriented account is adopted. After clarifying the notion of “aesthetic experience,” the paper’s focus on non-representational art is explained, illustrating the way in which it more accessibly fosters pure aesthetic experience, as opposed to art that is representational. By employing the terms ‘non-representational’ and ‘representational,’ paradigm cases of each sort …

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 …

Philosophical Hermeneutics And The Ethical Function Of Architecture, Paul Kidder

Contemporary Aesthetics (Journal Archive)

Karsten Harries’ book, The Ethical Function of Architecture, raises the question of how architecture can be interpretive of and for our time. Part of Harries’ pursuit of this question is done in dialogue with the philosophy of Martin Heidegger, whose evocatively expressed ontology of building and dwelling recovered, in philosophical and poetic terms, the power of buildings to symbolize and interpret the most fundamental truths of being and human existence. The present essay identifies contributions to this hermeneutic and ontological approach to architecture drawn from the philosophy of Hans-Georg Gadamer, emphasizing Gadamer’s notions of play (Spiel), symbol, and the …

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 …

Politics Of Beauty, Ken-Ichi Sasaki

Contemporary Aesthetics (Journal Archive)

I look back at the history of modern aesthetics to grasp its current situation and to propose its possibilities for the future. The early modern period, during which aesthetics came into being, was a great historical turning point for civilization. Our contemporary period shares this character, and it is worthwhile for us to consult its history in order to reflect on our civilization. Aesthetics began with Baumgarten’s proposal, which consisted in a triple subject: sensibility, beauty, and art. His idea was accepted because it responded to the fundamental problems of the period. Sensibility was the only form of cognition of …

Silent Music, Andrew Kania

Philosophy Faculty Research

In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical sound art, rather than simply a piece of theatre, as Stephen Davies has argued. I end with consideration …

Wilderness Beauty: A Means To Resolve Volitional Doubt, Brian T. Scalise

Liberty Theological Review

Doubt is often part of Christian spiritual life. Matured doubt will influence the will (the volition) so as to keep the Christian doubter from acting like a Christian or even desiring the Christian life. This essay seeks to construct a theory designed to engage and help resolve volitional doubt by use of wilderness beauty. This theory incorporates three areas of study—Land and Leisure Management, Abraham Maslow’s metamotivation theory, and Jonathan Edwards' aesthetic theology—to demonstrate the uniqueness and usefulness of wilderness beauty for resolving volitional doubt. Subsequent to the construction of the theory, practical suggestions for its application are given.

The Aesthetics Of Magnetic Resonance Imaging (Mri): From The Scientific Laboratory To An Artwork, Silvia Casini

Contemporary Aesthetics (Journal Archive)

This article investigates the aesthetic potential of Magnetic Resonance Imaging (MRI), a medical imaging technique, both inside the laboratory and in the arts. By combining Rancière’s understanding of aesthetics with Merleau-Ponty’s notion of embodied perception, it argues that an image-generating technique conceived in the scientific field can successfully migrate into the realm of fine art, opening up new aesthetic and perceptual possibilities. Although aesthetic qualities are already present in the laboratory, they remain hidden by the necessity of reading the image-data obtained according to the interpretative framework of the medical discourse. Two paths are covered: the first goes from the …

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 …

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 …

The Joy Of Difference: Foucault And Hadot On The Aesthetic And The Universal In Philosophy, Cory Wimberly

Philosophy Faculty Publications

The intersection of Foucault and Hadot's work in the philosophy of antiquity is a dense and fruitful meeting. Not only do each of the philosophers offer competing interpretations of antiquity, their differences also reflect on their opposing assessments of the contemporary situation and the continuing philosophical debate between the universal and the relative. Unpacking these two philosophers’ disagreements on antiquity sheds light on how Hadot’s commitment to the Universal and Foucault’s commitment to an aesthetics of existence stem from their diagnoses of the present and the persistent philosophical issue of universalism. This line of analysis is especially productive to pursue …

Musical Recordings, Andrew Kania

Philosophy Faculty Research

Over the course of the twentieth century, there was a major shift in the way that audiences experienced music. The advent of broadcasting and recording technology brought a sea-change in the standard situation in which music was heard. Where, before, music was rarely heard in the absence of musicians producing it live, now one could listen in one’s living room to a performance that was actually going on thousands of miles away, or, stranger still, one that was already finished, and one could listen to the latter kind over and over again. Musicians and theorists had quite a bit to …

In But Not Of, Of But Not In: On Taste, Hipness, And White Embodiment, Robin James

Contemporary Aesthetics (Journal Archive)

The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture by positioning himself as, in the words of James Chance’s song title, “Almost Black.” The notion of hip contributes …

The Last King Of Scotland Or The Last N----R On Earth? The Ethics Of Race On Film, Paul C. Taylor

Contemporary Aesthetics (Journal Archive)

This paper undertakes four tasks. It examines a tradition of cinematic and narrative representation that we might call “the narrative of moral gentrification.” It insists on the importance of excavating the racialist and often racist images, motifs, and myths that constitute this tradition. It recommends a form of philosophical aesthetics, located at the intersection of aesthetics, ethical perfectionism, and critical race theory, as a resource for doing this work. And it insists on the importance of subjecting problematic or qualitatively inferior expressive objects to critical scrutiny for the sake of developing proper iconographies and archives of white supremacist expressive culture.

L’Éthique Et L’Esthétique Chez Ousmane Sembéne, Frederic Ivor Case

Présence Francophone: Revue internationale de langue et de littérature

The ethics and aesthetics of the films and novels of Sembène reflect the axiological principles of his work. Sembène’s impact can be felt throughout as his practice in both cinema and literature helped redefi ne the features of the African novel and film. For him, writing was fed by the experiences, however painful, of workers of diverse origins attempting to survive their difficult conditions. His novels reveal the agony of this world but also various opportunities for self realization among his characters. Such practice, born out of the sweat, resistance and determination of men and women eking out their living, …

The Methodology Of Musical Ontology: Descriptivism And Its Implications, Andrew Kania

Philosophy Faculty Research

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it is usually accorded.

Raharimanana : « Le Viol Des Douceurs », Patricia Célérier

Présence Francophone: Revue internationale de langue et de littérature

constant and paradoxical paradigm, violence is at the core of the Malagasy writer, Jean-Luc Raharimanana’s work. What are its representations, its modulations and functions in his shortstories, his novel, Nour, 1947, and his narrative, L’arbre anthropophage ? His poetic elaboration of violence puts his production at the juncture of postmodern and committed literatures and gives it a singular value in the world of postcolonial literature.

Piece For The End Of Time: In Defence Of Musical Ontology, Andrew Kania

Philosophy Faculty Research

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley’s arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none of this implies that these debates themselves are without value.