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Summary

How do we perceive art in relation to our cultural environment? This complex question calls for a close examination of the interactive mechanisms between two fields of knowledge and praxis that transform societies.

Aesthetics, encompassing the philosophy of beauty and the study of sensory perception, plays a fundamental role in how individuals and communities interact with and interpret their cultural surroundings. By exploring the dynamic relationship between aesthetics and culture, we gain insights into the profound impact of artistic expression on societal values, beliefs, and identity formation. Drawing upon interdisciplinary research and critical analyses, this section sheds light on how the reception of art, in its various forms, reflects, influences, and transforms societies. It underscores the importance of recognizing the dynamic nature of aesthetics and culture, and the need for fostering dialogue, appreciation, and understanding across diverse artistic expressions. Moreover, it emphasizes the role of aesthetics and cultural awareness in shaping a harmonious and inclusive society where artistic diversity thrives.

Aesthetics has the power to challenge existing norms, provoke thought, and inspire cultural transformation. In a sense, artists throughout history have used their creations to challenge social conventions, spark political movements, and redefine cultural boundaries. Artistic expressions that deviate from the established aesthetic norms often become powerful agents of change, encouraging critical dialogue and pushing society to question and reevaluate its values and beliefs. For example, the Cubist movement of the early 20th century, led by artists such as Pablo Picasso and Georges Braque, revolutionized the perception of visual art by breaking away from traditional representational forms and introducing abstract and fragmented perspectives. This artistic innovation not only reshaped the visual arts but also had a profound impact on broader cultural narratives, challenging conventional notions of reality and perception.

Artistic expressions reflect the values, aspirations, and concerns of a society, offering a mirror through which cultural values can be observed. Aesthetics provides a platform for artists to express their interpretation of the world around them, reflecting social, political, and cultural realities. For instance, Renaissance art celebrated humanism and the revival of classical ideals, while Romantic art in the 19th century emphasized emotion, individuality, and the sublime. By analyzing the aesthetics of a particular time period, we can gain insights into the prevailing social and cultural attitudes of that era. The works of art serve as cultural artifacts that preserve and communicate the values, narratives, and ideologies of a society.

Aesthetics plays a vital role in preserving cultural heritage and traditions. Art forms such as traditional music, dance, and craftsmanship embody cultural knowledge, rituals, and historical narratives. By engaging with these aesthetic expressions, communities can maintain and transmit their cultural identities across generations. Cultural preservation through aesthetics not only safeguards the tangible and intangible aspects of a culture but also fosters a sense of pride and belonging within communities. Furthermore, the aesthetics associated with cultural preservation can be a source of inspiration for contemporary artists, providing a rich tapestry of ideas, techniques, and symbols that can be reinterpreted and incorporated into new artistic expressions.

In a nutshell, aesthetics exerts a profound influence on culture by serving as a catalyst for change, a reflection of societal values, and a tool for cultural preservation. By embracing diverse aesthetic expressions, societies can broaden their understanding of cultural narratives, challenge established norms, and foster a sense of cultural identity. Recognizing the intricate relationship between aesthetics and culture is essential for appreciating the transformative power of art and its role in shaping the societies we inhabit.

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  1. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  2. Chess composition as an art.Miro Brada - manuscript
    The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.
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  3. Ralph Ellison’s Terministic Screen: Consciousness–Conscience and Purpose–Passion–Perception.David Dennen - manuscript
    Ralph Ellison consistently relied on a small set of terms in order to guide his writing practice and his interpretation of literature, history, and society. Following Kenneth Burke, an acquaintance of Ellison, I call this his terministic screen. Perhaps the most important elements of Ellison’s terministic screen are consciousness–conscience and purpose–passion–perception. The first set of terms represents what he saw as our democratic obligations: the pursuit of a progressively clearer consciousness of democratic ideals and a more refined conscientiousness in pursuing (...)
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  4. On the exhaustion criterion of difficulty, with Wittgenstein, Robert Graves, and Kripke.Terence Rajivan Edward - manuscript
    The philosopher and builder Ludwig Wittgenstein remarks that architecture is more difficult than philosophy. He suggests an exhaustion criterion for how difficult a discipline is: a field is more difficult the more exhausting it is. I make a case against this claim. There was once a demand to prevent the Greek myths from establishing themselves in the curriculum by means of “our own rival myths.” It is difficult to compete with a renowned Greek myth, but if one does produce a (...)
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  5. Pure Visuality: Notes on Intellection & Form in Art & Architecture.Gavin Keeney - manuscript
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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  6. Artificial Aesthetics.Emanuele Arielli & Lev Manovich - forthcoming
  7. From Tools to Authors (Chapter 8 of "Artificial Aesthetics", Lev Manovich, Emanuele Arielli).Emanuele Arielli & Lev Manovich - forthcoming - In Emanuele Arielli & Lev Manovich, Artificial Aesthetics.
    Chapter 8, "From Tools to Authors" of "Artificial Aesthetics" discusses the evolving role of AI in artistic creation, moving from a tool to a potential creative agent. It explores the concept of "extended aesthetics," where technology enhances both human creativity and perception. The chapter outlines different levels of AI autonomy and examines how this shift challenges traditional ideas of authorship, comparing AI collaborations to historical artistic practices. It raises questions about the value of effort in art, contrasting human struggle with (...)
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  8. Band Merch, Silencing and Aesthetic Community.Felix Bräuer - forthcoming - Estetika: The European Journal of Aesthetics.
    This paper addresses a question that has sparked heated debate while mostly flying under the philosophical radar: Should people stop wearing merch of bands they don’t listen to? I respond affirmatively. People should stop wearing merch of bands they don’t listen to because (i) doing so can silence people who wear band merch to communicate their taste in music and (ii) this silencing threatens the valuable role that wearing band merch plays in the aesthetic lives of people who share a (...)
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  9. Shared Aesthetic Experience, Community, and Meaningfulness.Anthony Cross - forthcoming - Philosophical Topics.
    Aesthetic communities offer us opportunities for collective, communal, and value-disclosing shared aesthetic experiences. This paper develops an account of shared aesthetic experiences and provides an answer to the question of their significance: when they occur within aesthetic communities, their distinctive phenomenology is a powerful resource for creating a sense that our lives are aesthetically meaningful.
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  10. Giving Beauty its Due: A Cinematic Defense.Arnold Cusmariu - forthcoming - In Carol S. Gould, Aesthetic Properties of Persons.
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  11. Heterogeneity and Historicity: On What Makes Art Contemporary.Christopher Earley - forthcoming - Estetika: The European Journal of Aesthetics.
    Contemporary art is a category that can admit art made in any medium, form, genre, and style. However, this unprecedented heterogeneity can make it difficult to understand what makes contemporary art distinct from other kinds of art. In this article, I aim to provide an account of what makes art contemporary. I develop my position by focussing on philosophy of contemporary art emerging from the so-called analytic tradition. I argue that though these philosophers have reckoned with many of the puzzles (...)
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  12. The Beauty of Conspiracy.Killian Jeremy - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    Why are people attracted to conspiracy theories? This essay conceives of conspiratorial motivation as an aesthetic phenomenon. To defend this account, I offer a coarse-grained taxonomy of contemporary motivational hypotheses that have been proposed to answer this question, describing their strengths and weaknesses. Next, I offer an aesthetic account of conspiratorial consumption; I argue that people’s preference for conspiratorial narratives is the product of a taste for a particular kind of story. To clarify the approach, I show how aesthetic appreciation (...)
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  13. Imagining Dinosaurs.Michel-Antoine Xhignesse - forthcoming - Journal of Aesthetics and Art Criticism.
    There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...)
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  14. Uma incursão sobre a obra de arte, a tecnologia e a pornografia.Marcos A. Ferreira - 2024 - Itaca 42:59-73.
    The aim of this article is to try to understand the role of pornography through a number of different channels, namely: the work of art and technology. To understand how the work of art passed from an erotic position to a pornographic one, with explicitly political motivations. To this end, our main references are Walter Benjamin’s work The Work of Art in the Age of Its Technical Reproducibility (1936) and Polly Barton’s Porn: An Oral History (2023). -/- O presente artigo (...)
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  15. Art, Philosophy, and Ideology: Writings on Aesthetics and Visual Culture from the Avantgarde to Postsocialism.Tyrus Miller (ed.) - 2024 - Boston: BRILL.
    This volume consists of selected essays on the art and aesthetics of the avantgarde, contemporary art, and postsocialist culture by the internationally renowned Slovenian philosopher and art theorist Aleš Erjavec.
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  16. Rethinking the City: Reconfiguration and Fragmentation.Maria Filomena Molder, Nélio Conceição & Nuno Fonseca (eds.) - 2024 - London and New York: Routledge.
    Interdisciplinary in approach, this book employs the key concepts of fragmentation and reconfiguration to consider the ways in which human experience and artistic practice can engage with and respond to the disintegration that characteri es modern cities. Asking how we might unsettle and decrypt the homogeneous images of cities created by processes linked to capitalism and globalisation, it invites us to consider the possibility of reimagining and rethinking the urban spaces we inhabit. An exploration of the complex relationship between aesthetics, (...)
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  17. Un paio di scarpe (Nike). Recensione de "I piedi del mondo. Come le scarpe Nike hanno rivoluzionato l'immaginario globale" di Tommaso Ariemma. [REVIEW]Simone Santamato - 2024 - Mimesis Scenari.
    In this paper, I review Ariemma's latest work "I piedi del mondo. Come le Nike hanno rivoluzionato l'immaginario globale", ed. Luiss University Press, 2024. In my review, I try using the book's content as an occasion for deepening further in the methodology of pop-philosophy: what do we mean when we assert we are doing pop-philosophy, and from which theoretical structure do we argue? Finally, i develop some ideas for a phenomenological contextualization of the pop-philosophy: if this discipline works with the (...)
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  18. REALISM IN ART AND REALISM OF ART / РЕАЛИЗМ В ИСКУССТВЕ И РЕАЛИЗМ ИСКУССТВА.Pavel Simashenkov - 2024 - Актуальные Вопросы Культуры, Искусства, Образования 40 (№ 2):75-82.
    The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art with (...)
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  19. Heiliges Leiden. Weiblich codierter Masochismus in Dolorosas (alias Maria Eichhorn) "Confirmo te chrysmate".Roland Spalinger - 2024 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 69 (1):84-107.
    The essay delves into the masochistic poetry found in the poetry collection ›Confirmo te chrysmate‹ by Maria Eichhorn, who, writing under the pseudonym Dolorosa, showed significant public activity within the Berlin Bohemian circles between 1900 and 1910. Alongside her artistic endeavors she contributed to the psychoanalytic discourse on masochism. Her poems unveil the myth of a bourgeois model of desire, predicated on the notion that femininely coded desire finds its fulfillment in physical and psychological submission. Eichhorn’s poetry reveals that masochistic (...)
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  20. Editorial: Rethinking research with methodologies of art practice.Claudia Westermann - 2024 - Technoetic Arts 22 (1):3-7.
    This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul Mahata, (...)
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  21. Distant Dinosaurs and the Aesthetics of Remote Art.Michel-Antoine Xhignesse - 2024 - British Journal of Aesthetics 64 (3):361-380.
    Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...)
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  22. Selective Breeding and the Birth of Philosophy.Costin Alamariu - 2023 - Independently published.
    Based on his dissertation (Yale). -/- This is an argument that philosophy is born with and dependent on the idea of nature; and that this idea was first discovered or manifested in the perception of biological reality, in particular the perception of hereditary transmission of physical and behavioral qualities, together with the perception that moral and legal codes are relative and contingent. It was generally only within the spiritual and intellectual horizon of certain types of aristocracies to have access to (...)
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  23. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...)
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  24. "Belleza" de Hans-Georg Gadamer y "Belleza y burguesía" de Odo Marquard: Introducción, traducción y notas de Facundo Bey.Facundo Norberto Bey - 2023 - Boletín de Estética 65:73-93.
    Resumen: Este texto introduce la primera traducción al español de los textos Schönheit [Belleza] de Hans-Georg Gadamer (trabajo escrito en los años ’70 y que vio la luz en alemán póstumamente en 2007) y Schönheit und Bürgerlichkeit [Belleza y burguesía] de Odo Marquard, publicado también en 2007 como respuesta demorada al trabajo del filósofo de Marburgo. Gadamer explora el desarrollo histórico del concepto de belleza en los siglos XIX y XX, poniendo énfasis en que la belleza siguió y seguirá siendo (...)
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  25. Aesthetic Testimony and Aesthetic Authenticity.Felix Bräuer - 2023 - British Journal of Aesthetics 63 (3):395–416.
    Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...)
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  26. Heyes’s Introduction to Anaesthetics of Existence: Essays on Experience on the Edge.Cressida J. Heyes - 2023 - Feminist Philosophy Quarterly 9 (2).
    In this short introduction to my monograph Anaesthetics of Existence, I explain the origin of the book in a mishearing of Foucault’s phrase “an aesthetics of existence” and outline the book’s method (a melding of genealogy and phenomenology) and its subject: the politics of experience, and especially how to think about undergoings that either are excluded from experience or happen at its edges. The book contains a chapter on Foucault and this new method; one on sexual violence against unconscious victims; (...)
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  27. Affective Responses to Music: An Affective Science Perspective.Federico Lauria - 2023 - Philosophies 8 (2):16.
    Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...)
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  28. How to Know a City: The Epistemic Value of City Tours.Pilar Lopez-Cantero & Catherine Robb - 2023 - Philosophy of the City Journal 1 (1):31-41.
    When travelling to a new city, we acquire knowledge about its physical terrain, directions, historical facts and aesthetic features. Engaging in tourism practices, such as guided walking tours, provides experiences of a city that are necessarily mediated and partial. This has led scholars in tourism studies, and more recently in philosophy, to question the epistemological value of city tours, critiquingthem as passive, lacking in autonomous agency, and providing misrepresentative experiences of the city. In response, we argue that the mediated and (...)
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  29. A Garden of One's Own, or Why Are There No Great Lady Detectives?Shelby Moser & Michel-Antoine Xhignesse - 2023 - Feminist Philosophy Quarterly 9 (1):1-20.
    Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...)
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  30. A vida como jogo e a arte como ofício em Simônides e Nietzsche: a existência do risco na aparência.Gabriel Herkenhoff Coelho Moura - 2023 - O Que Nos Faz Pensar 30 (50):p. 38-66.
    Simônides de Ceos foi um poeta lírico grego cuja obra é marcada pela atenção à problemática da existência humana e cuja distinção é a visão do fazer poético como atividade propriamente humana. Nietzsche nutria grande admiração por Simônides desde o tempo de sua formação intelectual, como revela sua correspondência dos anos sessenta. Além disso, em seus cadernos e em dois aforismos de sua obra publicada, o filósofo apresenta interessantes reflexões sobre o poeta. Em uma delas, afirma que Simônides aconselhava os (...)
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  31. Decolonizing the History of Pre-Columbian Art in Brazil.Alex Pereira De Araújo - 2023 - International Journal of Humanities and Education Development (Ijhed) 5 (6):73-78.
    This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to this (...)
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  32. The Didi-Huberman Dictionary.Magdalena Zolkos (ed.) - 2023 - Edinburgh UP.
    The Didi-Huberman Dictionary is a specialized introduction to the thought of contemporary French philosopher Georges Didi-Huberman, best known for his path-breaking philosophy of image and for his impact on the 'visual turn' in theoretical humanities. With over 150 entries, including 125 main entries, the dictionary is a useful research tool for students coming to Didi-Huberman's work for the first time. Entries range from Theodor Adorno and Anthropology through to Materiality and Memory and on to Aby Warburg and Witnessing. Researchers already (...)
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  33. Imperfectionist Aesthetics in Art and Everyday Life.Peter Cheyne (ed.) - 2022 - London: Routledge.
    This book presents interdisciplinary research on the aesthetics of perfection and imperfection. Broadening this growing field, it connects the aesthetics of imperfection with issues in areas including philosophy, music, literature, urban environment, architecture, art theory, and cultural studies. -/- The contributors to this volume argue that imperfection has value in being open and inclusive. The aesthetics of imperfection is thus typified by organic, unpolished production and the avoidance of perfect finish, instead representing living and natural change, and opposing the consumerist (...)
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  34. Cultural Colonialism & Aesthetic Injustice.Gustavo Dalaqua - 2022 - Philosophy Now 149:18-20.
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  35. Traditional literary interpretation versus subversive interpretation.Terence Rajivan Edward - 2022 - Asian Journal of Advances in Research 16 (3):34-39.
    I present some objections to traditional literary interpretation and consider subversive interpretation as a solution to these problems. Subversive interpretation may seem more scientific and more democratic than traditional interpretation, but it is open to doubt that it is more democratic.
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  36. Really Boring Art.Andreas Elpidorou & John Gibson - 2022 - Ergo: An Open Access Journal of Philosophy 8 (30):190-218.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  37. Practising collectivity: Performing public space in everyday China.Teresa Hoskyns, Siti Balkish Roslan & Claudia Westermann - 2022 - Technoetic Arts 20 (3):203-224.
    This article investigates the specific cultural and collaborative nature of China’s public spaces and how they are formed through performative appropriations. Collective cultural practices as political participation were encouraged during the Mao era when cultural activities played a key role in workers’ education and participation. Since the opening-up period, performance in public space has become widespread in China and creates alternative community spaces that constitute alternatives to capitalist spaces of consumption. Using Habermas’s theory of communicative action, we argue that cultural (...)
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  38. The Philosophy of Humor: What makes Something Funny.Chris A. Kramer - 2022 - 1000-Word Philosophy: An Introductory Anthology.
    People can laugh at almost anything. What’s the deal with that? What makes something funny? -/- This essay reviews some theories of what it is for something to be funny. Each theory offers insights into this question, but no single approach provides a comprehensive answer.
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  39. Weaving Artistic Archipelagos in Afro Diasporic Networks.Frédéric Lefrançois - 2022 - Sociocriticism 36 (1-2).
    Through the prism of archipelicity, the artistic production of the Afro-American Diaspora reveals its diffractive potential: at once close to and far from its original origins, it unfolds in the in-between of a double consciousness. In his seminal essay, Paul Gilroy calls for the overcoming of binary oppositions in order to better apprehend the complexity of Afro-diasporic intellectual culture, which he sees as specifically transnational (Gilroy, 1993). As inclusive as this theoretical framework may seem, it is challenged by the inherent (...)
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  40. The Musicality of Speech.James H. P. Lewis - 2022 - Philosophers' Imprint 22.
    It is common for people to be sensitive to aesthetic qualities in one another’s speech. We allow the loveliness or unloveliness of a person’s voice to make impressions on us. What is more, it is also common to allow those aesthetic impressions to affect how we are inclined to feel about the speaker. We form attitudes of liking, trusting, disliking or distrusting partly in virtue of the aesthetic qualities of a person’s speech. In this paper I ask whether such attitudes (...)
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  41. Weaponizing Culture: A Limited Defense of the Destruction of Cultural Heritage in War.Duncan MacIntosh - 2022 - In Claire Oakes Finkelstein, Derek Gillman & Frederik Rosén, The Preservation of Art and Culture in Times of War. Oxford: Oxford University Press. pp. 97-128.
    It is widely thought that stealing, trading and destroying cultural artifacts in time of war are inherently immoral actions, and that it is right that they be treated as war crimes, which, indeed, they currently are. But oppressive cultures have their heritage and cultural artifacts too, in the form of monuments, sites of worship, and so on; and for the oppressed, these things may be awful reminders of their subordination, and may even perpetuate it. This chapter suggests that, since cultural (...)
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  42. Immoral Artists and Our Aesthetic Projects: A Commentary on Mary Beth Willard's Why It's OK to Enjoy the Work of Immoral Artists.Erich Hatala Matthes - 2022 - British Journal of Aesthetics 62 (4):517-525.
    This essay discusses Mary Beth Willard's _Why It's OK to Enjoy the Work of Immoral Artists_ and puts it into dialogue with my book _Drawing the Line._ In particular, I focus on the role of aesthetic projects in thinking about artistic immorality, and develop further thoughts on the public/private and individual/social distinctions with respect to our engagement with the arts.
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  43. Subversive Playfulness in Nietzsche and Dada.Philip Mills - 2022 - In Michael McNeal & Paul Kirkland, Joy and Laughter in Nietzsche's Philosophy. Bloomsbury Academic. pp. 143-157.
    Nietzsche’s analysis of society—its decadence and nihilism—has been quite influential among 20th century art movements; his diagnostic of culture and his response to it inspired many artists and still does nowadays. His critique of traditional culture—and this concerns as much morality, science, religion, philosophy than art—calls for a revaluation of all values, that is a profound modification of the foundations of culture. One of the most influential art movements which was inspired by this idea is Dada, an art movement born (...)
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  44. Which Side are You On? The Class Consciousness of Punk.Tiffany Elise Montoya - 2022 - Chicago: Open Universe. Edited by Joshua Heter & Richard Greene.
    Both the music and subculture of punk historically arose from disaffected working-class youth. This socio-economic starting point was absolutely crucial for making punk what it is. However, along with this standpoint came various levels of class consciousness that we can see evidence of in the lyrics and in various practices of people within the scene itself. I divide this consciousness into 3 specific levels of structural understanding and agency. Inspired by Georg Lukacs' analysis of class consciousness and Antonio Gramsci's theory (...)
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  45. Art, artefact and nature in Gillo Dorfles’s work. For an understanding of our aesthetic constitution.Filomena Parente - 2022 - Debates in Aesthetics 17 (2):39-53.
    Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...)
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  46. Henri Bergson and visual culture: a philosophy for a new aesthetic.Paul Atkinson - 2021 - New York: Bloomsbury Academic.
    What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siècle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that is central (...)
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  47. Art Criticism in the Contracted Field1.Matthew Bowman - 2021 - Journal of Aesthetics and Art Criticism 79 (2):200-212.
    Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall (...)
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  48. The Complexity of Play: A Response to Guyer’s Analysis of Play in Schiller’s Letters on the Aesthetic Education of Man.Kate Brelje - 2021 - In Malcolm MacLean & Wendy Russell, Play, Philosophy and Performance. New York: Routledge. pp. 142-155.
    In the Letters on the Aesthetic Education of Man (Aesthetic Letters), Friedrich Schiller asserts the importance of play for human beings. He claims, “man only plays when he is in the fullest sense of the word a human being, and he is only fully a human being when he plays” (Schiller, 2005, 131). Play is so pivotal that it qualifies as the activity resonating the state of human fullness. So, naturally, one might ask, what does play consist in for Schiller? (...)
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  49. Materiality and sublimation in Dan Flavin's luminous minimalism.Vangelis Giannakakis - 2021 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft (Special issue / Sonderheft 19):313-330.
    Modern aesthetic Minimalism is neither a flight to abstract spirituality, nor an extracting process of a primordial essence. It is concerned, rather, with the aesthetic object as pure refiguration and the production of “concrete universality”, of form as content and possibility of itself. This becomes especially apparent in the Minimalism of the 1960s. The main focus of this paper will be on Dan Flavin’s luminous minimalism. The latter is characterised by a style that, though simple in appearance, introduced a higher (...)
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  50. Industrial Modernism and the Hegelian Dialectic in Winslow Homer.Trevor Griffith - 2021 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 23 (1):166-183.
    This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...)
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