As an introduction to the case studies collected in the current special issue, this review article provides a brief, and by no means exhaustive, overview of research that proves to be relevant to the development of a concept of an aesthetics of knowledge in the academic study of religion and in science and technology studies. Finally, it briefly discusses recent work explicitly addressing the aesthetic entangle-ment of science and religion.

Born out of a major international dialogue held at the Fondazione Giorgio Cini in Venice, Italy, this collection of essays presents innovative and provocative arguments about the claims of universal knowledge schemes and the different aesthetic and material forms in which such claims have been made and executed. Contributors take a close look at everything from religious pilgrimages, museums, and maps of the world, to search engines and automated GPS. Current obsessions in information technology, communications theory, and digital culture (...) often concern the value and possibility of a grand accumulation of universally accessible forms of knowledge: total libraries, open data bases, ubiquitous computing, and 'smart' technologies. These obsessions have important social and philosophical origins, and they raise profound questions about the very nature of knowledge and its organization. This volume's contributors draw on the histories of maps and of encyclopedias, worldviews and visionary collections, to make sense of the crucial relation between the way the world is known and how it might be displayed and transformed. (shrink)

What Mamardašvili meant by “process of knowledge” is not an all-embracing vision of reality accomplished “once-and-for-all”; it is not a step by step procedure of deduction; rather it is an anti-dialectical reconstruction of a constellation of signs put together over and over again by the subject by an act of non-premeditated genius. It is a kind of aesthetic act that makes the sense appear, like a vertical cut in the sequential line of space and time.

In a recent paper, Allen Carlson moves away from a purely scientific–cognitive framework for environmental aesthetics towards a ‘combination position’ based on the ecoaesthetics theorised by Xiangzhan Cheng. Carlson argues that only an aesthetics informed by ecological knowledge can offer the correct foundations for the continued relevance of environmental aesthetics to environmental ethics. However, closer analysis of Cheng's theory of ecoaesthetics reveals a number of problems related to questions of anthropocentrism and in particular, the issue of (...) an ethic based on love. In this paper, I offer an alternative approach for the future of environmental aesthetics in the form of an intergenerational aesthetics based on Indigenous and Local Knowledge (ILK). (shrink)

Argument and imagination are often interdependent. The Aesthetics of Argument is concerned with how this relationship may bear on argument's concern with truth, not just persuasion, and with the enhancement of understanding such interdependence may bring. The rationality of argument, conceived as the advancement of reasons for or against a claim, is not simply a matter of deductive validity. Whether arguments are relevant, have force, or look foolish cannot always be assessed in these terms. Martin Warner presents a series (...) of case studies which explore how analogy, metaphor, narrative, image, and symbol can be used in different ways to frame one domain in terms of another, and how criteria drawn from the study of imaginative literature may have a bearing on their truth-aptness. (shrink)

Conceptualism in natural aesthetics takes knowledge of natural objects to be necessary for their appropriate appreciation. Concentrating on animals, I explore a particular version of conceptualism – functionalism – in light of debates about the effects of cognition on perception - so-called ‘cognitive penetration of perception.’ I establish the claims about cognitive penetration to which functionalism is committed, and assess the implications of its assumptions for the normative claim that functional appreciation is most appropriate to nature. I argue (...) that functionalism has not yet provided strong reasons for thinking that knowledge affects perception in the relevant ways, and in ways required by its normative claims. (shrink)

The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature (...) and value of natural beauty, the relationship between art appreciation and nature appreciation, the role of knowledge in the aesthetic appreciation of nature, the importance of environmental participation to the appreciation of environments, and the connections between the aesthetic appreciation of nature and our ethical obligations concerning its maintenance and preservation. This volume is for scholars and students focussed on nature, landscapes, and environments, individuals in areas such as aesthetics, environmental ethics, geography, environmental studies, landscape architecture, landscape ecology, and the planning and design disciplines. It is also for any reader interested in and concerned about the aesthetic quality of the world in which we live. (shrink)

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

A hypertext learner navigates with a instinctive feeling for a knowledge. The learner does not know her queries, although she has a feeling for them. A learner’s navigation appears as complete upon the emergence of an aesthetic pleasure, called rasa. The order of arrival or the associational logic and even the temporal order are not relevant to this emergence. The completeness of aesthetics is important. The learner does not look for the intention of the writer, neither does she (...) look for significance. Lexia has a suggestive power and she is suggested in the arrival of aesthetics. Hypertext learning does not depend on communication. The learner in her pleasure transgresses the bounds of space-time to be in communion with several writers/learners. Hypertext learning does not appear to be fundamentally different from the analog learning; however, in performance, as in navigation, the learner assumes a mental state that helps her in her emergence into aesthetic bliss, of an arrival to the completed lexial navigation. This completeness is owing to aesthetics and is not owing to either the semantics or the query-fulfilling qualities. (shrink)

Adorno's Aesthetics of Critique examines Theodor Adorno's mode of critique from the perspective of his aesthetics. This has two purposes. The first purpose is to determine the effect of the primary importance Adorno places on aesthetics in his philosophy as a whole and to determine how this primacy influences the way in which he reads the philosophical tradition. The second purpose is to understand the role of aesthetics in critical thinking generally and to reinvigorate Adorno's understanding (...) of the subjective and objective dimensions of critique. The ultimate aim is to promote new interpretations of Adorno and to reassert his relevance for constructing effective modes of critical thinking. The book proceeds through four main chapters that focus on four different dimensions of Adorno's thought: knowledge, history, culture, and art. The first chapter uses Adorno's aesthetic theory to re-read his interpretation of Kant's subject-object dynamic. This grounds the second chapter, on history, which proceeds through an analysis of Adorno's reading of Hegel. The third chapter uses the philosophical grounding of the first two to explore how knowledge and history interact within society as fundamental dimensions of "culture." The scope and meaning of culture and its relevance for critique form the primary focus of this chapter. The fourth chapter turns to art to highlight the relationship between the critical and artistic dimensions of aesthetics in order to facilitate a dialogue between them. This serves the purpose of asserting and outlining the relevance of aesthetics for critical thought in the humanities and social sciences, which forms the crux of the book. (shrink)

Many philosophers believe that aesthetic testimony can provide aesthetic knowledge. This leaves us with the question: why does getting aesthetic knowledge by experience – by seeing a painting up close, or witnessing a performance first-hand – nevertheless seem superior to aesthetic testimony? I argue that it is due to differences in their epistemic value; in the diversity of epistemic goods each one provides. Aesthetic experience, or the experience of art or other aesthetic objects, affords multiple, distinctive epistemic goods (...) whereas aesthetic testimony affords less. In particular, it provides aesthetic knowledge of truths, a kind of propositional knowledge, as well as aesthetic knowledge of things, a kind of non-propositional knowledge. Although aesthetic experience is superior because it has more epistemic value, this doesn’t mean that aesthetic testimony provides weaker justification for aesthetic belief than aesthetic experience; the difference is evaluative, not normative. In this way, we can explain a key pessimistic intuition about aesthetic testimony – that it is inferior to aesthetic experience – whilst preserving the optimistic view that aesthetic testimony makes aesthetic knowledge available to others. The superior epistemic value of first-hand aesthetic experience is compatible with a number of important observations about aesthetic testimony, including the importance of aesthetic trust. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, (...) and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Allen Carlson's aesthetics of nature contends that a deepening in the scientific knowledge of natural objects and environments is required to achieve an appropriate aesthetic appreciation of them. This ‘scientific cognitivism’ is often presented as supporting the emergence and development of environmental awareness as well as a theory consistent with the requirements of environmentalism that have been set out by Carlson himself. But Carlson's view about the aesthetic appreciation of contemporary agricultural landscapes gives more relevance to their functional (...) fitness for human purposes than to scientific cognitivism. It will be shown here how this different treatment weakens the link between Carlson's work and his requirements of environmentalism. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

:Geophilosophy is a placeholder for things we cannot yet do, things we hope to do, and things that we have failed to do so far. This issue of Angelaki aspires towards ways of doing philosophy, geography and gender studies that stray from the analytical comforts of philosophical reasoning, and from the sociological certainties that dominate the study of masculinity. In particular, it brings a sexed and gendered body to extant Deleuze-Guattarian scholarship, while prompting a thirst for creativity and ambivalence to (...) masculinity research. Each article explores the ways in which lived cultures of masculinity might be read across uneven political formations and aesthetic practices, while calling into question tacit understandings of where “masculinity” begins and ends. In doing so, the collection teases out the ethical and methodological implications of poststructuralist approaches to gender in a range of disciplines, including cultural geography, art criticism, sociology, and disability studies. (shrink)

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the (...) performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures. (shrink)

Australasian Journal of Philosophy, Volume 90, Issue 3, Page 616, September 2012.

Artificial intelligence is regarded in the context of the tasks that are delegated to it during the development of technical projects and the features of the implementation of tasks that must be performed in real time without the possibility of interruption. The relevance of the study is determined by the fact that artificial intelligence sees as its main task the formalisation of decision-making with little or no human involvement. The basis of the methodological search are biological and prognostic methods. The (...) current stage of development of socio-humanitarian technologies, and in particular, systems with artificial intelligence, prompts people to conduct such socio-technical projects, for the implementation of which the properties of the human biological brain are no longer enough. The result of research on artificial intelligence is the desire to understand the work of the human brain, to reveal the secrets of human consciousness and the problem of creating machines with a certain level of human intelligence. The novelty of the study is determined by the fact that the understanding of artificial intelligence is primarily aimed at creating an environment that can distinguish artificial intelligence from the entire array of technological devices not only as a platform of knowledge and program code. The practical significance of the study is determined by the necessity for standardisation and the formation of attitudes and the acceptability of the use of artificial intelligence in tasks that will subsequently affect social development. (shrink)

René Girard’s mimetic theory has significantly influenced the fields of comparative literature and cultural studies, as well as sociological anthropology and philosophy. Nevertheless, I argue that a somewhat different line of interpretation, an interdisciplinary one, has not been sufficiently investigated. This involves an interpretation which focuses on the vicissitudes of the mimetic and “victimage” circle not (or not only) in sociological terms, but by analysing their articulation on the level of knowledge. The sociological and epistemological perspectives do not exclude (...) each other, but can be integrated. The main aim of this paper is to clarify this articulation, and to show that integration between these two perspectives is possible only by bringing into play a real ‘literary aesthetics’. The notion of literary aesthetics needs to be considered in both the common and the etymological sense, as a theory of feeling and of experiencing. In doing so, I firstly cover in brief the main stages of Girard’s thought in the light of this perspective, to then focus on the relationship between literary aesthetics and knowledge. Finally I argue that this picture, if seriously considered, could lead to a mystical outcome, and will discuss the possible alternatives to that outcome. (shrink)

The relationship between smell and politics could appear obscure; and yet, when it comes to smell, questions about freedom and constriction, social and ontological mingling or distinctions, clearly arise. In this paper, I will especially focus on the domain of food as a clear example for describing some of the political ambivalences characterizing the sense of smell. The aim is to pave the way for a more detailed ‘sociopolitical aesthetics of smell’ to come. I will stress epistemological and social (...) features of odors in order to highlight their ambivalence in knowledge and community life. Perceivers and odors will emerge as mingled bodies, highlighting an ongoing process of material as well as emotional affection. Moreover, I will present some relevant examples of smell as social status symbols in relation to the aesthetic values linked to class hierarchy. Consumerism and scented goods will be lastly discussed in order to shade light on contemporary perceptual phenomena and their role in the socioeconomic dimension. (shrink)

Throughout the twentieth century, critical art history often chose to ally itself with a restrictive brand of formalism. As a result, representation- and ideology-critical analyses regularly reduced the artwork to the bare bones (Hegel) of the material signifier in its social use. By contrast, in the texts assembled here, elements of a critical materialism are combined with an effort to reevaluate the meta-physical implications of modern abstraction and art since the 1960s. Taking Gilles Deleuze s readings of Spinoza, Nietzsche, and (...) Bergson as his starting point, the author delineates a topic in which the artwork s capacity for resistance is grounded in its relationship to an immanent infinity: the Spinozian substance, Nietzsche s Becoming, Bergson s duree. Against the backdrop of a critical rereading of Heidegger, this infinite dimension is interpreted in temporal and ontological terms as the vertical past of production, which can only be grasped in broken and technically encrypted form in the present shape and materiality of the artwork. Hence the notion of an aesthetics of production does not imply a nostalgia for the artisanal or for the artwork s singularity. The concept of production developed in this book aims at a realm that lies beyond finite representation but is still understood in materialist terms, and that threatens the circulation of positive, conceptually standardized knowledge. In case studies on Piet Mondrian, Marcel Duchamp, Thomas Hirschhorn, and Michael Asher and in framing essays on Kant and Nietzsche as well as Heidegger and Spinoza, this book articulates a concept of the artwork in the long modern era which takes account of the twentieth century s critique of metaphysics but without surrendering the truth claim of art and philosophy in favor of a culturalist and sociological relativism. ". (shrink)

The article is devoted to identifying the value of the phenomenon of aesthetic value and beauty of mathematical knowledge and the beauty of mathematical theory of teaching mathematics. The aesthetic potential of mathematical knowledge allows the use of theater technology in the educational process with the active dialogic interaction between teacher and students. The criteria of beauty in mathematical theories are distinguished: the realization of beauty as the unity of the whole, and in the disclosure of the complex (...) through the elementary; methodological interpretation of the beauty in the community of mathematical structures and optimal information content of the meta-language of mathematics; the practical embodiment of beauty in the formalization of the infinite through the finite. The beauty of mathematics is the force that permeates all the ‘layers of knowledge‘ not along, and across, although the effectiveness of mathematical activity due to aesthetic laws, which do not always lend themselves to unambiguous interpretation. In the article it is stated that, depending on the educational goals of communicative impact on the audience, in fact, ‘mathematical lectures theatricality‘ can have different characteristics, the most important of which are teachers artistry and artistic director’s work of a teacher. This cultural phenomenon that includes the theatrical talent, helps create an atmosphere of cooperation needed in varying degrees of activity for pedagogical interaction. The author believes that such approach, developed on the basis of the Stanislavsky system, allows university professors of mathematics significantly improve mathematical lectures. (shrink)

Ours is an age of offense, a time of reactionary shock—always received, never given. Ours is an age that has forgone cultural narratives, a time of individualism—wherein personal identities trump the collective spirit. Ours is an age of failing earth, a time of ecological collapse—yet the consumption of global capitalism continues to run amok. But don't fear. You have the correct worldview, the best solutions. It’s not your fault these things are happening. It’s the president’s, the immigrant’s, and the Islamicist’s. (...) Or perhaps It’s the socialist’s, the tree hugger’s, and the baby killer’s. But it’s not your fault. Never yours. For the world exists as you see it—in an echo chamber lined with golden pixels. Do I still have your attention? Then join me. Within the covers of Narrativizing Theories, I dive into ambiguity and aesthetics to depict how clashing worldviews exist side by side yet remain mutually incompatible. I examine how cultures distinguish between acceptable and unacceptable beliefs, embodiments, and identities. And I outline an aesthetic theory of ambiguity that highlights—through the twists and turns of literature—the provisionality of knowledge and the narrativization of reality. (shrink)

ArgumentThe deficit model of science communication assumes that the creation and dissemination of knowledge is limited to researchers with formal credentials. Recent challenges to this model have emerged among “e-patients” who develop extensive online activist communities, demand access to their own health data, conduct crowd-sourced experiments, and “hack” health problems that traditional medical experts have failed to solve. This article explores the aesthetics of medical media that enact the transition from a deficit model to a patient-driven model of (...) visual representation and health communication. I present a framework for understanding the role of film and video in patient movements by analyzing the historical transition from researchers filming patients as nameless, voiceless human research subjects to patients recording their own health narratives through activist cinematography. By comparing several approaches to patient-centered video, I argue that imperfect production aesthetics play a critically important role in establishing the credibility of health communications. (shrink)

“The inquiry into the foundations of knowledge is a systematic inquiry into the problem of truth. This problem constitutes one of the three main concerns of philosophical analysis, the others being the problem of beauty and the problem of goodness.” Thus Evangelos P. Papanoutsos, Greece’s leading contemporary philosopher, introduces this third book of his “Trilogy of the Mind.” The first two volumes covered aesthetics and ethics; this one is a major work in epistemology. Combining rigorous analysis with thorough-going (...) scholarship, displaying an intimate acquaintance with the physical and humanistic sciences, and drawing on a deep understanding of philosophical method and the history of philosophy, Professor Papanoutsos is held in high esteem by his European colleagues. This translation of his masterpiece will enhance his reputation and influence among readers of English. The themes of The Foundation of Knowledge range over the topics that have been continually challenging to the modern era of philosophers: being and consciousness, experience and reason, common sense and science, and the domains of knowledge, including the nature of philosophical knowledge. Special attention is paid to the analysis of theoretical consciousness, the problems of categorical thinking, the theory of judgment, mathematics and logic, and the limits of historical understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

The authors consider the relationship between knowledge and image, though multi-faceted, to be one of reciprocal dependence. But how do images carry and convey knowledge? The ambiguities of images means that interpretations do not necessarily follow the intention of the image producers. Through an array of different cases, the chapters critically reflect upon how images are mobilised and used in different knowledge practices, within certain knowledge traditions, in different historical periods. They question what we take for (...) granted, what seems evident, what goes without saying. This approach spans across established categories such as «scientific imaging», «religious images» and «artworks», and considers how images may contribute meaning across such categories. (shrink)

Resumen: El objetivo principal de este artículo es mostrar las importantes consecuencias antropológicas que tiene el análisis kantiano de lo sublime. A partir de la idea de lo sublime de Kant, primero, se desprende una alta estimación de la humanidad y, segundo, se deduce un concepto de ser humano como finitud infinita. Dado que lo sublime es además respeto por la naturaleza, también se infiere una concepción de la naturaleza opuesta a la que representa la modernidad científica, una naturaleza humanizada (...) digna de admiración y respeto.: The main goal of this paper is to show the important anthropological consequences of the Kantian analysis of the sublime. From Kant’s idea of the sublime, first, a high estimation of humanity is inferred and, second, a concept of human being as infinite finitude is deduced. Since the sublime is also respect for nature, it also infers a conception of nature opposite to that represented by scientific modernity, a humanized nature worthy of admiration and respect. (shrink)

A well-written translation of Cournot's Essai sur les fondements de nos connaissances et sur les caractères de la critique philosophique. The author, little known in this country except for his work in mathematics and economics, first published this work in 1851. The Essay is part rationalism, part empiricism. The first half of the Essay argues for Cournot's theory of knowledge; the second relates his theory to problems of mathematics, logic, law, history, psychology, ethics, esthetics, and to his philosophical predecessors. (...) It is a work which will reward careful study and which will be of special interest to students of Peirce and Bergson. The translator has provided a lengthy introduction which will be of value to those unfamiliar with Cournot and Cournot literature, and an excellent index. --R. P. (shrink)

Aesthetic judgment has often been characterized as a sensuous cognitively unmediated engagement in sensory items whether visual, auditory, haptic, olfactory or gustatory. However, new art forms challenge this assumption. At the very least, new art forms provide evidence of intention which triggers a search for meaning in the perceiver. Perceived order excites the ascription of intention. The ascription of intention employs background knowledge and experience, or in other words, implicates the perceiver’s conceptual framework. In our response to art of (...) every description we witness the incorrigible tendency in humans to construct meaningful narratives to account for events. Such meaningful narratives always implicitly involve the ascription of intention, even when the agent of the intention is not explicitly acknowledged or even clearly conceived. This principle of intention-in-order may seem incompatible with another truism which is that art is a source of novel ideas and essentially a critique of prevailing values and norms including conceptual schemes. I argue on the contrary that the human impulse to read intention in order is a precondition of art’s critical edge. Creativity is possible even though there is no raw perceptual data to which we have conscious access. That is, there are no sensory items, unmediated by the concepts we have internalized through our interaction with our communities, to which we have conscious access. (shrink)

This simple and informal approach to the study of philosophy offers a straightforward explanation and interpretation of the seven departments of philosophy: Metaphysics, the Nature of Being and of God; Logic, the Rule of Reason: Ethics, the Code of Conduct: Psychology, the Science of the Soul; Epistemology, the Nature of Knowledge: Esthetics, the Urge to Beauty; and Theurgy, the Living of Wisdom.

This article has two parts. The first one compares the ontological and epistemological implications of two main philosophical stances on how reality relates to appearance. I call the first group the “plane of superficiality,” where reality and appearance are the same; there is no gap between what a thing is and how it manifests itself. I call the second group “volume of representation,” in which reality is beyond appearances; there is an insurmountable gap between the thing and its phenomena. The (...) second part of the article focuses on Graham Harman’s Object-Oriented Ontology (OOO) as the second group’s contemporary position. Within the OOO epistemological model of “knowledge without truth,” Harman’s schema of the observer’s participation in the object’s knowledge production is questioned. Alternatively, based on the notion proposed here of “flat representativity” in which each appearance is equally valuable to represent different aspects of the object, I argue for the full spectrum of the sensual as the basis for “knowledge without truth.” In particular, the aesthetic method, excluded from Harman’s concerns about knowledge, is suggested as another contribution to the episteme. (shrink)

In this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated (...) a list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant. (shrink)

By law, women seeking abortions in some US states must undergo compulsory ultrasound viewing. This article examines the moral significance of this practice, especially as understood by pro-life religious groups, in light of Foucault’s recently published lectures on ‘The Will to Know’ and the place of the aesthetic. How does the larger abortion-debate strategy of ‘showing’ and ‘seeing’ images—whether of living or dead fetuses—work as an aesthetic form of argument that intends to evoke a moral response in the absence of (...) reason-giving? The article draws on recent, parallel debates regarding disgust before concluding with a theological response to the priority of will over knowledge and vision over action as commentary on the future of abortion debate and law, especially in the United States. (shrink)

This work presents truth as an aesthetic value in Nietzsche's epistemic account of Western morals and scientific culture. An expression of Nietzsche's special, selective style as a deconstructive hermeneutic in and among texts and readers is offered to facilitate this reading. ;Nietzsche's claim that the world is Will to Power construes all events as mutually interpretive expressions. Where truth is determined as a perspectival expression, the Real must be thought to incorporate multiple truths reflecting its ambiguous, ambivalent abundance. ;The existing (...) tradition in the philosophy of science takes science to approximate ideal knowledge. As an interpretive position, science takes the measure of opposing perspectives: the efficacy of theory and computation testifies to the power of the scientific project. This project has its special advantage from the dynamic difference between evaluative structures seeking to overpower disparate perspectives. As the scientific focus is claimed to be exclusive, or accurate, it is a falsification. ;Beyond the computational efficiency which requires a life-denying , preservative life-orientation, Nietzsche moves towards a broader aesthetic: affirming life in its very chaotic ambivalence. As an active Will to Power, this expressive aesthetic opposes the reactive Will to Power of the ascetic aesthetic of science and religion. This is an uneven contest, for while the Will to Power can be active or reactive, the active will becomes reactive if it once encounters and resists--neither absorbing nor succumbing to--a reactive will. Given the insistent superiority of indigent Will to Power as a conservative, acquisitive will, the full possibility of a perspectival aesthetics of truth including an affirmative aesthetic is only rarely to be realised. This affirmative aesthetic articulates a life that is neither acquisitive nor fearful but purely expressive in the grand style. Finally, assumed from the perspective of such a grand style of life, the thought of the Eternal Return is prophylactic against the deadening rule of nihilism. (shrink)

The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response (...) to various artworks including positive and negative themes. Positive ED was associated with the embracing sub-trait of curiosity that reflects engagement and enjoyment of novelty and complexity, but was unrelated to artistic knowledge and perceived comprehension. Negative ED was associated with higher curiosity and particularly more knowledge of the arts. This relationship was mediated by appraised comprehension suggesting that deeper engagement with art, by those with more art knowledge, is associated with more fine-grained emotional experiences. This finding extends ED beyond well-being research and suggests that more nuanced emotional experiences are more likely for those with expertise in the arts and motivation for exploration. (shrink)

Philosophical interest in beautiful moral agency can be traced back at least to Plato. It is an insistent theme of his writings that a virtuous soul is one in which the functions of its various parts are properly discharged, just as in the healthy body all the organs must perform their proper tasks. As health in the body is beautiful (kalon), so is the health of the soul. We here discern the first inkling of a thought which has engrossed the (...) moral and aesthetic imagination ever since: that moral nobility and artistic beauty consist in 'organic unity'. The idea reappears in both the Ethics and Poetics of Aristotle; a good man is a perfectly functioning hierarchy of goals in which his projects co-operate harmoniously under the direction of more general, overarching goods. Just as the most excellent knowledge is of theories which subsume the most diverse instances, so the most excellent goal is one which subsumes many subsidiary projects.' Analogously, the plot of a good tragedy depicts a single action, and all of its parts are contoured to the shape of this one great event. The plot of a well-written tragedy is thus a formal emblem of the wellplanned life. Work and life are noble to the extent that they manifest the handiwork of a virtuous practical intelligence. The most highly realized life is the most beautiful one, and the most excellent artwork is a formal microcosm of the most highly realized life. (shrink)

Nietzsche's reflection on art extends throughout his philosophical work. From the early claim of an “artist's metaphysics” to the late considerations that see in art the privileged form of the Will to Power, Nietzsche makes his attempt to overcome western metaphysics to depend on a particular ontological conception of the artistic fact. This ontological aestheticism, of enormous influence in current philosophical trends, has been the subject of various comments and criticisms. Less interest has raised instead the analysis of the implications (...) that this long nietzschean meditation concerning art can have in the interior of the aesthetic field itself: what is the specificity of art compared with other fields of human action? What results for the individual and for culture from the encounter with the phenomenon of art? This article constitutes a first attempt to answer these questions. Its analysis focuses in The Birth of Tragedy and, to a lesser extent, in the physiology of art found in the Twilight of the Idols. The article's central thesis defends that, according to Nietzsche, the aesthetical experience is essentially an experience of knowledge, a type of knowledge that gives access to truth. (shrink)

A comprehensive overview of art criticism as it relates to art value and aesthetics argues that art can impart insights into the natural and human world in ways akin to those of philosophy and science. Reprint.

Previous chapter Towards a non-Platonic Aesthetics of Rhythm A second way to figure out the meaning of Nietzsche's concept of eurhythmy is simply to look at his descriptions and evaluations of ancient Greek culture. It is common knowledge that his first concern was to contest the Apollonian Platonic aesthetics and that, in order to reach his goal, he reevaluated all Dionysian aspects. But this did not mean sheer inversion either. We need here to be extra careful. In (...) The - Sur le concept de rythme – Nouvel article. (shrink)

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)