Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

This paper aims to critically analyze one of the most impactful events reported from the Indian corporate scenario in recent years, from the premise of its aesthetic underpinnings. Our focus is on the ambitious 2008 all cash cross-border acquisition of Jaguar and Land Rover businesses by Tata Motors Limited from Ford Motor Company, US. This move not only added stature to the already reputed brand but was also instrumental in positioning India in the global automotive arena. Using the Natyasastra, (...) an ancient Sanskrit scripture on Indian dramaturgy, as an aesthetic tool, we attempt to unravel the emotional performance depicted by various stakeholders partaking in the theatrics of the Jaguar Land Rover acquisition event. In the backdrop of theatrical performance, we examine the dialogical exchange between three distinct sets of actors, the firm, media, and equity market, to identify and elucidate the emotions they predominantly depict in the Jaguar Land Rover acquisition. This paper’s over-arching goal is to shift the preoccupation with metrics of organizational performance to focus instead on the emotional performance manifested through organizational activities, using an aesthetic and essentially Indian performative perspective. (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

This study delves into the porcelain calligraphy and painting of the Ming and Qing dynasties, aiming to uncover the spiritual and cultural narratives encapsulated in these artistic expressions. During these eras, marked by the zenith of Chinese porcelain artistry, the incorporation of religious motifs was not merely decorative but a profound reflection of the prevailing religious beliefs, cultural norms, and aesthetic inclinations of the time. This paper conducts a deep analysis of the religious elements manifested in Ming and Qing (...) dynasty porcelain artworks, exploring how these elements articulate religious devotion, mirror cultural practices, and influence artistic transformations. Through detailed appreciation and interpretation of three exemplary cases—Yongle blue and white entwined flowers, Jiajing blue and white road Fu Yunhe large plate, and a blue and white seawater river cliff pattern three-legged furnace—this study reveals how these works serve as conduits for spiritual reflection and cultural transmission. Each piece not only embodies the religious and philosophical zeitgeist of its era but also highlights the dynamic interplay between art and societal evolution, thus underscoring the multifaceted roles ancient religious art plays in perpetuating cultural heritage, enchanting viewers with its artistic allure, and reflecting broader social transformations. (shrink)

Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong (...) realist tendency in ordinary people’s thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). (shrink)

In the last twenty years there has been a marked increase in artists using smells in their works at the same time that scents are being used to accompany plays, films, and music. There is also an increase in ambient scenting in stores and hotels and leading chefs are adding unusual scents to cuisine. The book explores these olfactory activities and the aesthetic and ethical issues they raise as well as answering the traditional disparagement of the sense of smell (...) by leading intellectuals such as Kant, Darwin, and Freud, drawing on current science, social science, and humanities as well as literature. (shrink)

Aesthetic Expertise, Ole Martin Skilleås explains what aesthetic expertise is, what it's used for, how it manifests across diverse roles within aesthetic practices, and why we should want access to it to live our aesthetic lives to the full.

Aesthetic experiences play an important role in human culture and spiritual life and are closely related to aesthetic perception and appreciation of art, music, literature and natural landscapes. With the development of neuroscience and cognitive psychology, our understanding of aesthetic experiences continues to deepen; in this context, the study of neuroplasticity has attracted widespread attention. This study explores in detail how this process affects the perception of aesthetic cognition, thereby enhancing the aesthetic experience in several (...) key ways. The study finds that neuroplasticity plays a role in the evolution of an individual’s perception and appreciation of beauty, as it facilitates adjustments in perception, attention, emotion, and cross-perceptual integration based on individual experiences. These findings provide a theoretical basis for deepening the perception and appreciation of beauty and insights to better understand and advance the aesthetic experience provided by art, music and literature. Future research will explore how to maximise the use of neuroplasticity to enhance the quality and depth of the aesthetic experience, advance the field of aesthetic psychology and art research and further enrich and satisfy individuals’ perception and experience of beauty. (shrink)

Few cinephiles would deny the importance of mood in film, yet the aesthetics of mood are curiously overlooked today. On the one hand, mood is an essential dimension of cinema: we define certain genres, for example, by suggesting the moods they evoke. On the other hand, words frequently fail us when we try to articulate such moods in a more abstract or analytical vein. I offer in this essay some critical reflections on the significance of mood, suggesting that mood works (...) in narrative film by the disclosure of cinematic worlds. To explore variations in the aesthetics of mood — what I call disclosive, episodic, transitional and autonomous moods — I shall consider some selected mood-sequences from Brokeback Mountain, Fa yeung nin wa/In the Mood for Love, Habla con ella/Talk to Her and Mulholland Drive. My aim is to suggest the virtues of taking a more phenomenological approach to the aesthetics of mood, understood as a way of revealing or opening up a cinematic world; and to show how mood, in revealing distinctive cinematic worlds, is essential to our aesthetic and emotional engagement with film. (shrink)

In an era of technological ubiquity, artificial intelligence (AI) is reshaping not only industries but also fundamental human experiences, including artistic creativity. Rooted in a Posthumanist theoretical framework, this research scrutinizes the intricate ethical and aesthetic challenges that artists confront in AI-enabled art creation, with a particular focus on a novel phenomenon we term 'aesthetic loss of control.’ This phenomenon bears significant implications for notions of authorship, copyright, and business ethics in the art industry. Utilizing a mixed-methods approach, (...) our study involves a six-month-long collaboration with 34 artists from diverse artistic and cultural milieus, facilitated by AI algorithms versed in an array of artistic styles. Through iterative cycles of human input and AI output, coupled with in-depth interviews, observational studies, and diary analyses, we meticulously document the artists’ experiences and their emerging doubts over authorship and creative control. Our findings illuminate the nuanced complexities surrounding this 'aesthetic loss of control,’ extending current discussions in business ethics by offering empirically grounded insights and recommendations for navigating these ethical dilemmas. The study not only contributes new theoretical perspectives to the discourse but also provides actionable ethical guidelines for stakeholders in the art industry's commercial ecosystem. (shrink)

Hans Maes has collected a number of conversations he has had with major figures in philosophical aesthetics over the last ten years in Conversations on Art and Aesthetics. These include, in order of appearance, Jerrold Levin-son, Arthur Danto, Cynthia Freeland, Carolyn Korsmeyer, Jenefer Robinson, Roger Scruton, Gregory Currie, Paul Guyer, Noël Carroll, and Kendall Walton. This book will be of interest to anyone who wishes to see some important living figures in this essential subdiscipline of philosophy in action. As with (...) all efforts of this sort, however, certain choices had to be made. The book is explicitly limited to philosophers in the Anglo-American tradition, largely American (including eight past... (shrink)

The connection between humor and aesthetic experience has already been recognized by several thinkers and aesthetic educators. For instance, humor theorist John Morreall writes that "humor is best understood as itself a kind of aesthetic experience, equal in value at least to any other kind of aesthetic experience."1 For Morreall, both humor and aesthetic experience involve the use of the imagination, are accompanied by a sense of freedom, and often lead to surprises that we did (...) not anticipate. Another theorist has noted that the appreciation of specific kinds of humor and particular aesthetic experiences versus others are often matters of taste.2 Still other researchers have argued that aesthetic matters play a .. (shrink)

Many physicians assert that new cost-control mechanisms inappropriately interfere with clinical decision-making. They claim that high costs arise from poorly practiced medicine, and argue that effective utilization of resources is best promoted by advancing the scientific and ethical ideals of medicine. However, the claim is not warranted by empirical evidence. In this essay, I show how it rests upon aesthetic considerations associated with diagnostic elegance. I first consider scientific rationality generally. After a review of analytical empiricist and socio-historical approaches (...) in the philosophy of science, a form of Kant's aesthetic is used to explain how scientific discovery and justification are linked, and to show how meta-theoretical considerations associated with the goals and method of science work together with exemplars of practice. This analysis enables us to understand how the ideals of medicine as a science guide the initial patient history and physical exam in such a way that a parsimonious use of tests is indicated. Aesthetic considerations unite the basic scientific and ethical commitments of the modern medical paradigm and are central for rightly understanding clinical judgment. (shrink)

Research in the emerging area of the philosophy of the city has blossomed significantly in the last decade. One research strand is urban lighting, which offers several insights into how cities appear, focusing on a range of issues. This paper aims to contribute to this conversation by interrogating what it means to have a city that functions 24 hours a day. In turn, the author fleshes out the view that we can almost say that two cities exist within the exact (...) location but opts to examine the differences between the daytime and the nighttime city instead. This process helps identify a few issues that arise when a municipality exists with such a duality at play. This paper concludes with some suggestions for dealing with these affairs. (shrink)

In the process, Swirski takes stock of the recent work in evolutionary theory, arguing that the analysis of narrative truth may be grounded in the neo-Darwinian ...

This is the second section of an article (each section in subsequent regular issues of EPAT) that explores the concept of participation. Section I: Introduction and Early Perspectives grounds our exploration of participation and explores definitions and early perspectives of participation we have identified as ‘historically original’ and ‘philosophical.’ Section II: Participation as Engagement in Experience—An Aesthetics Perspective is a continuation of our conceptual exploration of participation that digs into the world of aesthetics. Finally, Section III: The Utilitarian (...) Perspective and Conclusion focuses on utilitarian meanings of participation from political and international development perspectives. Collectively, these sections focus on the meaning and deconstruction of the term, participation. By bringing attention to gradations in meaning, we hope to raise awareness of the superficial use of participation that is reflected in much of the educational literature and highlight possibilities that more thoughtfully formulated and consciously chosen meanings of participation could offer the field of education. (shrink)

ABSTRACT This article explores Rabindranath Tagore’s vision of the future, continuously engaged with and drawing from the past, in relation to my own creative practice as theatre and film director, curator, and singer-performer, a practice that continuously engages with the resonances of Tagorean utopia. Through three case studies from the author’s creative engagement with Tagore’s utopia, the article explores the building of transcultural utopias in which Tagore and Leonard Elmhirst participated and how Dartington Hall rapidly became a magnet for artists, (...) writers, philosophers, and musicians; Tagore’s opera Tasher Desh, a powerful political satire on fascism/free will; and the author’s feature film Life Goes On and the Tagorean construct of the absent-present mother figure. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we (...) are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

This volume explores the relationship between Kant's aesthetic theory and his critical epistemology as articulated in the Critique of Pure Reason and the Critique of the Power of Judgment. The essays, written specially for this volume, explore core elements of Kant's epistemology, such as his notions of discursive understanding, experience, and objective judgment. They also demonstrate a rich grasp of Kant's critical epistemology that enables a deeper understanding of his aesthetics. Collectively, the essays reveal that Kant's critical project, and (...) the dialectics of aesthetics and cognition within it, is still relevant to contemporary debates in epistemology, philosophy of mind, and the nature of experience and objectivity. The book also yields important lessons about the ineliminable, yet problematic place of imagination, sensibility and aesthetic experience in perception and cognition. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact (...) of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

Aesthetics in a Multicultural Age examines a variety of significant multidisciplinary and multicultural topics within the subject of aesthetics. Addressing the vexed relation of the arts and criticism to current political and cultural concerns, the contributors to this volume attempt to bridge the two decades-old gap between scholars and critics who hold conflicting views of the purposes of art and criticism. By exploring some of the ways in which global migration and expanding ethnic diversity are affecting cultural productions and prompting (...) reassessment of the nature and role of aesthetic discourse, this volume provides a new evaluation of aesthetic ideas and practices within contemporary arts and letters. (shrink)

This book presents one of the first systematic assessments of aesthetic insights into world politics. It examines the nature of aesthetic approaches and outlines how they differ from traditional analysis of politics. The book explores the potential and limits of aesthetics through a series of case studies on language and poetics"--Provided by publisher.

Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.

This paper delves into the philosophical and ethical foundations of dance education, guided by the principles of dialogical philosophy. It explores the intersection of moral, aesthetic, and professional education in dance through the lenses of existential meaning and modes of existence. By examining fundamental questions such as "What constitutes a person?", "What is the nature of relationships among individuals?", and "How should individuals exist within society?", the study articulates a philosophical framework for dance education that emphasizes spiritual and ethical (...) development alongside technical training. The core philosophical principles identified for guiding dance education include the "love of life," which advocates for respecting human nature and fostering the sound development of one's personality; "educational love," which supports the holistic development of individuals, enhancing their personal and social capabilities; and "love of equality," which promotes egalitarian and harmonious relationships among individuals. These principles are rooted in both ethical imperatives and spiritual ideals, reflecting a deep engagement with dialogical philosophy that emphasizes the relational and communal aspects of human existence. The logical framework for choosing aspects of moral, aesthetic, and professional education in dance is thus structured around three main tenets: respecting human nature to nurture a healthy personality, fostering respect to enhance interpersonal harmony, and building upon a foundation of equality to advance communal well-being. These choices are not only pedagogical but also deeply philosophical, engaging with questions of how dance as an art form can contribute to the moral and spiritual growth of individuals and communities. This exploration situates dance education within a broader philosophical discourse, suggesting that dance, much like religious practices, involves a profound exploration of the human condition. It argues that dance education should transcend technical skill to incorporate a richer, more ethically and spiritually informed curriculum that prepares students not only as dancers but also as morally and spiritually aware individuals. (shrink)

You are standing in the redwood forest of California, craning your neck to see the top of the giant sequoias. You marvel at their grandeur, as the trees seem to pierce the sunny clouds, but you might find the sequoias even more marvellous if you knew they were over 200 feet high. And wouldn't you stand in still greater awe if you realized that these trees are more than 2,000 years old? Knowing the age of sequoias and other living things (...) can be the basis of a distinctive aesthetic experience – the organically sublime. (shrink)

Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.

In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...) Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film. (shrink)

This volume takes two different, albeit intertwined approaches. The first concerns a reformulation of aesthetics in education—one which highlights the sensory dimensions of educational experience. The second concerns a turn to the body and the senses as that which is deeply involved in practices of teaching and learning.

This paper explores the possibility of developing a hybrid version of dispositional theories of aesthetic values. On such a theory, uses of aesthetic predicates express relational second-order dispositional properties. If the theory is not absolutist, it allows for the relativity of aesthetic values. But it may be objected to on the grounds that it fails to explain disagreement among subjects who are not disposed alike. This paper explores the possibility of adapting recent proposals of hybrid expressivist theories (...) for moral predicates to the case of aesthetic predicates. Hybrid expressivist theories make no explicit commitment about the kind of property expressed by the predicate, but make explicit commitments to implicated (or presupposed)expressive content. It is argued that dispositionalism about the properties expressed by aesthetic predicates, combined with expressive implicatures (or presuppositions), can account for aesthetic disagreements even in cases where subjects are not relevantly alike. (shrink)

Bence Nanay introduces aesthetics, a branch of philosophy that explores the nature of art, beauty, and taste. Looking beyond traditional artistic experiences, he defends the topic from accusations of elitism, and shows how more everyday experiences such as the pleasure in a soft fabric or falling leaves can become the subject of aesthetics.

_Nietzsche's New Seas_ makes available for the first time in English a representative sample of the best recent Nietzsche scholarship from Germany, France, and the United States. Michael Allen Gillespie and Tracy B. Strong have brought together scholars from a variety of disciplines—philosophy, history, literary criticism, and musicology—and from schools of thought that differ both methodologically and ideologically. The contributors—Karsten Harries, Robert Pippin, Eugen Fink, Hans-Georg Gadamer, Kurt Paul Janz, Sarah Kofman, Jean-Michel Rey, and the editors themselves—take a new approach (...) to Nietzsche, one that begins with the claim that his enigmatic utterances can best be understood by examining the style or structure of his thought. (shrink)

Exploring Certainty: Wittgenstein and Wide Fields of Thought considers how, where, and to what extent the thoughts and ideas found in Wittgenstein’s On Certainty can be applied to other areas of thought, including: ethics, aesthetics, religious belief, mathematics, cognitive science, and political theory. Robert Greenleaf Brice opens new avenues of thought for scholars and students of the Wittgensteinian tradition, while introducing original philosophies about human knowledge and cognition.

Explores sociocultural influences on the construction of traditional aesthetic theories and judgments.