By challenging the state and corporate prerogatives to distinguish between “good” and “bad” development, social movements by and in support of inhabitants of Rosia Montana (Transylvania) are subverting prevailing perceptions about Central and Eastern Europe (CEE)’s liberal path of development illustrating its injustice in several ways that will be detailed in this article under the heading “inhibitions of political economy” or Balkanism. The significance of the “Save Rosia Montana” movement for post-communism is that it invites post-communist subjects to reflect and (...) revise their perception about issues such as communism, capitalism and development and to raise questions of global significance about the fragile edifice of justice within the neo-liberal capitalist economy. However, r esistance to injustice (and implicitly affirmations of other senses of justice) is an ambiguous discursive practice through which Rosieni make sense as well as partake their sense of Rosia Montana. The movement brings about a public dispute which may be compared with a differend : (in Lyotard’s words), a conflict that cannot be confined to the rules of “cognitive phrases,” of truth and falsehood. This article argues that while post-communist events of “subjectification” are unstable and thus, are to be viewed aesthetically, this same ambiguous multiplication of political subjectivity may facilitate the creation of social spaces for imagining alternative possibilities of development. (shrink)

This paper proposes a deep analysis of the latest research of digital humanities scholar Beatrice Fazi, and especially her critique of computational automation, to understand the roles of digital creative technologies, and more specifically of creative software. After a close analysis of Fazi’s main contribution to a new understanding of computational aesthetics, we will briefly outline the potential implications of her work to understand the contemporary evolution of creative software, and especially the implementation of machine learning algorithms in these kinds (...) of software. This will lead us to contextualise the contemporary anxieties regarding how machines could replace humans in the act of artistic creation. (shrink)

The Second Enlightenment is a deep reflection and an immanent transcendence of the first Enlightenment (17th and 18th centuries). Although the great achievements of the first Enlightenment cannot be denied, its limits are increasingly being exposed. Among the many limitations of the Enlightenment, the suppression of beauty in general and natural beauty in particular is one of its main drawbacks, caused by its blind worship of reason and the domination of a modern mechanistic worldview. The suppression of beauty and natural (...) beauty has produced destructive consequences which are responsible for the ecological, social, and spiritual crisis facing us today. In order to prevent ecological catastrophes and create an ecological civilization, a second Enlightenment whose core concept is beauty is needed. The Second Enlightenment challenges us to rethink the value and importance of beauty and natural beauty, and regards beauty as the aim of the universe, as well as of ecological civilization. In this sense, the Second Enlightenment can be seen as an aesthetic Enlightenment which not only helps us to resist consumerism, guard spiritual dignity, nurture our souls, find a sense of belonging, and lead a poetic life, but also helps Chinese society to overcome a defiant attitude toward rural civilization and farmers, and eventually to remove the Great Wall between city and country. (shrink)

This article tackles the possibility of reframing Cézanne’s reception of still life as a meta-painting in which individuals occasionally become objectified, gathering objects with other ontological dignities, such as things and tools, in a Heideggerian manner. One of the rare situations in which individuals are presented like objects throughout a still life is represented by the series of Card Players. I will argue that the still life form is reflected in objectual painting in which the insertion of individuals is performed (...) in order to recover a Bergsonian élan vital, of which Cézanne retains, by engaging Impressionist techniques, only an instance: the circumstance of a meditative, decisive, ludic action, taken during the game. Once humanised, still life has, in Cézanne’s version, the capacity to express the human condition through two inherent determinations, luck and sociability, reflecting what Arendt would call “the human corner”–something that anyone needs in order to preserve natural instincts, to be “happy around things” and to begin a civilisational process, supported by the double realm of arbitrariness and normativity that lies at the heart of a game. (shrink)

Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic studies enable the (...) identification of the author’s relationship with objectivity and subjectivity, and the building blocks of the said subjectivity, through literary elements. What kind of fictional language does ekphrasis, which is essentially the act of making the mute object speak, point to, in Evliya Çelebi’s representation? This article will aim to examine the subjective factors, personal taste and cultural positioning that emerge in Evliyâ Çelebi’s writing practice, mainly in his “ekphrastic” narration of the Western paintings that he saw in the Balkans and Vienna, which he describes in great detail in his Seyahatnâme. It is of the author’s opinion that, although Evliyâ Çelebi’s cultural positioning imposed limitations on his aesthetic perception and ekphrastic narration, he had an admiration for the Western art; and his “actual” cultural position manifests itself in an “in-betweenness” in the East-West spiral, which also reflects his unique literary mode. (shrink)

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

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

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (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.

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

Camil Petrescu (1894-1957) was a Romanian novelist, dramatist, poet and philosopher. His PhD thesis in philosophy was entitled The Aesthetic Method of Theater, and wasinfluenced by Joseph Gregor, Julius Bab, Gordon Craig, Constantin Stanislavski, Adolphe Appia, and William Butler Yeats.. His thesis was published in 1937. In Romanian literature, he was the initiator of the modern novel, with the volume The Last Night of Love, the First Night of War (1930). As a philosopher he was influned by and continued to (...) studyPlato, Descartes, Kant, Hegel, James, Bergson and Husserl. Petrescu is the first Romanian philosopher to write a micro-monograph about Husserl (1938). His main philosophical work, entitled The Doctrine of Substance (deposited in 1942 to the Library of Vatican), was published in 1988 (The Doctrine of Substance, volumes I-II). In this paper, I present a placement of the Romanian philosopher in his time and in the relationshe has with his contemporaries, some of them of world-class (Mircea Eliade, Eugen Ionesco, Emil Cioran, inclusiv Constantin Noica). (shrink)

The main aim of this article is to analyse the relationship between two innovative concepts—the technoself and process identity—from a perspective inspired by process ontology. The working hypothesis is that industrialized and mass societies entered into a post-industrial or informational sphere of capitalism, becoming networking societies—also known as knowledge-based societies—which closely followed their role in approaching the plural identity of the digital Subject and the surveillance practices exercised in its governance as correspondent models for the changes of the current reality. (...) The first section of the article is devoted to research on the technoself, a concept recently introduced by Luppicini in 2013. Criticizing the technoself in terms of process ontology and as a result of digitalization, subjectivity, and technical rationality, I will argue that the constitution of digital subjects, as well as their interactions, should be defined in terms of processes. Therefore, I introduce the concept of process identity—which includes the technoself—and explain how this approach contributes to the development of different research fields (such as speculative realism and object-oriented ontology) and how it affects Floridi’s distinction between digital ontology and informational ontology. The second section focuses on the effects of the digital environment on self-constitution practices and techniques, virtual worlds experiencing what Foucault recognizes as the aesthetics of existence. In the final part, I confront Bentham’s and Foucault’s panopticism, arguing that based on what is accomplished by process identities, networking societies represent societies of control, not disciplinary ones, and consequently this distinction should be applied in governing virtual communities. In the end, I will explain why notions such as digital personae or databased selves are insufficient, and should be replaced by the concepts of process identity and technoself, respectively, in order to improve the models of governing networking societies. (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

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)

Paul Ricoeur’s narrative and critical hermeneutics provides the conceptual resources to accommodate Barthes’ and similar critiques of subjectivity whilepositing a revised form of authorial intention similar to the “postulated author” of Alexander Nehamas and the “creative process” of Richard Wollheim. Though influenced by Barthian critiques, all three thinkers retain a notion of authorial intent*one distinct from the intentions of the historical author*necessary for the understanding of meaning in the philosophy of literature. Yet, the implications of this allow us to reverse (...) the Ricoeurian insight of understanding human action as a text, and show how human action provides clarification on authorial intention. Using Ricoeur and Nehamas, I would like to revisit the issue of authorialintention in order to show the insights this offers for hermeneutics and philosophy of literature. If authorial intention is properly reestablished as distinct from theintentions of the historical writer, we can turn to a minimalistic version of the analytic philosophy of action based on Ricoeur and Carlos Moya to provide auseful heuristic conceptual framework to look at both authorial and ‘readerly’ intention.In employing the philosophy of action, this conceptual framework will be used instrumentally in aid of interpreting the text and providing further analysisand conceptual clarity to the notion of authorial intention. Further, analyzing ‘writerly’ and ‘readerly’ intention as action*communicative action*sidesteps thephilosophical issue of the ‘artistic process’ which had absorbed the attention of aesthetics since Plato, without sidestepping the issues of authorial intention andreaderly intention.1 I will argue that in using variants of the philosophy of action, we can ignore psychological issues and instead focus on the broader issues ofmeaning-expression at the heart of both readerly and writerly intention. I will then demonstrate this heuristic framework using Hölderlin’s epic poetry and Blanchot’s The Writing of the Disaster. (shrink)

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

Although multiple scholars have pushed music education to embrace the aesthetic as a curricular and pedagogical touchstone, research surrounding this aesthetic turn has largely framed aesthetics as a sensory experience rather than a social technology (one that can both liberate and oppress). In response, I address the following question: how do uncritical aesthetic philosophies and the experiences they engender act as a means of oppression within music education? By way of example, I approach this question through a text analysis of (...) writings on aesthetics from The Eugenics Review, a long-running publication that disseminated eugenics news and research. In doing so, I construct a eugenical theory of aesthetics that illuminates how eugenicists used aesthetics to enact what Foucault defines as pastoral power and assert control of bodies and populations through education. I then frame the writings of Carl Seashore (a pioneering music education researcher and avowed eugenicist) within this eugenical theory of aesthetics, revealing the ways that Seashore used aesthetic theory to forward eugenical arguments. I conclude with implications for contemporary educators and researchers, sounding a call for a deep and critical examination of all aesthetic formations within music education. (shrink)

This paper explores the general characteristics of the aesthetics of life. Our approach will be in thinking about the aesthetics of life as a domain independent from the realms of ethics and morality. This thesis discusses some of the theoretical debates around those concepts. The notion of ‘pleasure’ in those practices will be discussed as the one that gives shape to ‘the art of life’. Pleasure also makes it possible for a person to perform these practices for a long period (...) of time; what we call the ‘life-long character of the aestheticization of life’.However, this effort endeavors to demonstrate another central theme of this style of life; the individual/social character of those practices is the one that exemplifies ‘the art of life’. Thinking simultaneously about ‘oneself’ and the ‘other’ is the main concept that helps us the most to appreciate these practices. These debates are elaborated further in some case studies that have been researched between 2016 and 2019. These are real examples of peoples’ lived experiences who, in different ways, try to give meaning to their lives by turning their existence into a work of art. (shrink)

This book is a reaction to the reductionist and exploitative ideas dominating the mainstream contemporary management discourse and practice, and an attempt to broaden the horizons of possibility for both managers and organization scholars. It brings together the scholarly fields of humanistic management and organizational aesthetics, where the former brings in the unshakeable focus on the human condition and concern for dignity, emancipation, and the common good, while the latter promotes reflection, openness, and appreciation for irreducible complexity of existence. It (...) is a journey towards wholeness undertaken by a collective of management and organization theorists, philosophers, artists, and art curators. Reading this book's contributions can help both academics and practitioners work towards building organizational practices aimed at acquiring wholeness by developing aesthetic awareness allowing for more profound understandings of performativity, insights into the dynamics of power, appreciation of ambiguity and ambivalence, and a much needed grasp of complexity. The varied ways of engaging with art explored by the authors promote imaginative insights into and reflection on the beauty and vicissitudes of organizing, of management knowledge and collective expression. It will be of interest to researchers, academics, practitioners, and students in the fields of organizational theory and practice, business and management history, human resource management, and culture management. (shrink)

This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl and (...) Dufrenne to trace the origin of the sense of the feeling of sublimity in the realm of affectivity or sensuousness. This genesis takes place in passive experience, where we identify an excess of sensuous sense over categorial meaning that is constitutive of the affective sense that our bodily sensations give to hyletic material. It is argued that this sensuous excess evokes a sublime experience in the phenomenological sense, involving an affective and disruptive bodily experience and an endless process of sense formation. Affective or sensuous sense is thus an event that irreversibly affects the bodily surface. To elucidate this phenomenon, we draw on the theoretical framework of Breton and Bataille, positing it as a form-transgressive ‘convulsive’ sublime, which we then illustrate in the architectural works of Tschumi and Eisenman. In short, we have retrieved the origin of aesthetic experience and redefined the feeling of the sublime as a phenomenological ‘convulsive’ sublimity. (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)

_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...) from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

In this essay I point out parallels between Kant’s theory of aesthetics and Wittgenstein’s discussion of rule following. Although Wittgenstein did not write an aesthetics and Kant did not discuss Wittgensteinian rule-following problems, and although both Kant and Wittgenstein begin at very different starting points and use different methods, they end up dealing with similar issues, namely issues about rules, particularity, exemplarity, objectivity, practice, and as-if statements.

This paper explores the practice of rewilding and its implications for environmental aesthetic values, qualities and experiences. First, we consider the temporal dimensions of rewilding in regard to the emergence of particular aesthetic qualities over time, and our aesthetic appreciation of these. Second, we discuss how rewilding potentially brings about difficult aesthetic experiences, such as the unscenic and the ugly. Finally, we make progress in critically understanding how rewilding may be understood as a distinctive form of ecological restoration, while resisting (...) the assimilation of rewilding into wilderness discourses. (shrink)