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 book introduces traditional and modern aesthetics and arts, comparing the similarities and differences between traditional and modern Chinese aesthetics. It also explores the aesthetic implications of traditional Chinese paintings, and discusses the development of aesthetics throughout history, as well as the changes and improvements in Chinese aesthetics in the context of globalization.

REFLECTIONS ON SOME ASPECTS OF THE THEORY OF RASA Indian aesthetics, it is often said, consists fundamentally of the theory of rasa — the term rasa being ...

This article compares Alexander von Humboldt 's and John Ruskin's writings on landscape art and natural landscape. In particular, Humboldt 's conception of a habitat's essence as predominantly composed of vegetation as well as judgment of tropical American nature as the realm of nature of the highest aesthetic enjoyment is examined in the context of Ruskin's aesthetic theory. The magnitude of Humboldt 's contribution to the natural sciences seems to have clouded our appreciation of his prominent status in the field (...) of art history. In addition to his position as scientist, Humboldt 's role as aesthetician is demonstrated in this paper. Unlike Ruskin, who comfortably resides in the canon of art history relative to his minor significance in the field of geology, Humboldt has not been recognized for his impact on the world of art; his tremendous scientific importance seems to have overshadowed an appreciation of it. (shrink)

Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The subjects addressed (...) include the influence of UpaniÅÿadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

이 글은 미학, 윤리, 종교를 중심으로 비트겐슈타인과 키르케고르를 비교 연구한 논문 이다. 두 사상가에 대한 비교 연구는 이전에도 있었다. 그들은 문제를 해결하는 것이 아니 라 해소한다는 점에서, 간접전달이라는 방법론에서, 이성의 한계를 넘어서려는 인간 본성 에 대해서 그리고 자신들의 철학적 작업이 궁극적으로 올바른 삶을 지향한다는 점 등에서 일치한다. 본 논문은 이제까지 다뤄지지 않았던 미학, 윤리, 종교에 대한 두 사상가의 견 해를 비교한다. 이를 위해 2장에서는 두 사상가에 대한 이왕의 논의들을 주제별로 정리하 고, 3장에서는 키르케고르의 철학을 인간 실존 3단계를 중심으로 살펴본다. 키르케고르는 (...) 인간 실존을 심미적 단계, 윤리적 단계, 종교적 단계로 나눴으며, 인간은 가장 하위 단계 인 심미적 실존을 지나 윤리적 실존으로, 그리고 궁극적으로 종교적 실존으로 나아가야 한 다고 주장한다. 4장에서는 미학, 윤리, 종교에 대한 비트겐슈타인의 견해를 살펴본다. 주 지하듯이 비트겐슈타인의 사상은 전기와 후기로 나뉘며 그에 따라 미학, 윤리, 종교에 대 한 견해도 변화가 있다. 하지만 전후기에 걸쳐 이어지는 것도 있다. 이성적으로 접근할 수 없고, 가치에 대한 것이며 세계에 대한 태도로서 올바른 삶으로 인도한다는 점에서 비트겐 슈타인에게 미학, 윤리, 종교는 동일하다. 5장에서는 두 사상가의 미학, 윤리, 종교관을 비교한다. 비트겐슈타인은 키르케고르의 종교관에 깊이 공감했지만 미학이나 윤리에 대해 서는 견해를 달리하는데, 그 이유는 철학자의 임무에 대한 견해차에서 발견할 수 있을 것 이다. (shrink)

In these essays, Deutsch's critics both praise and attack him, and he offers his thoughtful responses.

My paper sets out to compare neuroaesthetics and transcendental philosophy, concerning the perception of schemes of imitation in aesthetic experience. The argument is structured in four steps: first, I will introduce the function of schemes in mirror-neuron-based processes and in general in the embodiment theory of Mark Johnson and George Lakoff; second, I will consider some analogical relations between a transcendental approach and neuroaesthetics concerning semantics; third, starting with the statement that one open question in neuroaesthetics is how creativity emerges, (...) I would like to propose a transcendental account about sensible schemes as a possible foundation of creativity. I will conclude my paper with some examples from visual arts and aesthetic practices in general. (shrink)

Comparative aesthetics compares the aesthetic concepts and practices of different cultures. This anthology of essays by internationally recognized scholars brings together some of the most important research in comparative aesthetics, from classic early essays to previously unpublished contemporary pieces. Ranging across cultures and time periods, the essays reveal both similarities and differences between various aesthetic traditions.

That a symbolic object or work of art participates in what it signifies, as a part within a whole, was a controversial claim discussed with particular intensity in the wake of Immanuel Kant's Critique of Judgment. It informed the aesthetic theories of a constellation of writers in Jena and Weimar around 1800, including Moritz, Goethe, Schelling and Hegel. Yet the twin concepts of symbol and intuition were not only tools of literary and mythological criticism: they were integral even to questions (...) of epistemology and methodology in the fields of theology, metaphysics, history and natural philosophy. The international contributors to this volume further explore how both the explanatory potential and peculiar dissatisfactions of the symbol entered the Anglo-American discourse, focusing on Coleridge, Crabb Robinson and Emerson. Contemporary debates about the claims of symbolic as opposed to allegorical art are kept in view throughout. (shrink)

Covers Indian philosophy and Aesthetics along with Western philosophy.

v. 1. Indian aesthetics.--v. 2. Western aesthetics.

Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.

Leading international scholars present analysis and case studies from different cultural settings, East and West, exploring aesthetic interest and experience in our daily lives at home, in workplaces, using everyday things, in our built and natural environments, and in our relationships and communities. A wide range of views and examples of everyday aesthetics are presented from western philosophical paradigms, from Confucian and Daoist aesthetics, and from the Japanese tradition. All indicate universal features of human aesthetic lives together with their cultural (...) variations. Comparative Everyday Aesthetics is a significant contribution to a key trend in international aesthetics for thinking beyond narrow art-centered conceptions of the aesthetic. It generates global discussions about good, aesthetic, everyday living in all its various aspects. It also promotes aesthetic education for personal, social, and environmental development and presents opportunities for global collaborative projects in philosophical aesthetics. (shrink)

Zhejiang's aesthetic education has developed rapidly in recent years, especially in the context of global aesthetic education that promotes the integration of noble culture with popular culture and emphasizes diversity, compromise, and reproducibility. In light of this year's high reexamination of aesthetic education by the country, provinces, and cities, aesthetic education has been elevated to a new level. However, existing aesthetic education still has problems, such as the indistinguishability of aesthetic education and art education concepts, the one-sidedness of aesthetic education (...) content, and the shortage of aesthetic education teachers. These problems have long affected the development of Zhejiang's aesthetic education. The issue of promoting aesthetic education has become a major concern for aesthetic education teachers throughout the province and even the country. Therefore, this article focuses on the current situation and problems of Zhejiang's aesthetic education. A comparison of the current status and achievements of Taiwan's aesthetic education with Zhejiang, drawing on each other's experience, learning from each other's strengths and weaknesses, and in-depth research on teachers' performance in aesthetic education, aesthetic education training programs, and campus cultural construction, and other aspects is put forward. A series of implementation plans for the promotion of aesthetic education, such as "synergy training" and "education of people with a view," was provided as a practical experiment and a theoretical reference for promoting the rapid development of aesthetic education in the country. (shrink)

Is the Sublime Sustainable?' introduces the key points of debate around the sublime while opening new avenues for future inquiry, especially through its comparative aesthetics approach. In it, you will discover how thinking on the sublime emerged historically and then engage with the recent critical scholarship on the topic, including from the fields of theology, philosophy, and literature. The critiques of the sublime are then expanded in dialogue with perspectives from Japanese aesthetics and art, shaping the argument that what (...) is needed today is a sublime that enriches human lives by cultivating profound, participative relationships. (shrink)

Aesthetic judgements formed on the basis of testimony are commonly held to be defective, illegitimate, or otherwise problematic. This first book-length treatment of the debate surrounding aesthetic testimony argues for the surprising conclusion that this widespread view is mistaken. Aesthetic testimony is in no way inferior as a source of judgement when compared to either first-hand aesthetic judgement, or testimony concerning non-aesthetic matters. Alongside establishing this position (an extreme form of ‘optimism concerning aesthetic testimony’) this work also responds to the (...) most prominent arguments for the opposing view (‘pessimism concerning aesthetic testimony’). Along the way, it also re-examines our understanding of the norms which govern both judgement and assertion in aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Aesthetic Turn: Reading Eliot Deutsch on Comparative PhilosophyJoseph GrangeThe Aesthetic Turn: Reading Eliot Deutsch on Comparative Philosophy. Edited by Roger T. Ames. Chicago: Open Court, 2000. Pp. xiv + 225. Hardcover $42.95.The quality of the eleven contributions to The Aesthetic Turn: Reading Eliot Deutsch on Comparative Philosophy, edited by Roger T. Ames, which celebrates the work of Eliot Deutsch, is one measure of the (...) man. The other is the man himself. It is no exaggeration to say that his efforts as a philosopher and editor of Philosophy East and West helped lay the foundation for the flourishing discipline now called comparative philosophy. In this work, some of the more important philosophers engaged in this worldwide effort comment on particular aspects of Deutsch's philosophy. The results are an exceptional tribute to an exceptional philosopher. Deutsch's responses show an open and gracious intelligence at work, one that is constantly learning from the insights of others.Arthur Danto offers his understanding of the relation between mysticism and art in Deutsch's philosophy. Deutsch's response brings the reader back to the formative years at Columbia University and the still simmering debate over what constitutes a genuine work of art. By revisiting this debate on the ontological status of the modern and the commonplace in a work of art we are provided flashes of insight into Deutsch's understanding of the mystical dimension of "radiant form" as the source of beauty in art. Graham Parkes offers a meditation on the form of the Zen rock garden and thereby prompts an enlightening discussion of the place of the arbitrary and the perfect in aesthetic experience. Essays by J. N. Mohanty and Thomas Kasulis inquire into Deutsch's theory of truth as the real presence of ontological "rightness" and the "fulfillment" of attention. The influence of Advaita Vedānta on Deutsch's thought is nicely brought out as is the continuity of his ideas with other classical European views of truth. Gerald Larson explores the role of the "Tradition Text" in Deutsch's comparative philosophy. Postmodern philosophers could learn from Deutsch's careful handling of historical sources even as he appropriates the moving center of Indian philosophy for his own philosophical projects.One of the most brilliant essays in this festschrift is contributed by Herbert Fingarette. By bringing together the art of "wei wuwei" and the act of suffering, understood as the process of letting be what is really happening, Fingarette restores to suffering its genuine spiritual core. To suffer is not just to suffer pain but rather to "Suffer the Way to be. Do not interfere. Be like water—passive, and yet in the end powerful" (p. 74). Deutsch is moved by this extraordinary essay to offer an exceptional restatement of the central doctrine of the Bhagavad Gītā and his own theory of free action and its relation to authentic art: "This power is compelling for others. It attracts, because it is evident; it calls because one recognizes its possibilities for oneself; it demands because it sets a standard by which one measures, as it were, one's own attainment as a person" (p. 193). The continuing presence of normative [End Page 116] thinking in the pursuit of liberation demonstrates just how serious and well-disciplined is the Asian understanding of moksha. This profound meditation by two wise men is one of the highlights of this book.But Deutsch can also be very tough. The exchange between him and Daya Krishna on the possibility of effective worldly action, given the tenets of the Advaita Vedānta school, offers the spectacle of two very powerful minds struggling with ultimate issues of deep metaphysical concern. Deutsch's response involves careful distinctions to be drawn between concepts such as person, self, and individual. These in turn allow him to paint a very concrete portrait of the acting person as first of all and always a loving being. The continuing relevance of forms of idealistic thinking to a largely secular world is given a robust defense in Deutsch's review of his lifelong efforts to craft a theory of the person as having within its very being the moral, social... (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has (...) been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

There is a bifurcation between shenghuo meixue and everyday aesthetics – the two discourses often seen as forming the same trend in contemporary aesthetics concurrently happening in the East and the West. The disparity can be observed from the critical reflection on everydayness, the recognition of negative aesthetic qualities and experience, and the expectation of defamiliarisation. I suggest that in the Neo-Confucian practice of gewu or investigating things, one may find another Chinese inspiration for dealing with the familiar, ordinary, and (...) routine aesthetically. Gewu offers another possibility of “experiencing the ordinary as ordinary”. It can lead to an aesthetical immersive experience, characterised by a sensuous and intuitive recognition of the appropriateness of everyday things dwelling in their contexts, as well as a cosmic understanding of generative power of the universe that is both profound and poetic. By contemplating aesthetic experience facilitated by gewu, I argue that aesthetic experience is typically not individual per se, but collective in the sense that many prima facie private and personal aesthetic experiences are possible only because of the collective underneath. (shrink)

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...) paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

and the one in the middle which judges as he enjoys and enjoys as he judges. This latter kind really reproduces the work of art anew. The division of our Symposium into three sections is justified by the fact that phenomenology, from Husserl, Heidegger, Moritz Geiger, Ingarden, in Germany and Poland, Merleau-Ponty, Paul Ricoeur, E. Levinas in France, Unamuno in Spain, and Tymieniecka, in the United States, have revealed striking coincidences in trying to answer the following questions: What is the (...) philosophical vocation of literature? Does literature have any significance for our lives? Why does the lyric moment, present in all creative endeavors, in myth, dance, plastic art, ritual, poetry, lift the human life to a higher and authentically human level of the existential experience of man? Our investigations answer our fundamental inquiry: What makes a literary work a work of art? What makes a literary work a literary work, if not aesthetic enjoyment? As much as the formation of an aesthetic language culminates in artistic creation, the formation of a philosophical language lives within the orbit of creative imagination. (shrink)

Mathematics and aesthetics are closely intertwined. Not only mathematical concepts, relationships and theorems can be aesthetically pleasing, but we also often find harmony between their results and the patterns of the world around us, and we like that. Yet, apart from rare exceptions, the beauty of mathematics, particularly in education, is mostly unrecognized: this science rarely meets the favour of students. Vedic mathematics is an approach which encapsulates the enjoyment and power of this knowledge, not only in the sphere of (...) thought process, but also in its practical utility. It highlights and develops the aesthetic dimension of learning in a very immediate sense. The aim of this article is to introduce the method – what it is and how it works – to give comparative examples of techniques and their efficacy, and to emphasize the aesthetic value it conveys. (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)