Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity (...) within and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity (...) within and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

Peg Zeglin Brand (editor) Beauty Unlimited BLOOMINGTON AND INDIANAPOLIS: INDIANA UNIVERSITY PRESS, 2013 (ISBN 987-0-253-00642-4 ) Reviewed by Elizabeth Scarbrough, 2014 Narrated by Miranda Pilipchuk.

Whatever approach one favors, the relationships between the most abstract and disembodied sense of beauty and the physical, erotic sense are clearly harder to sever than many philosophers have previously realized. The soul may be glad to forget its connection with the body, as Santayana put it, but that gladness indicates that the connection is there to be forgotten in the first place. And often it is not so much forgotten as reshaped and transfigured. Such transformations are explored here (...) with excursions into the place of beauty in art; into the queering of beauty in the exemplars of beautiful artworks; into explorations of the marginal and exotic that allure while defying conventional models; into the literal carving of facial features for cosmetic and artistic purposes that both conform to and challenges norms of appearance. In such different contexts these authors dramatize the various ways that beauty can function in relation to personal desires, artistic values, and social authority. Here we can discover beauty not only as a quality and a value, but also as a project and a practice that drives our lives from both within and without--internal standards, external expectations, and ambivalence meeting in provocative disputation. (shrink)

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that (...) have been written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)

In this chapterI discuss beauty and youth in Balinese dance, with special reference to Legong. Legong is the "classic" Balinese dance genre for females and is represented by Balinese to the world as the quintessence of grace, charm, and beauty in their performing arts. . . . Apparently, the notion of beauty that is invoked here is not straightforwardly equivalent to the heterosexual male norms for female sexual attractiveness, which may favor younger women but don't require them (...) to be under twenty. What then is the connection between beauty and youth in Balinese legong? (shrink)

I analyze the Brazilian novelist Clarice Lispector's novella, The Hour of the Star, in terms of the entwinements of beauty with economic mobility and abandonment, . . . with constructions of cultural citizenship and liminality.

The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary discourses (...) of female beauty. Ideal bodies, in all their specifics, are defined by physical standards very few women can attain. These standards are accompanied by demeaning characterizations of women who fail to achieve them, and who are therefore destined to be discontent. It is now necessary for feminist theorists to examine the social and cultural roles of the body in terms of gender, power, the established patriarchy, and its oppression of women. (shrink)

Art reconfigures experience. Art is a mentalized physical object. Danto remarks that art is embodied meaning. Hein says that feminist art chats on the edge. Our mental life is filled with meaning, but art opens the question of the meaning of experience. . . . Art, chatting on the edge of experience, nevertheless invites us to choose our stance in that world. I suggest that that is the beauty, or, at least the value, of art. The art experience presents (...) us with a sensory exemplar that can convey, and exhibits, content. The exhibited content of the mode of presentation of the exemplar suggests a reconfiguration of the content of experience outside of art as well as within. Art, then, is that part of experience that changes us to changing the content of our experience. My claim here is that feminist art provides us with a paradigm of what art does, and the tis why I admire it. (shrink)

The history of modern and contemporary art provides many examples of the "queering" of cultural and social norms. It has been tempting to consider this process of subversion and transgression, or "outlaw representation", as well as related performances of "camp" or other gay inflections of the dominant forms of representation, to be the most creative mode of queer cultural production. Whether or not this is true in the history of later nineteenth- and twentieth-century art, we can identify a historical process (...) in modern culture that has worked in the opposite direction--namely, the constitution of aesthetic ideals, cultural norms that claim validity within an entire society, which have been based on manifestly homoerotic prototypes and significances. There has been little subversion or camp in these configurations. Indeed, perhaps there has been a surfeit of idealizing configuration and normalizing representation. But as Johann Joachim Winckelmann's art history and Immanuel Kant's aesthetics might suggest, such idealization can be no less queer than camp inflections or outlaw representations. (shrink)

In this paper, I examine two important claims that Hans-Georg Gadamer makes in his Plato interpretations. The first claim is found at the end of Wahrheit und Methode, where Gadamer suggests that “the special advantage of the beautiful” in Platonic philosophy is both a shelter and a reminder of the good, as well as the structure of eidetic appearance that brings together ideality and appearance in the event of new understanding. The second claim considered here is Gadamer’s suggestion that while (...) non-being is more alive in Plato than Heidegger’s critique of metaphysics admits, a genuine thinking of semblance remains only “subliminal” in Plato. Drawing these two claims together, I argue that Gadamer’s reading of Plato’s Philebus reveals that the nature of the beautiful grounds semblance in a deeper way than even Gadamer recognizes. Specifically, I contend that beauty’s appearance is both a necessary concretion of the dynamic mixture of the good, the limited, and the unlimited, and yet, as just this concrete appearance it also always dissembles this ongoing dynamic. As the context of the Philebus indicates, however, this is a claim that concerns not only human experience, but ontology itself. In the end, such a finding contributes to a more Socratic interpretation of Platonic wisdom and philosophical hermeneutics, suggesting that genuine knowledge begins with the recognition of the limits and vulnerability of understanding. (shrink)

Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . (...) .Danto, it seems to me, needs to come to terms with beauty as a matter of theoretical damage control. beauty, narrowly conceived, has the potential to threaten the generality of Danto's theory of art. Therefore, Danto needs, so to speak, to contain it. (shrink)

This paper shows that Kant's investigation into mathematical purposiveness was central to the development of his understanding of synthetic a priori knowledge. Specifically, it provides a clear historical explanation as to why Kant points to mathematics as an exemplary case of the synthetic a priori, argues that his early analysis of mathematical purposiveness provides a clue to the metaphysical context and motives from which his understanding of synthetic a-priori knowledge emerged, and provides an analysis of the underlying structure of mathematical (...) purposiveness itself, which can be described as unintentional, but also as objective and unlimited. (shrink)

In this essay, we discuss Simona Ginsburg and Eva Jablonka’s The Evolution of the Sensitive Soul from an interdisciplinary perspective. Constituting perhaps the longest treatise on the evolution of consciousness, Ginsburg and Jablonka unite their expertise in neuroscience and biology to develop a beautifully Darwinian account of the dawning of subjective experience. Though it would be impossible to cover all its content in a short book review, here we provide a critical evaluation of their two key ideas—the role of (...) class='Hi'>Unlimited Associative Learning in the evolution of, and detection of, consciousness and a metaphysical claim about consciousness as a mode of being—in a manner that will hopefully overcome some of the initial resistance of potential readers to tackle a book of this length. (shrink)

The article is an attempt to outline a new paradigm of thinking, contained in the dialogical “you are.” Józef Tischner creatively developed ideas of Buber and Levinas. He claimed that in the face of “death of a man” there is a need to search for new ways of rescuing our humanity. The philosophy of drama starts from a question, which is a “cry of pain” in the presence of evil. A man — according to Nietzsche’s discovery — looks for power, (...) understood by Tischner as a “grace,” which is a specific good. Forces of good and evil influence a man both in a constructive and destructive way. A desire for unlimited power inevitably appears in the depth of a human heart. Evil, as a false power, reveals itself both in the individual and social aspect. Dehumanized global structures grow today as “systems of evil.” The agathological drama is being realized also in the dimension of faith and unbelief, in the sphere of the division between faith and mind. The “resurrection” of man is possible owing to meeting with another person whose dignity and beauty one may discover no matter how different he is. In the civilization of work the man is often treated as a tool, an instrument for egoistic benefit. The agathological philosophy aims to be a way of thinking attached to a specific man, while it looks for a key and a solution to a drama of a man, entangled in the system of work, consumption, empty hopes and pseudo-values. This philosophical thought has great potential to diagnose our times, which is the first step on the way to the “transformation of all values.” Key words GOOD, EVIL, AGATHOLOGY, REASON, FAITH. (shrink)

Among the most important aesthetic concepts – especially in the 18th century – are those of the beautiful and the sublime. Yet, in the various aesthetic theories these two concepts are employed in conjunction with one another in very different ways. There is one system in which the beautiful is the fundamental aesthetic value and the sublime i. e. the great – including grandeur and dignity – is only one of a number of defining characteristics of the beautiful. There is (...) another system in which the sublime is the highest degree of the beautiful i. e. of the extraordinary precious. The most influential systems are dichotomous classifications of the respective aesthetic qualities. These classifications themselves exhibit differences: The beautiful and the sublime oppose each other as loveliness creating affection on the one hand, and the astonishing-sublime creating a shudder on the other, but which in some cases can be blended with the beautiful. Alternatively, the concepts of the beautiful and the sublime are disjunctive in a way that they exclude each other: The beautiful is limited and gives positive pleasure; the sublime is unlimited, it depresses and uplifts the viewer at the same time and therefore gives a negative pleasure. – The concepts of the beautiful and the sublime are obviously characterized according to the system in which they appear. (shrink)

Aristotle twice affirms that being is better than nonbeing. Throughout the corpus—in both practical and theoretical works—he explicates this claim in terms of three main concepts, each of which serves to link being with goodness. These include completeness and self-sufficiency, which are well-known from Aristotle’s ethics and politics. Even more fundamental, however, are the closely related concepts of order and determinacy, which the present essay explores. Beginning with the causal role of the good in Aristotle’s accounts of nature and human (...) life, it proceeds to his identification of order as characterizing both the being and the goodness of natural things. After pausing to consider the relation between goodness and beauty, it then moves from order to determinacy as a general characteristic of being by examining his concepts of limit and the unlimited. It concludes by discussing determinacy and the good in Aristotle’s ethics and metaphysics. (shrink)

The present essay will cross, inside the matter of the sources of the platonic thought, the suggestion of Damascius of Damascus, with the intention to draw clear understanding, unless in this particular point, of the relationship between the ancient pythagoreanism and the platonic philosophy. In this, the study of the matter of the dialectics of the limiters/unlimited one is central. The page 16c of the Philebus is the crucial point of this discussion: here Socrates introduces the theme of the (...) unity/multiplicity as a very beautiful hodos, a run that comes from a very distant point of departure: it’s a “gift of the gods” and a discovery of the ancient ones. The comparative study of these footsteps of the Philebus and the fragments of Philolaus, especially В 2, 3, 6 and 7 bring us to conclude that the presence in the pages of the Philebus of the theory of the limiter/unlimited be taken as a pre-platonic “discovery” of the more ancient pythagorean philosophy. (shrink)

We need to give up single visions that are supposed to embrace social and place totalities. We live in overlapping nets rather than single places. We cannot plan unlimited geometrical vistas a la Versailles; but that was always an illusion, and today it would be an oppression. Can we still plan like Sixtus at Rome? Only if we also encourage other modes of organization at the same time. The whole may often end up more like Tokyo, with corners of (...) design and beauty that do not make an overall plan. (shrink)

"On the Happiness of the Philosophic Life" presents Heinrich Meier's confrontation with Rousseau's "Rêveries", his most beautiful and daring writing. The "Rêveries" show the fire of philosophy in the mirror of the water; in the reflections of the unlimited, needing more precise determination; of the inconspicuous, needing careful inspection; and of the surface, needing in-depth Interpretation.

The central Platonic concept of the mixture is to be situated in the entire transmission of Methexis: ascending from the level of the participation of the sensible things in the forms to the participation of the forms and finally to the participation of the two Platonic Principles. “Mixture” designates on the one hand the relation between the μέγιστα γένη in the Sophist and on the other hand the one between the Limit and the Unlimited in the Philebus . Thereupon (...) the essence of the Mixture is to be examined and rehabilitated as metaphor, namely as transformation of a sensible image in a philosophical one . Our guiding question will be: W hy can the Mixture be legitimated as a better candidate than the Methexis in the frame of the Sophist? The Mixture is to be regarded as well-founded transformation of Methexis in the context of the equioriginal “greatest kinds” . In our interpretation of the Philebus that restores the disputed unity of this Platonic dialogue, we are about to show how the philosopher Plato “saves” the beautiful phenomena: The fourfold division is to be construed as the place where the beautiful appearances are generated. To them does the philosopher return after his ascent to the σύμφυτον two Platonic Principles. They are no longer degraded as “rolling about in the midregion between being and not-being” , but are rather reevaluated as “procreation” .Der in den späteren platonischen Dialogen zentrale Begriff der Mischung wird zunächst in die ganze Übertragung der Methexis eingeordnet: von der Ebene der Teilhabe des W ahrnehmbaren an der Idee zu der innerideellen Teilhabe aufsteigend und von daher zu der Teilhabe der zwei platonischen Prinzipien. Einerseits wird die Beziehung der μέγιστα γένη untereinander, andererseits diejenige zwischen der Grenze und der U nbegrenztheit im Philebos als Mischung bezeichnet . Daraufhin wird ihr W esen als Metapher behandelt und rehabilitiert, nämlich als Transformation eines sinnlichen Bildes in ein philosophisches . Zur Leitfrage unserer Ausführung wird: W arum kann die im Rahmen des Dialogs Sophistes eingeführte Mischung der größten Gattungen miteinander als ein besserer Kandidat als derjenige der Teilhabe gerechtfertigt werden? Die Mischung wird als eine wohlbegründete Verwandlungsform derTeilhabe in den ideellen Zusammenhängen der gleichursprünglichen größten Gattungen betrachtet . Bei unserer die umstrittene Einheit des Philebos wiederherstellende Interpretation wird aufgezeigt, wie der Philosoph Platon die schönen Phänomene rettet: Die vierfache Einteilung des Ganzen wird als Ort der Genese der schönen Erscheinungen interpretiert. Ihnen wendet sich der Philosoph nach dem Aufstieg zum σύμφυτον der zwei platonischen Prinzipien zu, nicht länger sie als “zwischen dem Sein und dem Nicht-Sein herumschweifend” degradierend , sondern als “Zeugung” würdigend .Pojam miješanja, koji je središnji u kasnijim Platonovim dijalozima, ponajprije se smješta u cjeloviti kontekst transponiranja methexisa: od ravni sudjelovanja osjetilnog u ideji uzlazno k sudjelovanju među idejama te odatle k sudjelovanju dvaju platoničkih principa. S jedne strane se kao miješanje označava međusobni odnos μέγιστα γένη, s druge pak onaj između granice i neograničenosti u Filebu . U tu se svrhu razmatra i rehabilitira bit miješanja kao metafore, naime kao transformacija osjetilne slike u filozofijsku . Glavnim pitanjem našeg izvođenja postaje: zašto se uzajamno miješanje “najviših rodova”, koje se uvodi u okviru dijaloga Sofist, može opravdati kao bolji kandidat od sudjelovanja? Miješanje se razmatra kao dobro utemeljena forma preinake sudjelovanja u odnošenjima jednako izvornih “najviših rodova” . U našoj se interpretaciji, koja nanovo uspostavlja osporavano jedinstvo Fileba, prikazuje kako filozof Platon spašava lijepe fenomene: četvorostruka podjela cjeline interpretira se kao mjesto nastajanja lijepih pojava. Njima se filozof vraća nakon uspona k onom σύμφυτον dvaju platoničkih principa, ne degradirajući ih više kao one koji se “potucaju između bitka i ne-bitka” , već ih cijeni kao “rađanje”. (shrink)

In The Inviting Garden, Allen Lacy speaks for the great number of dedicated and committed gardeners who share his passion for green and growing things and who take pleasure in all the rich satisfactions that the personal garden offers its makers. He also invites the beginner to take the plunge--to set forth on the lifelong journey that is the gardener's way of life. Gardening, Lacy explains with great eloquence and good humor, is much more than a hobby. It delights all (...) the senses, each in its turn. It offers virtually less intellectual stimulation. It has a profound spiritual dimension, as a basis for the lifelong friendships that bind people together in the common and shared pursuit of making the earth flourish with beauty. Its joys are unlimited, for they engage its practitioners as whole persons, not partial beings. With the kind of tantalizing prose that makes you want to reach for a trowel, Allen Lacy gives us a deeply thoughtful book on the whole enterprise of gardening. (shrink)

Vida Guerra is a Cuban model from northern New Jersey. She made her name in hiphop videos and in "gentlemen's magazines" but quickly became in intermediate supermodel, with her own calendars, making-of-the-calendar DVDs, official website, fan websites, television show, and controversy over a "leaked" nude photo. . . . Vida's popularity has caused one writer to suggest "You may now move over J-Lo, and make way for Vida;" in short, tiene culo, to borrow the Spanish slang that adorns one of (...) her virally distributed Internet images. . . .this information about Guerra's body explains her popularity by raising additional questions. If the shape of her body makes her popular, what makes that shape popular? Specifically, what accounts for the shift in body fashions that raises the stock of female cults--"rumps with bumps"--at the expense of "stick figures"? And what further shift requires J-Lo to "make way for Vida"? These are questions specifically about the conditions that make Vida Guerra a public figure and that constitute her body as beautiful. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Ex interiore ipso exeas. Preface. This book reconstructs the history of a still open dialectics between several ethoi, that is, shared codes of unwritten rules, moral traditions, or self-aware attempts at reforming such codes, and ethical theories discussing the nature and justification of such codes and doctrines. Its main claim is that this history neither amounts to a triumphal march of reason dispelling the mist of myth and bigotry nor to some other one-way process heading to some pre-established goal, but (...) instead to a chain of controversies where the partners’ will to win unintentionally yields a wealth of insights on human existence that has still something to teach us. -/- 1. The Hellenic moral tradition. -/- Two different traditions of morality in vi-v century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. -/- 2. Plato and the Good. -/- Plato’s own reformulation of Socrates rejoinder to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 3. Aristotle and practical philosophy. -/- Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistency in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The relationship of individual ethics, or ‘monastics’, with the art and the science of the pater families, or ‘economics’, and the science of the ruler and citizen, or politics, is illustrated. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexes, or ‘dispositions’. Prudence, or better, practical wisdom, is the focus of the chapter. Its relationship with boùleusis or deliberation is discussed, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 4. Cynics and Stoics: ethics as therapy. -/- The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. The various phases of Stoicism are described, and the shifting place that was given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. The peculiar character of the Epicurean school is described, a combination of the science of well-being aiming, more than pleasure understood as in the popular view, the reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Roman and Imperial Moralists. -/- The chapter is dedicated to the reconstruction of a particular kind of literature, whose specific features have long been under-stressed, namely the Roman and Imperial moral literature. Cicero is treated at some length, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is given pride of place, stressing the novelty of his approach to ethics as cognitive therapy, in this case just following an already existing new wave of interest after nineteenth-century oblivion justified by alleged lack of authentic ‘philosophical’ character. -/- 6. The Hebrew moral tradition. -/- A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torah (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Levitic is stressed as the turning point when the stress on mercy, typical of the Prophetic tradition, starts being combined with legal tradition yielding the change in the sensibility of the Second Temple time. -/- 7. Second Temple Judaism. -/- This chapter describes the Long March leading from the post-exile Zadokite restoration to the first-century aevi vulgaris. The first topic reconstructed is the Zadokite theology of the double retribution. The second is the alternative Enochic tradition consistently rejecting the central role of the Temple, the Priesthood and worship as atonement for sins and offering as an alternative God’s unlimited mercy and preaching mercy, not sacrifice as the way of behaving requested by God. Wisdom literature, the third subject discusses, is a kind of third way, on the one hand increasingly critical towards the double retribution and ruling theology’s optimism facing the world as it is and on the other mocking at the Enochic current as a band of dreamers and visionaries. The third way consists in disenchantment facing the word as it is combined with a refusal of vain and childish hope of prizes for the righteous, suggesting instead the leading idea of right deeds for righteousness’s sake. Rabbi Hillel, Rabbi Yeshua and Philo of Alexandria are described as the three leading figures at the culminating point of such process of emergence of a new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This starting point consists precisely in the precept of one’s neighbour’s love or of the golden rule, whose meaning is, arguably, more consistent than a long-lasting Christian tradition deriving from John and Augustine made us believe. And Christian morality, vis-à-vis allegedly legalist ‘Ancient Testament’ teachings, is less of a novelty than most early Christian writers announced. -/- 8. Talmudic moral doctrines and proto-Christian paraenesis. -/- The first three sections examine the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirke Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deot, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexes and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was "the tool by which the world was built"; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous, but deeds are the inevitable effect of either faith or learning. The last two sections examine first the various Christian currents and then Gnostic para-Christian or non-Christian currents as well as Manicheism. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure, purest Judaism. The last section describes briefly the galaxy of Gnostic currents and Manicheism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. -/- 9. Christianity as “philosophy”. -/- The chapter reconstructs the stormy story of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and several rhetorical topics from the Stoic and Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua himself had been influenced by cynical preachers, is a proof of the necessity to translate the original Christian message in a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 10. Ethics in the Arabic-Islamic Philosophy. -/- The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on the retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince, had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries, a war raged among theologians and philosophers, finally won by the former with the disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 11. Ethics in the Jewish philosophy. -/- The encounter between the Talmudic tradition and Hellenic philosophy had taken place for the first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed too a few traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Tora and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirke Avot could be translated. -/- 12. The practical philosophy revival in Latin Europe. -/- A reconstruction is carried out of a fresh start of philosophical ethics in Latin Europe at the turn of the Millennium rescuing a Platonic and Augustinian legacy, with Anselm and Peter Abelard. In this phase remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions, gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of a full legitimization of natural morality, i.e. ethics without Revelation. -/- 13. Scholastic practical philosophy: Thomas Aquinas. -/- Aquinas’s ethics is theological ethics out of which it would be vain to try to extract self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to the repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave pure nature incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too ambitious, and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Prima Secundae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas was able to solve the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from the knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethics, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of the death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not the Thomist ethical theory. Finally, Thomas’s ethics is no way an ethical ‘absolutism’, as both the traditionalist Catholic theologians and secularists tend to believe, but rather an ethic of prudential judgment on the individual case. Exceptions to this approach – or better the result of logical fallacies – are provided by the thesis of the absolute character of negative precepts and of the existence of so-called intrinsically evil acts, a thesis that would simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences that Thomas did not live long enough to draw. -/- 14. Scholastic practical philosophy: John Duns Scotus and William of Ockham. A reconstruction is carried out of the ethical doctrines by both most authoritative Franciscan doctors. Their continuity with Aquinas is vindicated against prejudice carried by centuries of polemics within the Catholic Church and tendentious disparaging of both as forerunners of execrable Reformation. Besides aspects of continuity, also the important novelties are illustrated, first John’s abandonment of Aquinas’s and Augustine’s eudemonism, asserting righteousness for righteousness’s sake, and then William’s explicit defence of the philosopher’s virtues, that is, natural morality, and his solution to the dilemma of God’s omnipotence and the universal validity of natural law extending to God himself. -/- 15. Aristotelianism interpreted by the Magistri Artium. -/- A reconstruction of the until recently forgotten ethical doctrines by the Parisian Magistri Artium, falsely depicted as ‘Averroists’ and either deprecated as heretics or mistaken for predecessors of modern secularism. In fact, they illustrate a view of ‘natural’ virtue as may be understood by human reason without the assistance by Revelation. -/- Etiamsi daremus Deum non esse. Intermediate considerations. Three considerations may be suggested by the story told in the book. The first one is that intellectual histories have been mounted in the past with the same state of mind as one may mount a war chariot. Such constructions are not very helpful as tools for understanding the past. Wars waged in the past have left the field obstructed by ruins not easy to remove even by those historians who have animated by an impartial academic motivation. They have been influenced too by consequences of past emphasis on some authors and damnatio capitis suffered by others, by stratifications left on sources by secondary literature and translations, by allotment of originally close sources to different literary genres, by the monopolization of religious texts by churches with full cooperation by secular scholars who still fear contamination. The second one is that aware or unaware ethnocentrism has carried various calamities to our comprehension of the past. Their last vestiges have surfaced again in the semi-scholarly discussion on the idea of Europe occasioned by the debate on a project of a European Constitution. Mention of Europe’s Christian roots has been the clumsiest move. Proclamations of such roots were so obvious in what they affirmed as they were totally off-path concerning what they omitted, namely that he modern European moral tradition included legacies from Middle-Eastern wisdom, Hellenic philosophy, Roman Imperial legal literature, and, besides, a Jewish legacy in turn incorporating other more ancient Middle-Eastern legacies and which has been partly conveyed by Christianity. And the Islamic-Arabic philosophy too, in so far it made the Nicomachean Ethics available to Latin Christian scholars, is one more of Europe’s roots. The third is that religious traditionalists and secularist fundamentalists have gone hand in hand for a couple of centuries in either extolling or deprecating the allegedly Modern idea of Ethics without God, first formulated by Hugo Grotius with the claim that natural law would still be valid ‘etiamsi daremus – quod sine summo scelere dari potest – Deum non esse’. The facts are, firstly, that this is not an irreligious claim and Grotius was just a pious and meek Christian and, secondly, that it is not a ‘modern’ claim but rather one more formulation of the claim that there is a natural morality, independent of divine revelation, a claim shared by Moshe ben Maimon, Aquinas and William of Ockham. -/- . (shrink)

...If, in some places, backward science determines the remaining period by the lack of optimism only by the number 123456789, then our progressive science expands it to 987654321, which is eight times more advanced than theirs. However, due to the inherent caution of scientists, both sides do not specify the measuring unit of reference — year, day, hour or minute are meant. Leonid Leonov. Collected Op. in ten volumes. Volume ten. M.: IHL, 1984, p.583. -/- The modern men being as (...) a rule is proceeding in three relatively autonomous, but immanently coexisting, and each penetrating dialectically through other, and each contesting even cruelly with other, and each more or less dominating on other, differently in various societies, worlds: the first one of the barbarity, the second one the culture, the third one the civilization... Barbarity is the mode of coexistence of autonomous human societies based on the unlimited will to act so as subject wants to do without any limitations of his activities... Culture is the mode of coexistence of autonomous human societies based on the most ancient testaments, customs, traditions etc of the highestly sacrified appearence... Civilisation is the mode of coexistence of autonomous human societies based on the reasoned or legitimated by social contracts, by profits, by expediency and so more constitutions, institutions etc... -/- Andrei Melnikov-Pechersky in his epic "In the Woods" says that there was a movement among the Old Believers in Russia, or a current that proclaimed Kostroma the new and, it seems, the only true Jerusalem, in an apocalyptic sense, of course, which in its spiritual scale was probably not inferior to the Bogomils, shakers, Mormons, or else and the whole Reformation in potential. In Western Europe, every more or less convex nuance of the history of a state or region (even if it is a small San Marino) is overgrown with almost a dozen institutions, not always state ones, by the way, in which almost every sneeze and step of very ambivalent historical subjects in a broad sense is studied. Especially in the young, but very pretentious America of the United States, which embodies all world justice. In our country, for example, even many leading humanitarian specialists do not realize the spiritual value of the Ipatievsky MONASTERY. The Russian writer Boris Shiryaev, who died quite a long time ago and in a very far abroad, devoted a special part of his documentary and artistic epic of wanderings "The Inextinguishable Lampada" to an entertaining and instructive, tragic fate of a kind of village monarchy in some Villages of the Kostroma province (I could not identify the area, and, frankly, I did not really try) in the early years The Soviet government. At the same time, all Russians learn about the French emperor Napoleon almost with their mother's milk how many percent of cyanide potassium was found in his hair, they reflect on Lermontov's "Airship" (probably, just not to "memorize" the imposed "Borodino" by heart). The events, of course, are incomparable, but the fact is significant. The outstanding national artist (if not to say a thinker of the Chesnyakov level) Grigory Pavlovich Kusochkin was glorified wherever, in whatever catalogues he was not included. Paris, London, New York, St. Petersburg, Moscow... To look at some smear of luminaries like Picasso or Modigliani, international tourist routes are organized in the restaurant toilet using the finest marketing technologies, and we did not even know Grigory Pavlovich by sight until, thank God, a series of TV shows on all Russian channels was dedicated to him in one gulp. Why is this happening? Is it a consequence of poverty or the result of the conscious policy of the ruling elite of the country and the world? The regions of the Kostroma Region are Austria, Switzerland, Bavaria, Armenia, Moldova, and Georgia... Georgia! I served in the army there. In this small but very great country, judging even by the appearance of its President Shevardnadze, although it is smaller than the Kostroma region, there are so many different, but Georgian-speaking peoples! Kakhetians, Meskhetians, Imereti, Iveretians, Mingrelians, Khevsurs... Adjarians (mostly Georgian-speaking Muslims) even have their own autonomy. And some peoples are not Georgian—speaking at all — South Ossetians, Abkhazians, Kurds, Armenians, Greeks, even Assyrians. In the Kostroma Region, and in any Russian "province" — not much less: there are plenty of the same Georgians or Armenians everywhere, quite moderate, loyal, and so on. Having, as a rule, their own officially registered associations within the framework of cultural autonomy. Well done! And Israel! He is the only one with all his "illegal" (and I am for the fact that every nation knows better where its ancestral lands are) territories half the size of the Kostroma region. The total number of Jews worldwide, according to the "Soviet Encyclopedic Dictionary" in 1987, is about 14 million. Meanwhile, the fate of Israel is being preoccupied (it is very instructive how he achieved this!) all the united nations of the world. In the Kostroma Region and its diaspora, it seems to everyone, and especially to its semi-migrant, Varangian leadership. I don't care if they build a public atomic bomb here in the form of a nuclear power plant or not. Because they do not know the value of this land, the greatness of its spirit. Kostroma is a holy land. I will immediately make a reservation that by Kostroma I mean not only the modern region, but the entire area that has ever historically been associated with Kostroma. The USSR is also a part of the great historical Russia. In this sense, even the entire era of the Russian Romanov Empire is the Kostroma region. Or: many toponymic objects of our native land are called mysteriously beautiful: Sharya, Shunga, Shekshema, Sholezhka, - we need to find out what kind of peoples — and where are they now? — we left such euphonious archetypal combinations, because these are our Kostromsky peoples, these are our Kostroma people. Or, say, the classic of American and world sociology Pitirim Alexandrovich Sorokin writes in his autobiographical scientific novel "The Long Way" that he studied at the Khrenovskaya (what a strong word!) teachers' seminary of Kostroma province, but in an administrative row for propaganda activities, gendarmes were taken by sledge to the prison of the city of Kineshma - is this not a fact for Kostroma, and primarily for him, local history, although Kineshma has long been attributed to the Ivanovo region, and Pitirim Alexandrovich is buried on the other side of the planet?! I have not the slightest doubt that Kostroma provided spiritual food, gave birth to and nurtured a huge intellectual diaspora with extremely valuable material on a national, global scale. And this is both in direct and indirect order, in the form of a chain reaction. Apparently, it is easy for an intelligent person to grow up in Kostroma, but it is impossible to live, and somewhere on the contrary. Therefore, it is not surprising that the geneticist academician D. K. Belyaev, who was born in the village of Protasov near Nerekhta, very close to Kostroma, glorified Moscow and Siberia with his discoveries and practical results, which immeasurably enriched the Soviet state treasury with foreign exchange income from the sale of the most valuable fur grown according to the biotechnology developed by him in a much shorter time than it usually turns out in nature. And in Kostroma, most likely, few people know who he is and what he is famous for. I will focus in more detail on one of the aspects of his great life. This happened back in the so-called pre-Perestroika times. In a series of his speeches, Dmitry Konstantinovich, based on the results of his and colleagues' research, emphasized, in his opinion, the determining role of the biological factor in shaping the content of human essence, of course, only in a philosophical, conceptual aspect. For some reason, this was opposed by a geneticist, as they say, persecuted at one time by the "senile" in selectionism (including human nature) by the Michurino-Lysenkoists, academician N. P. Dubinin, which personally remains incomprehensible to me until now. With a grateful curtsey to Academician Dubinin and his point of view, the famous French humanist, member of the Politburo of the French Communist Party Lucien Sav appeared on the pages of the Communist magazine. The material was clearly titled: "Problems are not only scientific, but also political." He very indecently attributed the views of academician Belyaev to "a reactionary ideology that tries to put genetics at its service, and more broadly, biology, in order to present all kinds of social inequalities of all kinds as inherent in nature itself"(1). I would like to see any ideology that does not try to "put this or that at its service," much less something worthwhile... A little later, the editorial of the Communist hit the "biologizers", and soon Dmitry Konstantinovich was gone. In short, it is only on the example of our fellow countrymen that you can write interesting, world-class essays on science and its history, but instead our scientists should fit their global potencies into a page and a half (good yet. if not entirely at their own expense), and then for at least three years to guess whether they will be published or not. Now it no longer surprises me how at one time, when, after reading the listener card I filled out, the sweetest girl from the IPKPON office at USU congratulated me for something. It turned out that the dean of the Faculty of Philosophy of USU, doctor, professor, Honored Scientist, and now academician Konstantin Niko-laevich Lyubutin is a countryman, Kostromsky, or rather Manturovsky by origin, as I write below in the notes — we are Kostromendors. To him, my fellow citizen in the most subtle micropatriotic dimensions, I owe a lot in my professional and social development, even in survival. Because that's how it often turns out: you can be born here, sometimes you can live here... It's very hard. Maybe the Kostroma origin of an outstanding Russian historian of philosophy, organizer of science and education, educator and friend of a galaxy of people devoted to the Motherland and the cause is not a great milestone in the history of the region, but name me at least a dozen Russian cities on the scale of Kostroma, from where such intellectual ones would come out into the world and light luminaries like ours. No matter who you take from the world significance of the pillars of national (and world, and foreign, - even the great Rabbi of Lubavitcher spent three years in exile in a Campfire, — I learned from some foreign voices) history, literature, culture in general, technology, science and so on - you will always find someone, which is very directly related to Kostroma. Pushkin, Lermontov, Gorky. Alexander Nikolaevich Ostrovsky, Pisarev, Uspensky, Katenin, Florensky, Savrasov, Kustodiev, Dyagilev, Mikhalkov, Alexander Alexandrovich Zinoviev; writers, artists, entrepreneurs, revolutionaries, inventors, politicians... In some world-famous for its classic Russian provincialism, Kologriv has been storing, figuratively speaking, unique sketches, if not of Leo-Nardo da Vinci himself, then certainly of his school, almost since the seventeenth century. And not only that. Nevertheless, the well-known Chukhloma to the Fatherland, in addition to thinkers of the rank of Rozanov and Zinoviev (where should domestic philosophers mature and not be born, if not in Chukhloma, Manturov or Khrenknowswhere?), gave an actor of amazing, national, originality — Mikhail Pugovkin, who can not be confused with anyone, a role that no one will repeat. (shrink)

Medicine is the art of healing, aesthetics the study of our response to art and beauty. What happens when the two come together in the practice of cosmetic surgery? This is my question, a foray into what I will call "medical aesthetics." In what follows, I examine how practitioners of cosmetic surgery and related specialties have appropriated the language of medicine and healthcare to reframe and legitimize various nonmusical elective procedures designed to modify appearance. I being with a short (...) discussion of the history and terminology of cosmetic surgery. Against this background, I critically assess the claim that cosmetic surgery qualifies as a form of healthcare, and hence a legitimate branch of medicine . . . In pressuring medical professionals to place beauty above health, cosmetic surgery and related specialties such as cosmetic dentistry unavoidably raise questions about the definition of medicine itself. In particular, patient demand for what I am labeling "medical aesthetics" may collide with the Hippocratic requirement that physicians "do no harm." It is to those harms and related concerns that I turn in the final section. (shrink)

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese (...) naked body from the Western nude. (shrink)

This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

The first systematic study of the aesthetic evaluations that scientists pass on their theories.

Currently, the most popular views about how to update de se or self-locating beliefs entail the one-third solution to the Sleeping Beauty problem.2 Another widely held view is that an agent‘s credences should be countably additive.3 In what follows, I will argue that there is a deep tension between these two positions. For the assumptions that underlie the one-third solution to the Sleeping Beauty problem entail a more general principle, which I call the Generalized Thirder Principle, and there (...) are situations in which the latter principle and the principle of Countable Additivity cannot be jointly satisfied. The most plausible response to this tension, I argue, is to accept both of these principles, and to maintain that when an agent cannot satisfy them both, she is faced with a rational dilemma. (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral (...) class='Hi'>beauty in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

"--J.M.Coetzee "Here is a writer almost magically summoning up the world through words and ideas, in a new way, and so guiding the reader, lovingly, to receive the treasures and accept the pleasures of this book as naturally as breathing.

In this paper, I argue for a view largely favorable to the Thirder view: when Sleeping Beauty wakes up on Monday, her credence in the coin’s landing heads is less than 1/2. Let’s call this “the Lesser view.” For my argument, I (i) criticize Strict Conditionalization as the rule for changing de se credences; (ii) develop a new rule; and (iii) defend it by Gaifman’s Expert Principle. Finally, I defend the Lesser view by making use of this new rule.

The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s (...) study on Gerson’s theory of beauty and suggests new hypothetical sources that may have inspired this aspect of his thought. The second aspect emphasised here is Gerson’s classification of beauty, which entails some similarities to the one of Ulrich of Strasbourg, but also differs from it. Moreover, its incorporation of a division entirely devoted to artistic beauty is highly remarkable. (shrink)

Hitchcock advances a diachronic Dutch Book argument (DDB) for a 1/3 answer to the Sleeping Beauty problem. Bradley and Leitgeb argue that Hitchcock’s DDB argument fails. We demonstrate the following: (a) Bradley and Leitgeb’s criticism of Hitchcock is unconvincing; (b) nonetheless, there are serious reasons to worry about the success of Hitchcock’s argument; (c) however, it is possible to construct a new DDB for 1/3 about which such worries cannot be raised.

Under semantic monism I understand the thesis “The Good is said in one way” and under semantic pluralism the antithesis “The Good is said in many ways”. Plato’s Socrates seems to defend a “semantic monism”. As only one sun exists, so the “Good” has for Socrates and Plato only one reference. Nevertheless, Socrates defends in the Philebus a semantic pluralism, more exactly trialism, of “beauty, symmetry and truth” . Therefore, metaphorically speaking, there seem to exist not only one sun, (...) but three suns. If the platonic Socrates defends a semantic monism on the one hand and pluralism on the other, how can we unite his pluralism with his monism? My thesis is that the three references are “qualities” of the one single reference, or again, speaking metaphorically, “side suns” of the single sun. In the following, I propose first an exegesis of Plato’s last written word on the Good in Phil. 65 A 1-5 by dividing it into five sentences. Second, I ask a philosophical question on this monism and the corresponding hierarchy of values. (shrink)

It is hypothesized that human faces judged to be attractive by people possess two features—averageness and symmetry—that promoted adaptive mate selection in human evolutionary history by way of production of offspring with parasite resistance. Facial composites made by combining individual faces are judged to be attractive, and more attractive than the majority of individual faces. The composites possess both symmetry and averageness of features. Facial averageness may reflect high individual protein heterozygosity and thus an array of proteins to which parasites (...) must adapt. Heterozygosity may be an important defense of long-lived hosts against parasites when it occurs in portions of the genome that do not code for the essential features of complex adaptations. In this case heterozygosity can create a hostile microenvironment for parasites without disrupting adaptation. Facial bilateral symmetry is hypothesized to affect positive beauty judgments because symmetry is a certification of overall phenotypic quality and developmental health, which may be importantly influenced by parasites. Certain secondary sexual traits are influenced by testosterone, a hormone that reduces immunocompetence. Symmetry and size of the secondary sexual traits of the face (e.g., cheek bones) are expected to correlate positively and advertise immunocompetence honestly and therefore to affect positive beauty judgments. Facial attractiveness is predicted to correlate with attractive, nonfacial secondary sexual traits; other predictions from the view that parasite-driven selection led to the evolution of psychological adaptations of human beauty perception are discussed. The view that human physical attractiveness and judgments about human physical attractiveness evolved in the context of parasite-driven selection leads to the hypothesis that both adults and children have a species-typical adaptation to the problem of identifying and favoring healthy individuals and avoiding parasite-susceptible individuals. It is proposed that this adaptation guides human decisions about nepotism and reciprocity in relation to physical attractiveness. (shrink)

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis (...) follows how such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as (...) employed by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

Everyfan -- Definitions : praise, beauty, athletics -- Discontinuities : demigods, gladiators, knights, ruffians, sportsmen, Olympians, customers -- Fascinations : bodies, suffering, grace, tools, forms, plays, timing -- Gratitude : watching, waste.

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. Before Shaftesbury’s magnum opus, Charactersticks (...) of Men, Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)