Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence (...) on a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing (...) a purely syntactic way of using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century. (shrink)

Offering an alternative mode of visual cultural analysis to the prevalent discursive model, this book proposes to situate analysis of Image within 'formal' analyses of culture experience. Specifically, the discussion draws on theories of affective aesthetics with the view of addressing the sensual form of culture (i.e. 'cultural form'). Therefore, the volume puts forward a mode of formalist analysis in visual cultural research which takes purchase on the idea of 'cultural form.' A continuum of formalist attention between Image (...) analysis (visual media, industrial design) and probing of 'cultural forms' establishes the theoretical underpinning of the book. These concepts are expounded through a case study which looks at formal experimentations and debates arising from 1960s avant-garde artistic practices in London. (shrink)

The paper proposes a reflection on mathematical beauty, considering the possibility of aesthetic qualities for formal language. Through a concise overview of the way this question is understood by some famous scientists and mathematicians, we turn our attention to Gian-Carlo Rota’s theoretical proposal: his reflections as a mathematician and philosopher offer a perspective, of phenomenological matrix, fruitful for looking at the question. Rota’s contribution allows us to focus on the role of competence, acquired through effort, sedimentation and habit of (...) repetition, in cultivating the potential to recognise the aesthetic quality of formal language. Finally, we draw on some contributions from Gestalt theory, closely connected to twentieth-century phenomenology for chronological and conceptual reasons, applying the idea of gestalt wholeness to the mathematical product and proposing some reflections that may help to clarify some of the dynamics underlying the attribution of qualities of beauty to formulas or the detection of its lack. (shrink)

Kant’s theory of taste supports his political theory by providing the judgment of beauty as a symbol of the good and example of teleological experience, allowing us to imagine the otherwise obscure movement of nature and history toward the ideal human community. If interpreters are correct in believing that Kant should make room for pure judgments of ugliness in his theory of taste, we will have to consider the implications of such judgments for Kant’s political theory. It is here proposed (...) that pure, formal ugliness symbolizes regressive, counter-teleological trends in nature and history. Kant’s paradoxical stance on the right to rebellion, both condemning and supporting the French Revolution, is interpreted as failing to take into account negative social forces signified by ugliness, and therefore neglecting the role of moral agency in social change. (shrink)

This work seeks to highlight that an understanding of aesthetic practices is essential to the analysis of politics and political processes. If today, aesthetics has become a rather overused term, referring to a variety of historical periods and groups, even states of being (love, melancholy...), nonetheless its relevance as a connecting agent between individual, state and society remains strong. Placing it as a central theme for understanding processes of domination, contestation and transversal links highlights the mobilization of spaces, bodies (...) and objects in a struggle for the exercise of power and the challenges to it. It is impossible to study historical shifts or systems of power without examining the mobilisation of aesthetic languages: of splendour and display, austerity, asceticism, minimalism or restraint. In this book the concern is with the dynamics between the custodians of aesthetics and the dissenters, with the moment, and with change over time. This book approaches contemporary politics through the aesthetics of power and its practices: from the more formal and regulated presence of state power in the public space in the form of official buildings, commemorative monuments, to the aestheticisation of sacrifice in politics and judicial spectacles. The studies presented here promise to lead us further to deepening our understanding of the dynamics of political spaces and the politics of the aesthetic in contemporary politics. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to (...) aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

Offering aesthetic judgments of gardens is common. These judgments follow an evidentiary structure that is common to the evaluation of other aesthetic objects: summary judgments evidenced by the attribution of narrow formal aesthetic properties, “formal-adjacent” aesthetic properties, and relevant contextual relations. Yet, in a garden, these evidencing properties and relations take on forms that are different from those of other aesthetic and/or art objects. In this article, I consider these differences and consider whether aesthetic analyses of gardens rest (...) on one or more conceptual mistakes. In the end, I conclude that we can meet all challenges. (shrink)

In 1931, Kurt Gödel determined the incompleteness of formal axiomatic systems by demonstrating that there are propositions that cannot be proved or disproved within the system in question. In 1936, Alan Turing showed that some functions cannot be computed, and thereby described the limits of computing machines before any such machine was built. In this essay I will turn to these logical discoveries in order to argue that incompleteness and incomputability can be employed as conceptual tools to re-engage with (...) the axiomatic character of computation. This re-engagement with formal axiomatic structures, I will claim, has important consequences for the aesthetic investigation of computation. Computational aesthetics is understood here as an enquiry into the relation between abstraction and experience in computation. In this respect, the concepts of the incomplete and the incomputable will be mobilised philosophically, beyond the technical scope of Gödel’s and Turing's work, to argue for the autonomy and reality of computational abstraction. Gödel’s and Turing’s discoveries preclude the possibility that axiomatic formulation could be the method through which the metacomputation of the intelligible and the sensible is accomplished. These discoveries in fact prove that the computational axiomatic system is not transcendentally closed to contingency, as metacomputational approaches geared towards the formulisation of reality would have it, but is instead immanently open to its own eventuality. I will thus argue that there is a contingent ontology of computation that is to be found within computation’s formalisms. This contingent ontology is not predicated upon the empirical or the phenomenal, but is inherently formal and computational. For the philosophical investigation of the aesthetics of computation, such an ontology of the contingent computational structure opens up the possibility of thinking computational forms beyond the limits of formulae, together with that of engaging with formalism beyond the idealisation of beautiful and truthful determinisms. (shrink)

This book reverses the fundamental tenet of phenomenology-that all consciousness is intentional . Mitscherling rehabilitates the pre-modern concepts of 'intentional being' and 'formal causality' in the construction of a comprehensive phenomenological analysis of embodiment, aesthetic experience, interpretation of texts, moral behavior, and cognition.

The entry aims to explain a core feature of otherwise different variants of romanticism: the commitment to “the primacy of aesthetics.” This commitment is often expressed by the claim that the “aesthetic”—most broadly that which concerns beauty and art—should permeate and shape human life. The entry proposes that this romantic imperative should be understood as a structural or formal demand. On that reading, the romantic imperative requires that we model our epistemological, metaphysical, ethical, political, social and scientific pursuits (...) according to the form of the aesthetic comportment to the world, exemplified in poetry. Rather than aiming to replace “real” life, science and philosophy with poetry, the romantics urge human beings to fashion their ordinary lives and to do science and philosophy according to the model provided by poetry. Philosophy, science and everyday life need not be poetry, but poetic or poetry-like. Structurally, they should become similar. Why so? The main task of this entry is to offer an answer to this question and to show that the reasons for “poeticizing” life, science and philosophy are themselves philosophical. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from (...) the dense flux of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume (...) is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

Aesthetic investigations of computation are stuck in an impasse, caused by the difficulty of accounting for the ontological discrepancy between the continuity of sensation and the discreteness of digital technology. This article proposes a theoretical position intended to overcome that deadlock. It highlights how an ontological focus on continuity has entered media studies via readings of Deleuze, which attempt to build a ‘digital aisthesis’ (that is, a theory of digital sensation) by ascribing a ‘virtuality’ to computation. This underpins, in part, (...) the affective turn in digital theory. In contrast to such positions, this article argues for a reconceptualization of formal abstraction in computation, in order to find, within the discreteness of computational formalisms (and not via the coupling of the latter with virtual sensation), an indeterminacy that would make computing aesthetic qua inherently generative. This indeterminacy, it is argued here, can be found by reconsidering, philosophically, Turing’s notion of ‘incomputability’. (shrink)

Over the last decade a radical transformation of literary study has taken place, a transformation most distinctly connected to a fundamental change in the conception of what constitutes the "literary." A shift in emphasis from interpretation to theory and from questions about what texts might "mean" to questions about the systems that contain them, along with the movement to replace literary study with cultural studies, have all contributed to this change. In response to this transformation, George Levine has assembled essays (...) by a wide variety of leading scholars in the field of literary study. The contributors to this book rethink the aesthetic, rewrite its history, and reestablish the formal as a necessary element in criticism of literature and of its ideological implications. An early step in the recuperation of the aesthetic, Aesthetics and Ideology works through the discourses of race, gender, class, and politics, using many of the strategies of contemporary theory, to show how the aesthetic vitally and richly opens itself to new politics, and new possibilities of human value. This is an important contribution to the current academic culture wars. (shrink)

This book is a major new study of the doctrines of productivity and interest in Romanticism and classical political economy. The author argues that the widespread contemporary embrace of cultural historicism and the rejection of nineteenth-century conceptions of agency have hindered our study of aesthetics and politics. Focusing on the difficulty of coordinating paradigms of intellectual and material labor, Mieszkowski shows that the relationship between the imagination and practical reason is crucial to debates about language and ideology.From the Romantics (...) to Poe and Kafka, writers who explore Kant's claim that poetry "sets the imagination free" discover that the representational and performative powers of language cannot be explained as the products of a self-governing dynamic, whether formal or material. A discourse that neither reflects nor prescribes the values of its society, literature proves to be a uniquely autonomous praxis because it undermines our reliance on the concept of interest as the foundation of self-expression or self-determination. Far from compromising its political significance, this turns literature into the condition of possibility of freedom. For Smith, Bentham, and Marx, the limits of self-rule as a model of agency prompt a similar rethinking of the relationship between language and politics. Their conception of a linguistic labor that informs material praxis is incompatible with the liberal ideal of individualism. In the final analysis, their work invites us to think about social conflicts not as clashes between competing interests, but as a struggle to distinguish human from linguistic imperatives. (shrink)

The Aesthetic Commonplace is a study of the everyday as a region of overlooked value in the work of William Wordsworth, George Eliot, and Ludwig Wittgenstein. The Romantic poet, the realist novelist, and the modern philosopher are each separately associated with a commitment to the common, the ordinary, and the everyday as a vital resource for reflection on language, on feeling, on ethical insight, and social attunement. The Aesthetic Commonplace is the first study to draw substantive lines of connection between (...) Wittgenstein and the cultural and literary history of nineteenth century England. Tracing conceptual and formal affinities between the poet, the novelist, and the philosopher, the book brings to light significant links between the intellectual history of the nineteenth century and the early decades of the twentieth, making the case for a continuous cultural commitment to the aesthetic as a distinctive mode of investigating thought, feeling, and the everyday language upon which we depend for their articulation. Addressed to both literary studies and to philosophy, The Aesthetic Commonplace makes a compelling case for the interdependence of form, concept, and emotion in the history and interpretive practices of both disciplines. (shrink)

The term “aesthetics” is misleading when applied in the classical Indian philosophical context. Before the modern period, there is substantially no body of speculation on the pleasurable responses to created objects, as such, or on their formal capacities to induce such responses. What we do have, on the other hand, are: (1) several partly distinct traditions having to do with the elements out of which are constructed such objects – including literary “objects” – according to prevailing canons of (...) symbology and use that have a ritual or religious basis; and (2) an intensely developed set of speculations on the narrower question of the observed power (often judged in emotive terms) of the dramatic work to transform us, its spectators. This second problematic, in time, comes to be seen as paradigmatic for all “art,” including poetry, music, and the plastic arts. The first set of traditions focuses on what we might call the semantics of the work, contrasting it, in the case of the written work, with “ordinary” symbolical and ritual uses of language “how does it mean what it means?”; the second set deals with the restorative or transformative capacity of dramatic and other “fictive” works, vis‐à‐vis those that immediately and practically provide, or presume to provide, a transcendent solution on human problems – most importantly, of course, the essentially religious problem of human suffering caused by the bondage of cyclic existence “how does the work of art also accomplish human ends?”. (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of (...) suchordinary aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her (...) work into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)

The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, (...) the aesthetical dimension characterized by the “pleasure” of the perception. Aesthetical pleasure unavoidably implies disclosure, to manifest “signs”, artistic communication. An interpersonal, collective level of consciousness then arises, a larger stage where the actors are mutually dependent. The coherent structure of the brain background state manifests itself in the auto-similarity properties of fractal structures. These are observed to occur also in a large number of natural phenomena and systems. The conception of Nature divided in separated domains is replaced by the vision of Nature unified by laws of form implied by the underlying quantum dynamics of the coherent vacuum, an integrated ecological vision. (shrink)

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary (...) aesthetic theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the trajectory that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), (...) while I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

The organization of The Aesthetics of Thomas Aquinas is straightforward: after an initial chapter on aesthetics in medieval culture, Eco proceeds to the most general consideration of the transcendental character of beauty. He then moves to the aesthetic subject in a consideration of visio, then to the object in a consideration of the formal criteria of beauty. He follows that up with a chapter on "Concrete Problems and Applications," then goes on to the theory of art and (...) the role of judgment, followed by a concluding chapter. (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...) are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

The first and most important impetus motivating a feminist engagement with the complex of art and aesthetics is – as has been the case in many other realms of social life – the exclusion of women from participation in the respective sphere of activity: the denial of women's entry into formal and institutional education, training, active practice in the profession, and the continuous discrimination and marginalization that women have had to endure even after the end of their (...) class='Hi'>formal exclusion. A second stage in the feminist engagement with art and aesthetics is reached when the considerable accomplishments are made visible that women have attained despite all obstacles, although these achievements have so often been overlooked, forgotten, denied, or overtly suppressed. The discovery of the resistance women have always mounted to all hindrances placed in their way, the (re)discovery of “women worthies,” takes place in the fields of art, literary, and music history much in the same way as feminism has begun to dig up the lost memory of women's efforts in the fields of history, science, and so on. (shrink)

According to Aesthetic Empiricism, only the features of artworks accessible by sensory perception can be aesthetically relevant. In other words, aesthetic properties supervene on perceptual properties. Although commonly accepted in early analytic aesthetics, Aesthetic Empiricism has been the target of a number of thought experiments popularized by Gombrich, Walton, and Levinson, purporting to show that perceptually indiscernible artworks may differ aesthetically. In particular, this literature exploits three kinds of differences among perceptually indiscernible artworks that may account for aesthetic differences: (...) relative to categories of art, historical provenance, or means of production. Like in all philosophical thought experiments, the reliability of the elicited intuitions remains an empirical question that we address here with the methods of experimental philosophy. Throughout three studies, we show that most people do not believe that non-perceptual properties can modulate our evaluation of an artwork’s beauty. However, intuitions were much more divided when considering expressive aesthetic properties (such as intensity), and even clearly reversed when considering artistic properties (such as originality or technical achievement). Overall, our studies show that the central intuitions elicited by the classical indiscernibility arguments strongly depend on the class of manipulated properties (expressive aesthetic properties vs formal aesthetic properties; aesthetic properties vs artistic properties) and are thus more suited to refute artistic empiricism than aesthetic empiricism, narrowly construed. (shrink)

Although Hume did not produce any major work in aesthetics, several of his essays, as well as numerous passages in A Treatise of Human Nature and in An Enquiry Concerning the Principles of Morals, do address central debates in eighteenth-century aesthetics. In this dissertation I show that Hume made some interesting contributions to these debates that in fact changed the course of aesthetic inquiry. He was the first British thinker to apply systematically an empirical method to such aesthetic (...) concepts as the nature of beauty, the experience of the sublime, the pleasures of tragedy, and the standard of taste. His views on these concepts represent a significant departure from the classical emphasis on the formal features of aesthetic objects, and a new emphasis on the psychological processes by which the object is experienced. Hume's importance within the Anglo-aesthetic tradition is that his approach instigated a radical shift in aesthetic discourse from the study of beautiful things to the causal analysis of the emotional experiences of the percipient. Hume recognized the relativistic implications of the displacement of the aesthetic object by the experiencing subject, but he remained hopeful that a "science" of aesthetics based on principles of human nature could still be developed. This study aims to situate Hume's aesthetics within the context of his "science of man," and thereby to enhance understanding of his philosophical project as a whole. (shrink)

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

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various animal (...) species in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides (...) an explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

The author has made a detailed study, more detailed, he rightly claims, than hitherto attempted, of the concept of mimesis in aesthetic thought and has devoted equal space to Greek and Sanskrit writers... Wilamowitz, the doyen of modern classical scholars, describes mimesis as a 'fatal word' 'rapped out' by Plato. But the present author has demonstrated with great cogency that the word was not 'rapped out' by Plato at all, and that the concept and the word are both as old (...) as Greek thought. He shows too, once again with considerable scholarship and perceptiveness, how Greek art was bound to be sensuous, unmystical and also 'formal' in the best sense of the term. In the four long chapters of the first part of his thesis the author gives at every step evidence of deep study and illuminating insight, and can claim originality both in approach and argument... The chapter on Aristotle contains one of the best discussions of mimesis I have read... the most striking portion of his thesis is his elucidation of poetic truth according to Aristotle. -/- -- Prof. S. C. Sengupta, Jadavpur University -/- The author provides a faithful rendering of both Greek and Indian ideas. The work is valuable for its expositions especially of the Indian theories of art. -/- -- V. K. Chari, Journal of Aesthetics and Art Criticism (JAAC), USA, Spring 1979 -/- ... A fairly exhaustive comparative study of the concept of mimesis in Greek and Indian aesthetics... wide ranging and at the same time well controlled acquaintance with this proliferating literature is revealed throughout... the co-relation of the Aristotelian linking-up of 'imitation' and 'completion' with Abhinavagupta's integration of imitation with completion is very suggestive and is a help towards the formulation of a universal aesthetic comprising body and soul, the immediate impact of Appearance and the slow revelation of Reality... (the author) has mastered the material and achieved a steady progression in argument so as to sustain the central thesis. -/- -- K. R. S. Iyengar, Professor of English and Vice-Chancellor, Andhra University -/- The book is a significant contribution towards understanding the essentials of Indian aesthetics apropos the Greek (and, through the Greek, the Western)... The author has surveyed the entire field in a masterly manner. His erudition and judgement are both commendable. -/- -- S. K. Ramachandra Rao, Deccan Herald (03.09.1978) -/- ...The author's views hold good even among modern critics including the ones known as 'the Chicago school' and experimental psychologists. -/- -- Indian and Foreign Review (August 1978) -/- The work is a valuable addition to the literature on aesthetics. -/- -- The Indian Express (12.03.1978) -/- The comparison is too smooth and sharply compartmentalized... The book is of great value to those who are interested in the comparative and historical evolution of a very important concept in aesthetics. -/- -- The Hindustan Times (31.12.1978) -/- The work is in two parts. The first part in four chapters examines the concept of imitation in Greek thought, and the second in three chapters explores the meaning of the term in Indian thought... the author offers a brilliant interpretation of Aristotle's theory in the fourth chapter (Pt. 1) which is the best one in the book... The work is a pioneering one and it repays a careful examination. It is probably the first of its kind and every student of aesthetics must read it. -/- -- Prof. P. S. Sastri, Nagpur Times . (shrink)

This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary aesthetic theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the trajectory (...) that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural (...) properties and reduce to powers to produce aesthetic effects of particular kinds in suitable perceivers under suitable conditions. (shrink)

Problem Background: Design is that complete process of planning and creating a form in a functionally satisfying way, bringing pleasure to the soul, and satisfying human need utilitarianly and aesthetically at the same time. The design has its elements, which is the vocabulary of the language of the form used by the designer artist, and the elements of the design line, and is considered a basic means of expression in plastic art, the researcher has noted that microscopes have a variety (...) of formulations of design elements, limited in the current research to try to reach the formal formulations of the line element as it appears in a sample of microscopes?. The Research Problem: The problem of the current research is summarized in the following question: What are the formal formulations of the line element as it appears in a sample of microscopic shapes? Research Objective: Detecting the formal formulations of the calligraphy element through a sample of microscopic shapes. Hypothesis of Research: There is a positive relationship between the type of formal formulations of the line element and the type of sample of microscopic shapes. Research Methodology: The current research follows the descriptive approach in its form: content analysis, where the researcher describes and classifies the formal formulations of the line element, as they appear in a sample of microscopic shapes. Research Results: The research reached a set of formal formulations of the line element through the microscopic sample used in the current research. (shrink)

Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output of the past (...) thirty-five years. This edition of Formalized Music is an essential tool for understanding the man and the thought processes of one of this century's most important and revolutionary musical figures. (shrink)

Negrete brings together women writers and artists known for their formal experimentation to show that "the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire."-- taken from back cover.

This 1990 book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first published history of Beethoven reception. The author discusses the philosophical and analytical implications of these reviews and reassesses what has come to be the accepted view of a nineteenth-century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two (...) apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on 'absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. (shrink)

Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition to humanist (...) approaches that insist on a separation between culture and nature--approaches that appear increasingly untenable in an era defined by human-generated climate change--Musical Vitalities treats music as one example of the cultural practices and biotic arts of the animal kingdom rather than as a phenomenon categorically distinct from nonhuman forms of sonic expression. The book challenges the human exceptionalism that has allowed musicologists to overlook music's structural resemblances to the songs of nonhuman species, the intricacies of music's physiological impact on listeners, and the many analogues between music's formal processes and those of the dynamic natural world. Through close readings of Austro-German music and aesthetic writings that suggest wide-ranging analogies between music and nature, Musical Vitalities seeks to both rekindle the critical potential of nineteenth-century music and rejoin the humans at the center of the humanities with the nonhumans whose evolutionary endowments and planetary fates they share. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic (...) and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their elders (...) to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with (...) basically autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches. (shrink)

The formal and empirical-generative perspectives of computation are demonstrated to be inadequate to secure the goals of simulation in the social sciences. Simulation does not resemble formal demonstrations or generative mechanisms that deductively explain how certain models are sufficient to generate emergent macrostructures of interest. The description of scientific practice implies additional epistemic conceptions of scientific knowledge. Three kinds of knowledge that account for a comprehensive description of the discipline were identified: formal, empirical and intentional knowledge. The (...) use of formal conceptions of computation for describing simulation is refuted; the roles of programming languages according to intentional accounts of computation are identified; and the roles of iconographic programming languages and aesthetic machines in simulation are characterized. The roles that simulation and intentional decision making may be able to play in a participative information society are also discussed. (shrink)

Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure as an (...) aesthetic category, eldritch Priest shows failure to be a duplicitous concept that traffics in paradox and sustains the conditions for magical thinking and hyperstition. Framing recent experimental composition as a deviant kind of sound art, Priest explores how the affective and formal elements of post-Cagean music couples with contemporary culture's themes of depression, distraction, and disinformation to create an esoteric reality composed of counterfactuals and pseudonymous beings. Ambitious in content and experimental in its approach, Boring Formless Nonsense will challenge and fracture your views on failure, creativity, and experimental music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 40-53 [Access article in PDF] Aesthetic Experience and Aesthetic Analysis David E. W. Fenner The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and allother things aesthetic — aesthetic properties, aesthetic objects, aesthetic attitudes — (...) are secondary in their importance to aesthetic experiences. 1Considering aesthetic experience as the raw data that philosophical aesthetics seeks to explain is a relatively recent phenomenon. This was certainly not the focus in the seventeenth and eighteenth centuries. Aesthetic judgment was the focus of Shaftesbury, Hutcheson, Hume, and Kant: "How do we make meaningful judgments (hopefully real ones) about the aesthetic quality of (certain) objects and events?" But with George Santayana, John Dewey, and Jerome Stolnitz, the focus changes. Now the interest is in the aesthetic experience: what makes those experiences we label "aesthetic" special? Why do we separate those experiences from others?The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with — far from it. There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics. And, although I claim that aesthetic experience is the most basic thing that aesthetics studies, I recognize that this is challengeable and only true from a certain temporal viewpoint.I recently taught the most rewarding undergraduate course in aesthetics. The reason that it was so rewarding was that the students carried the class with deep and insightful discussions, and they were not shy about challenging what was coming out of my mouth. One of the challenges that informed our entire semester focused on the tension between experience and judgment. I lectured comfortably about aesthetic experience as our "raw data," and I lectured equally comfortably about how taking an aesthetic view of an object or event meant focusing primarily, if not exclusively, on [End Page 40] what is available to us through simple sensory acquaintanceship with the object. "Aesthetics," I said, "is about the sensuous aspects of our experiences." And so we could, for instance, take an aesthetic view of a Robert Mapplethorpe photograph which precluded our experiences being mired in the themes that the more famous Mapplethorpe photos take as their content. "Mapplethorpe is a great photographer," I argued, "and one can see this if one is willing to focus strictly on what meets your eye when you look at the picture." In short, I held the position that the aesthetic view is the formal one.Without saying more, what I did was conflate two different things. On the one hand, I argued that aesthetic experience is a natural part of life that aesthetics seeks to explore. On the other, I argued that appreciating something aesthetically was to appreciate its formal qualities, those qualities that one could access simply through looking, hearing, touching, for example. But these really are two different things.Aesthetic experiences, if we are to treat them as "raw data," must be explored without pre-conception, prejudice, or limitation. And, truly enough, the vast majority of aesthetic experiences are not focused exclusively, in terms of their contents, on formal or simple-sensory matters. Aesthetic experiences are, first, experiences. They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object. Later in this essay, I want to explore some of this complexity.The other side of what was happening in my class, the formal focus on the sensory as the basis for an aesthetic viewing, is not the substance of "aesthetic experience" per se. It is rather the basis of what we might call "aesthetic analysis." Aesthetic analysis has to do with separating out from our... (shrink)

How does material culture matter for institutions? Material objects are increasingly prominent in sociological research, but current studies offer limited insight for how material objects matter to institutional processes. We build on sociological insights to theorize aesthetic style, a shared pattern of material object presence and usage among a cluster of organizations in an institutional field. We use formal relational methods and a survey of material objects from religious congregations to uncover the aesthetic styles that are part of the (...) “logics of god” in the United States’ Christian religious field. We argue aesthetic styles help structure an institutional field by spanning objects’ meanings across space and time, stabilizing objects’ authority, and demarcating symbolic boundaries. Our research provides a conceptual tool for understanding how objects bridge the material and symbolic dimensions of institutions and a methodological example for examining the meaning of objects across numerous organizations in an institutional field. (shrink)