Nietzsche announces his intentions to publish a “physiology of aesthetics”, namely a naturalistic explanation for how aesthetic judgements are grounded in the physiology of both the one experiencing the work, and the creator of it. But as well as the physiological reduction of aesthetic judgements, Nietzsche in many places across his oeuvre frames the apparatus of physiology, especially the prescriptive dimension of self-cultivation, in terms amenable to being treated as ‘aesthetic’. The first section will mount a (...) (re-) defense of the use of aestheticized language for discussing Nietzschean self-cultivation. The second section demonstrates an aesthetic evaluation of capacities that make possible the acquisition and removal of instinctual components, ultimately arguing for Nietzsche’s qualified indeterminism regarding the capacity for self-cultivation. The third section will assess the pres- ence of another aesthetic measure, this time in terms of envisaging one’s psycho-physiology by reference to an external spectacle. The final section discusses metaethical questions stemming from Nietzsche’s prescriptive language regarding the aestheticization of our physiology. (shrink)

When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ (...) and explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history. (shrink)

This paper highlights the significance of sensory studies and psychophysical investigations of the relations between psychic and physical phenomena for our understanding of the development of the physics discipline, by examining aspects of research on sense perception, physiology, esthetics, and psychology in the work of Gustav Theodor Fechner, Hermann von Helmholtz, Wilhelm Wundt, and Ernst Mach between 1860 and 1871. It complements previous approaches oriented around research on vision, Fechner’s psychophysics, or the founding of experimental psychology, by charting Mach’s (...) engagement with psychophysical experiments in particular. Examining Mach’s study of the senses and esthetics, his changing attitudes toward the mechanical worldview and atomism, and his articulation of comparative understandings of sensual, geometrical, and physical spaces helps set Mach’s emerging epistemological views in the context of his teaching and research. Mach complemented an analytic strategy focused on parallel psychic and physical dimensions of sensation, with a synthetic comparative approach – building analogies between the retina, the individual, and social life, and moving between abstract and sensual spaces. An examination of the broadly based critique that Mach articulated in his 1871 lecture on the conservation of work shows how his historical approach helped Mach cast what he now saw as a narrowly limiting emphasis on mechanics as a phase yet to be overcome. (shrink)

This article explores how race, sexual attractiveness and ‘female nature’ are biologised in plastic surgery. I situate this analysis in relation to recent debates over the limits of social constructionism and calls for more engagement with biology in feminist theory and science studies. I analyse not only how the biological is represented by biomedicine, but also how it is experienced by patients and, most problematically, how it is entangled with social constructions of beauty, race and female reproduction. Drawing on ethnographic (...) fieldwork conducted in Brazil, I focus on plastic surgery, but also analyse how this specialty is linked to Ob-Gyn and endocrinology. I argue that medical procedures instantiate a biologised model of beauty I call ‘bare sex’ (Edmonds, 2010) that is defined in terms of racial traits, anatomy, reproductive processes, hormones and ‘secondary sexual traits’. While this is a historically specific model, it is also one that is inscribed on patients, altering anatomy and physiological processes. It thus has the potential to create a biological self-awareness that cannot fully be accounted for by a social constructionist analysis. (shrink)

Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of “physiological aesthetics,” which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about (...) aesthetics, and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

This chapter examines the Helmholtz's changing conceptions of the relation between scientific cognition (the thought processes of the investigator) and artistic cognition. It begins with two case studies: Helmholtz's application of sensory physiology and psychology respectively to music and to painting. Consideration of these concrete cases leads to Helmholtz's account of the methodology of aesthetics, and specifically to his formulation of the distinction between the *Geisteswissenschaften* and *Naturwissenschaften*. It then examines the development of his comparative account of the (...) thought processes of artist and scientist. This development parallels the development of his psychological theory of judgment into his famous theory of unconscious inference. The latter development exemplifies his classical "aesthetics of science.". (shrink)

This paper analyses the cluster of aesthetic features involved in the common experience of the weather. Perceptual features (framelessness, chromatics, texture, synaesthesia, ephemerality, proteism) are accompanied by ‘atmospheric’ moods that are irreducible to physiological well-being. Representation and imagination reach their limits due to the more-than-human spatiotemporal scale of the atmosphere. Finally, some ‘transaesthetic’ aspects include the agency of an active matter and the longing for an elemental alterity. The aesthetics of the weather has to account for the interdependence between (...) aesthetic and ethical values, between bodily engagement and appropriate knowledge, individual contemplation and social commitment, in order to develop ecological responsibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 265-279 [Access article in PDF] The Physiological Sublime: Burke's Critique of Reason Vanessa L. Ryan The eighteenth-century discussion of the sublime is primarily concerned not with works of art but with how a particular experience of being moved impacts the self. The discussion of the sublime most fully explores the question of how we make sense of our experience: "Why and (...) how does this object move me?" Focusing on the perceiving subject, most critics cast the British discussion of the sublime as reflecting a gradual shift towards a Kantian focus not on the object judged, but on the judging mind. Certainly, eighteenth-century thinkers move away from understanding the sublime as a set of qualities that are presumed to be internal to a given object, and shift their attention to the mental effects of those objects. Yet the increasing interest in the perceiving subject in eighteenth-century British thought should not be understood as necessarily anticipating a Kantian perspective. In his classic work on the sublime Samuel H. Monk claims that this aspect of the British debate provides a preliminary discussion of the Kantian "autonomy of the subject" and that it constitutes a movement towards the "subjectivism of Kant." 1 This reading of British aesthetics exclusively in [End Page 265] terms of a preparation for the Kantian description of the subject obscures the differences between the British and the German traditions. It thereby fails to accommodate the reluctance of British thinkers to give up the social and ethical when faced with the sublime: instead of explaining the commonality of the aesthetic experience by positing a "disinterested" and "autonomous" subject, thinkers such as Adam Smith, John Dennis, and Edmund Burke subordinate the freedom of the individual subject in an attempt to reconcile the aesthetic affect with moral conduct.The teleological and Kantian understanding of British eighteenth-century aesthetic theory is largely the result of the central position that has been given to its most famous theorist, Edmund Burke. Although Burke's conception of the sublime differs in some points markedly from that of his British contemporaries, his treatment of the sublime in the Philosophical Enquiry (1757) has come to represent eighteenth-century British thought, and as such it is routinely compared to Kant's analytic of the sublime. Yet at the point where the British tradition seems to come closest to the Kantian, namely, in the writings of Burke, it also most clearly marks its distance from it. Burke is in some ways the least Kantian of eighteenth-century British thinkers. Whereas Kant holds that the sublime allows us to intuit our rational capacity, Burke's physiological version of the sublime involves a critique of reason. The sublime for Burke is a question not of the subject's increasing self-awareness but of the subject's sense of limitation and of the ultimate value of that experience within a social and ethical context.One of the most intransigent problems in distinguishing the strains of thought on the sublime is that the relationship between the object and its sublime effect--between the object taken to arouse heightened response and the affective quality of such a response--is so variously conceived. The sublime experience is seen as leading, on the one hand, to an overpowering of the self and, on the other hand, to an intense self-presence and exaltation, sometimes even to self-transcendence. The central question is thus not to what extent the sublime is located in the subject, but in what way the experience of the sublime affects the perceiving subject: Does the sublime enlarge us, or diminish us? 2 Does the sublime annihilate our sense of self, or does it affirm and heighten our sense of identity? These two opposing views of the effect of the sublime on the self can be seen in the contrast between Kant and Longinus, whose theories exerted an enormous influence in Britain, especially on Burke. Whereas Longinus emphasizes that the sublime overpowers and dominates the self, Kant holds that the feeling of... (shrink)

The aim of this paper is to situate Addison’s aesthetics within the diverse, transdisciplinary aesthetic communication of the early eighteenth century, through which the new anthropology of sensibility took shape. Like many of his contemporaries, Addison draws on the medico-physiological literature of his time. Aesthetic pleasure is explained as consisting in or being produced by neurophysiological processes described in terms of iatromechanism and animal spirit physiology. These processes, he argues, are beneficial to the health and well-being of the (...) human body and mind, and can prevent and even cure mental diseases such as melancholy, which were thought to be caused by the disordered movement of the animal spirits. This means that aesthetic pleasure functions as a kind of therapeutic in Addison’s aesthetics. A comparison with his essays on therapeutic somatic practices reveals that Addison describes the neurophysiological processes involved in aesthetic pleasure in much the same way as those involved in physical exercise. When he refers to the pleasures of the imagination as “gentle exercise” (Spectator 411), Addison is drawing on the medico-physiological literature on exercise, especially Francis Fuller’s Medicina Gymnastica. For Addison, both physical exercise and the “gentle exercise” offered by aesthetic pleasure share the same normative goal: a “cheerful” mind, i.e. the lively movement and the proper distribution of animal spirits. Exercise, both physical and aesthetic, can achieve this by rearranging the movement of the animal spirits: exercise distracts the solitary, constricted and inert melancholic mind, releases the animal spirits from their confused and disordered movements by communicating to them a Motion contrary to theirs. In a way, both physical exercise and aesthetic pleasure re-connect or synchronise us with our environment: they lead the melancholic mind back to the beauty, novelty and greatness of nature, the delights of social life and the bounties of the providential order itself. For Addison, cheerfulness is much more than optimal neurophysiological functioning: it is a virtuous, sociable and pious “habit of mind” (Spectator 387) that makes us feel at home in our natural, social and providential world. Thus, due to its medical and physiological underpinnings, Addison’s aesthetics takes its place in the tradition of the “care of the self”, still reverberating in the eighteenth century, fusing medicine, aesthetics, morality and piety in the normative goal of the Addisonian quest for self-transformation: cheerfulness. (shrink)

The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective that (...) is complementary, and not in opposition, to the humanistic one on the arts and the aesthetic. (shrink)

Aesthetics presents a confusing domain for a philosopher. Its territory seems like an Empedoclean cosmos: a ceaselessly dynamic interchange of mixtures, at times resisting division, at times fracturing into an incomprehensible manifold. There may be no truth in aesthetics at all. Perhaps there is not even much truth about it. Some think of aesthetics primarily as a cultural or political phenomenon, others manage to reduce it to history (indeed, to a history that is over, and therefore safe). (...) Still others investigate it from the points of view of psychology, physiology, religion, technology, or morality. These are just a few of the innumerable “discourses” of aesthetics. Within a narrow focus some of these discourses appear to be meaningful, but this appearance owes much to the artificial and conditioned structure of the conversation. When viewed from the outside, the discourses of aesthetics often appear to be little more than babble. The hypothesis that they might someday converge on a perfectly general aesthetics seems implausible, even for arts and art histories of a more or less continuous, singular culture. (shrink)

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections (...) of one of his major untranslated works, Kritische Wälder. These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view. (shrink)

An original study of late Enlightenment aesthetics, poetics, and environmental medicine as overlapping ways of comprehending the dislocations of historical existence lodged in the movements of bodies and minds This book studies later eighteenth-century medicine, aesthetics, and poetics as overlapping forms of knowledge increasingly concerned about the relationship between the geographical movements of persons displaced from home and the physiological or nervous "motions" within their bodies and minds. Looking beyond familiar narratives about medicine and art's shared therapeutic and (...) harmonizing ideals, this book explores Enlightenment and Romantic-era aesthetics and poetics in relation to a central but less well known area of eighteenth-century environmental medicine: pathology. No mere system of diagnosis or classification, philosophical pathology was an art of interpretation, offering sophisticated ways of reading the multiple conditions and causes of disease, however absent from perception, in their palpable, embodied effects. For medical, anthropological, environmental, and literary authors alike, it helped to locate the dislocations of modern mobility when a full view of their causes and conditions remained imperfectly understood or still unfolding. Goodman traces the surprising afterlife of the period's exemplary but unexplained pathology of motion, medical nostalgia, within aesthetic theory and poetics, arguing that nostalgia persisted there not as a named condition but as a set of formal principles and practices, perturbing claims about the harmony, freedom, and free play of the mind. (shrink)

Sport aesthetics is an important but often marginalized field in the philosophy of sport. Kinetic Beauty offers a comprehensive, principled, pluralist introduction to the philosophical aesthetics of sport. The book tackles a wide variety of issues in the philosophical aesthetics of sport, proposing a five-level analysis that coordinates extant scholarship on the same conceptual map, reveals gaps in the literature, and motivates a fresh perspective on stubborn debates and novel topics in the field. This is an excellent (...) resource for professors and students in the philosophy of sport, sport aesthetics, general aesthetics, and the philosophy of art. It is also a fascinating read for those working in kinesiology, sport studies, philosophy, art, and aesthetics. (shrink)

In this article, I explore how Schopenhauer's theory of aesthetic experience—independently of his theory of arts—accommodates the possibility of contemplation. The standard reading of his aesthetics is that contemplation becomes possible because of a certain “surplus” of intellect and facilitating external occasions. I argue, however, that the “essential imperfections” of intellect and Schopenhauer's overall metaphysics are inconsistent with the very idea of will‐less cognition and, hence, of a free intellect. An alternative explanation of contemplation better fits with Schopenhauer's philosophy (...) overall by stating that it is driven by the will itself. I analyze two approaches to elaborating such a theory. First, the “metaphysical” account, according to which the will as thing‐in‐itself brings forth the (surplus of) intellect needed for contemplation as a means of self‐cognition. Second, the “physiological” account, which presupposes a quasi‐evolutionary process that has aesthetic cognition as a byproduct of intellect. The two accounts complement each other and in tandem better explain the possibility of contemplation than postulating a will‐less intellect. (shrink)

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections (...) of one of his major untranslated works, Kritische Wälder. These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view. (shrink)

SummaryWithin thirty years from 1870, English physiology was transformed from a subsidiary branch of anatomy to an experimental school of international reputation. An inevitable consequence of this metamorphosis was disclosure of the intrinsic nature of the new discipline, in particular by Burdon Sanderson's Handbook for the Physiological Laboratory (1873). By transmitting Continental methods to England, the Handbook gave direction to its awakening science, and at the same time represented a provocative target for attacks by the antivivisectionists. In uncertain defence (...) of their methods, the beleaguered physiologists exposed awkward inconsistencies of word and deed that reflected fundamental (if not unique) problems of internal ethics and of public accountability. Though to many the discipline remained technically brutal and aesthetically coarse, the necessary suffering of the intuitionists' nightmares could soon, by the growing and undeniable impact of therapeutic medicine, be presented as a justifiable price for the utilitarian dream. (shrink)

Nietzsche's reflection on art extends throughout his philosophical work. From the early claim of an “artist's metaphysics” to the late considerations that see in art the privileged form of the Will to Power, Nietzsche makes his attempt to overcome western metaphysics to depend on a particular ontological conception of the artistic fact. This ontological aestheticism, of enormous influence in current philosophical trends, has been the subject of various comments and criticisms. Less interest has raised instead the analysis of the implications (...) that this long nietzschean meditation concerning art can have in the interior of the aesthetic field itself: what is the specificity of art compared with other fields of human action? What results for the individual and for culture from the encounter with the phenomenon of art? This article constitutes a first attempt to answer these questions. Its analysis focuses in The Birth of Tragedy and, to a lesser extent, in the physiology of art found in the Twilight of the Idols. The article's central thesis defends that, according to Nietzsche, the aesthetical experience is essentially an experience of knowledge, a type of knowledge that gives access to truth. (shrink)

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics - the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to (...) be confused and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, 'Sensorial Aesthetics in Music Practices' repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. (shrink)

If we say that the school of Confucianism—Confucius, Mencius, and Xun Zi—focused on the nurturing and forming of the psychological temperament of man, that it emphasized humanizing the innate nature so that the natural physiological desires and the sensory needs of man—that "which is unavoidable in man's nature and feelings"—are nurtured in a societal way and attain societal functions, and that for this reason the state and results of its appreciation of beauty are often related to pleasing the ear, the (...) eye, the heart, and the mind, and on the whole are controlled by the realm of human relationships and ethics, then it is possible to say that the characteristics of Daoist aesthetics as represented by Zhuang Zi were precisely focused on transcending just this. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 88-112 [Access article in PDF] Milton's Aesthetics Of Eating Denise Gigante It is not a little curious that, with the exception of Ben Jonson (and he did not speak gravely about it so often), the poet in our own country who has written with the greatest gusto on the subject of eating is Milton. He omits none of the pleasures of the palate, great or (...) small. In his Latin poems, when young, he speaks of the pears and chestnuts which he used to roast at the fire with his friend Diodati. Junkets and other "country-messes" are not forgotten in his "Allegro." The simple Temptation in the Wilderness, "Command that these stones be made bread" (which was quite sufficient for a hunger that had fasted "forty days"), is turned, in Paradise Regained, with more poetry than propriety, into the set out of a great feast, containing every delicacy in and out of season. The very "names" of the viands, he says, were "exquisite." And in Paradise Lost, Eve is not only described as being skilful in paradisaical cookery ("tempering dulcet creams"), but the angel Raphael is invited to dinner, and helped by his entertainers to a series of tid-bits and contrasted relishes--Taste after taste, upheld with kindliest change. --Leigh Hunt, "Eating Songs" The title of an old play gives us a direct taste and surmise of its inwards, as the first lines of the Paradise Lost smack of the great Poem. --John Keats, "On 'Retribution, or the Chieftain's Daughter'" That Milton's Romantic readers should invoke the "taste" of his epic poetry suggests an awareness beyond the anecdotal. For as this essay will show, Milton complicates the category of physiological taste in such a manner as to form the ground for the possibility of aesthetic taste, which emerges as a distinct discourse in the early years of the eighteenth century. This is not to say that Milton is the only source for this dubious meaning-in-transition. But precisely how, prior to the interventions of Shaftesbury, Hutcheson, Hume, and the entire tradition of post-Miltonic theorists of taste, is one to read Adam's darkly sardonic postlapsarian remark: "Eve, now I see thou art exact of taste... And Palate call judicious" [PL IX.1017-20]? Critics have observed Milton's "ruthless and relentless pressure on 'taste,'" the fact that the word and its variants appear thirty times in Book IX of Paradise Lost alone [Ricks 69]. What I would like to suggest is that just as Milton is a seminal figure for the eighteenth-century aesthetic preoccupation with the sublime, 1 he is theoretically situated at the origins of the more generic thing called taste as well. [End Page 88]Of course Milton himself was aware of the epistemological implications of taste, whereby the Latin sapere can mean both "to taste" and "to know." 2 The fruit whose "mortal taste" was the source of all our woe did, after all, grow on the tree of knowledge, knowingly described by Satan as "precious of all Trees / In Paradise, of operation blest / To Sapience" [PL I.2, IX.795-97]. So too, when Adam calls Eve "exact of taste," he adds "of Sapience no small part" [PL IX.1018]. Throughout Paradise Lost and Paradise Regained, Milton plays with the epistemological connotation of taste, incorporating it even into the 1671 companion piece of the latter, Samson Agonistes, whose blind hero declares, "The way to know were not to see but taste" [1091]. At the time Milton was writing, however, taste was philosophically connected not only to knowledge and pleasure, but to morality as well. At the origins of the British empirical discourse of taste, Anthony Ashley Cooper, third Earl of Shaftesbury, inheriting this link between epistemology, aesthetics, and ethics, inquires: "Will it not be found... that what is beautiful is... true; and what is at once both beautiful and true is, of consequence, agreeable and good?" [2: 268-69]. For Milton as for Shaftesbury, the beautiful was the true was the good, and access to these ideals was bound up with the philosophic complexity... (shrink)

The foundations of psychoanalysis in the German idealist concepts of the reflexive human self have been the subject of detailed investigations devoted to the intertwined processes of introspection,...

In lieu of an abstract, here is a brief excerpt of the content:Visual Aesthetic ExperienceElisa Steenberg, Independent ScholarMan can shift his attitude to the surrounding world into an experience of its visual appearance. He perceives colors, lines, shapes, etc.—at times denoted as form. Furthermore, these phenomena may be experienced as having various properties. A color may be experienced as warm or cold, as cheerful or somber; a line as soft or hard, as merry or aggressive; a shape as light or (...) heavy. Moreover, such experiences may include pleasure or displeasure, implying that what is experienced is liked or disliked. The individual has a preference value experience. This should not be confounded with an evaluation, a value judgment, which requires cognitive activity and a comparison. The experience described I designate a visual aesthetic experience.Research into processes in the brain may offer explanations of the neurological antecedents to the visual aesthetic experience. To see a color as cold or warm may depend on sense-interrelating processes. To experience a color or line as cheerful, somber, etc., might be explained as due to simultaneous processes in the regions of the brain that are the mainsprings of emotions. The preference valuations might be due to processes in the brain's so-called primary reward-aversion center. It seems most likely that future brain research, with the help of such techniques as PET scanning (Positron Emission Tomography) or MRI (Magnetic Resonance Imaging)—what has been called "windows into the human brain"—may offer explanations regarding the physiological and biochemical processes that happen when our attitude to the world around us is shifted into what is here designated a visual aesthetic experience.1When did man first evince visual aesthetic experiences and when do they first occur in an individual's life? Certain anthropologists assert that positive visual aesthetic experiences first occurred when man was able to experience form as symmetrical and balanced, colors as bright and possibly shiny. This they claim is due to balance and order being a fundamental condition in man's life, and preferences for bright colors they consider due to man being a daylight creature who feels insecure in darkness.2 We know that so-called primitive people and young children like symmetric patterns and bright colors. The child reaches out for light red and yellow objects rather than for dark and black ones. With increasing age, though, the child's [End Page 89] visual preferences usually change, and this occurs mainly within the framework of his or her manmade surroundings. The child becomes accustomed to seeing certain objects while feeling pleasure and thus comes to appreciate their appearance. However, such experiences are rather vague before the child reaches the age when its personality is formed. Then especially girls often develop a keen interest in the appearance of objects around them.A general survey among adults shows that there are considerable varieties in individuals' inclinations for visual aesthetic experiences. There are those who have them rather seldom. Their attitudes to the surrounding world are primarily cognitive. Their attentions are focused on meanings, the "what" not the "how," in order to understand and to cope with what they see. On the other hand, there are individuals who most frequently hold an aesthetic attitude to their surroundings. They pay attention to shapes, colors, and color combinations of all kinds of objects, natural or manmade. They choose their clothes and their home furnishings under careful aesthetic considerations. This inclination may possibly be claimed to be due to an innate disposition for holding visual aesthetic attitudes, to be compared with, for example, an individual's innate musicality. However, it is undoubtedly also due to certain social circumstances.Visual aesthetic experiences are denoted taste manifestations. As such they may be investigated not only as to their occurrences and changes in an individual's life but also as a changing sociocultural phenomenon.3Verbalizing the Visual Aesthetic ExperienceThe psychic content of a visual aesthetic experience may be revealed to other individuals by application of aesthetic property terms to the appearance of objects. The terms are either what is here called descriptive or they are value terms. Examples of descriptive aesthetic terms are graceful, garish, gaudy, clumsy, elegant, dainty, vivid, flamboyant, etc. These terms may... (shrink)

This essay explores the aesthetic sensibilities of the French physiologist Claude Bernard . In particular, it analyzes the Cahier Rouge , Bernard's acclaimed laboratory notebook. In this notebook, Bernard articulates the range of his experience as an experimental physiologist, juxtaposing without differentiation details of laboratory procedure and more personal queries, doubts, and reflections on experimentation, life, and art. Bernard's insights, it is argued, offer an aesthetic and phenomenological template for considering experimentation. His physiological point of view ranges from his own (...) bodily aesthesis or sensory perception, through personal reflections on scientific discovery as an artistic process, to a broader metaphysical conception of life as an artistic creation. Such an aesthetic approach to physiology enables Bernard to reconcile his empirical methodology and his romantic idealism; it offers the history of laboratory science a framework for considering the individual, bodily, and emotional labor inherent in physiological experimentation. (shrink)

In the world of globalization religious-artistic works remain a phenomenon study of which allows to observe the main tendencies of socio-cultural dynamics taking into account complicated and multi-plan contexts of its realization. Methodological peculiarities of the suggested approach base on philosophic comparative study and interdisciplinary method, which allow neutralizing negative consequences of scientist approach based on physiological–ideological projectivity. In this case correlation of sacral and aesthetic works as crossing of “vertical” and “horizontal” dimensions which opens “the second derivative” of thecreative (...) process – its Stereological orientation. At the threshold of the second decade of the 21 century it is expedient to activate comparative analysis of the problem of creation through the prism of cultures of various types at the specific material. This will allow us to understand more fully opportunities of global strategy of unity of the humanity on the basis of great achievements of culture having determined its boundaries and perspectives. (shrink)

Do usual commercials elicit the full spectrum of emotions? For this perspective paper, we posit that they do not. Concepts and measures related to the adaptive functions and well-being areas of emotion research cannot simply be transferred for use in advertising research. When a commercial elicits emotions, the emotions staged in the commercial must not be directly associated with the emotions felt by consumers when exposed to those commercials. This is why “aesthetic” emotions seem more appropriate than “utilitarian” emotions in (...) advertising research, with the former generally felt more significantly than they are acted upon. Aesthetic emotions elicit limited physiological change, and they rely on the intrinsic pleasantness appraisal of commercials. Accordingly, pleasure and displeasure—as observed through expressive and subjective components of aesthetic emotion—often form the first and only step of commercial appraisal, and they are directed toward attitude formation rather than overt behaviors. Our preliminary psychophysiological study shows this by investigating the contributions of psychophysiological and self-reported measures of aesthetic emotions induced by commercials to explain attitudes toward advertisements. The results show that only two components of aesthetic emotion positively influenced attitudes toward the advertisements: expressive (measured by facial electromyography) and subjective (measured by the self-assessment manikin scale). Also, the subjective component of aesthetic emotion partially mediates the effects of the expressive components on attitudes toward the ads. Our exploratory study illustrates the relevance of focusing on aesthetic emotions in advertising research. It also shed new light on the contributions of the physiological, expressive, and subjective feelings components of aesthetic emotions in advertising effectiveness. (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)

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder (1744-1803) also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main (...) sections of one of his major untranslated works, Kritische Wälder (Critical Forests). These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view. (shrink)

Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism is tied up with a critique of the reduction of the work of art to an object of aesthetic experience. This leads him to an aletheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein too rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. His appeal to ordinary language provides the backdrop (...) for his critique of the philosophical tradition’s focus on a narrow range of evaluative aesthetic terms, thus excluding most of the language we ordinarily employ in the relevant cases. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein and Heidegger’s anti-scientism about aesthetics, and (b) their anti-scientism leads them towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

The essay focuses on the Italian evolutionist Tito Vignoli, whose work is the result of a fruitful contamination between philosophy, history of religion, linguistics, ethnography, anthropology, psychology, zoology and physiology. His most regarded book, Mito e scienza (1879), and some of his minor writings deal with the theory of myth, art and aesthetics in the new framework of Darwin's ideas.

This essay collection explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics. After examining philosophical accounts of embodiment and aesthetic experience, the essays apply somaesthetic theory to the diverse fine arts and the art of living.

Why has the ring of the telephone become a beep? What ever happened to the bumpers and fenders of cars? Why do food commercials never mention hunger?In this encyclopedia of low-brow aesthetics, Daniel Harris concentrates on the nuances of non-art, the uses of the useless, the politics of product design and advertising. We learn how advertisers exaggerate our sensual responses to eating, how close-up nature photography exaggerates the accessibility of the natural world, and how the mutated physiology of (...) dolls invites our pity and affection.In studying its aesthetics, we find consumerism instills disappointment rather than gratification, convincing us that our lives are deficient and wanting. If we are what we buy, then we must buy in order to be. (shrink)

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own (...) meta-logic. Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

In this article, we explore the relation between bodies and selves evident in the narratives surrounding aesthetic surgery. In much feminist work on aesthetic surgery, such narratives have been discussed in terms of the normalising consequences of the objectifying, homogenising, cosmetic gaze. These discussions stress the ways in which we model our bodies, under the gaze of others, in order to conform to social norms. Such an objectified body is contrasted with the subjective body; the body-for-the-self. In this article, however, (...) we wish to make sense of the narratives surrounding such surgery by invoking the expressive body, which fits on neither side of this binary. We wish to explore how the modification of the body’s anatomical features (physiology) is taken to be a modification of its expressive possibilities, and therefore a modification of possibilities for inter-subjective relations with others. It is such expressive possibilities that, we suggest, underlie decisions to undergo surgical procedures. The possibility of modification of the expressive possibilities of the body, by the modification of its anatomical features, rests on the social imaginaries attached to anatomical features. In the context of such imaginaries, individual decisions to undergo or promote surgery can be both intelligible and potentially empowering. However, the social consequences of such acts are an increasing normalisation of the ‘body under the knife’ and an intolerance of bodily difference. This, we suggest, can only be changed by a re-visioning of bodily imaginaries so that expressive possibilities can be experienced across bodies with a range of physiological features. (shrink)

The 18th-century emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out as (...) victorious, which neglects the eighteenth-century interpenetration of various disciplines. It offers instead a teleological history of aesthetics which leads towards the concept of autonomy, aesthetic and/or artistic, as it takes shape, allegedly, in the aesthetics of Kant and then Romanticism. The new volume of the Routledge Studies in Eighteenth-Century Philosophy, entitled Beyond Autonomy in Eighteenth-Century British and German Aesthetics, joins the growing body of scholarship that re-examines the influential narratives of autonomy. (shrink)

While it has extensively been argued that aesthetic categories such as beauty have a direct relationship to emotion, there has only been limited psychological research on the relationship between aesthetic judgments and emotional responses to art. Music is recognized to be an art form that elicits strong emotional responses in listeners and it is therefore pertinent to study empirically how aesthetic judgments relate to emotional responses to music listening. The aim of the presented study is to test for the impact (...) of aesthetic judgment on various psychophysiological response measures of emotion that were assessed in parallel in two contemporary music concerts, each with a different audience and program. In order to induce different levels of aesthetic judgments in participants, we assigned them randomly to one of two groups in a between-subjects design in both concerts: One group attended a talk on the music presented, illustrating its aesthetic value, while the other group attended an unrelated talk on a non-musical topic. During the concerts, we assessed, from 41 participants in Concert 1 (10 males; mean age 23 years) and 53 in Concert 2 (14 males; mean age 24 years), different emotional response components: (a) retrospective rating of emotion; (b) activation of the peripheral nervous system (skin conductance and heart rate); (c) the activity of two facial muscles associated with emotional valence (only Concert 1). Participants listened to live performances of a selection of contemporary music pieces. After each piece, participants rated the music according to a list of commonly discussed aesthetic judgment criteria, all thought to contribute to the perceived aesthetic value of art. While preconcert talks did not significantly impact value judgment ratings, through factor analyses it was found that aesthetic judgments could be grouped into several underlying dimensions representing analytical, semantic, traditional aesthetic, and typicality values. All dimensions where then subsequently shown to be related to subjective and physiological responses to music. The findings reported in this study contribute to understanding the relationship between aesthetic judgment processes and emotional responses to music. The results give further evidence that cognitive-affective interactions have a significant role in processing music stimuli. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists (...) intervened, using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built environments. (...) Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

This article argues that political performance reveals the significance of the emotions, emotional feelings, affect and mood in relation to the censorship of democratic expression. Belarus Free Theatre performers spoke about fear as they gave personal accounts of imprisonment and undertook extreme physical action on aerial ropes, creating performances that evoked both emotionally felt responses and bodily affect. The aesthetic mood effect in these performances shifted from amusing audiences with the absurdity of political censorship to alarming them with the terror (...) of political persecution. Antonio Damasio points out that although aspects of the emotions merge in everyday life, ideas or impressions need to be separated out from the physiology of emotional feeling in their study. While the turn to affect emphasizes convergence and, importantly, recognizes human sensitivity to nonhuman energies, an impersonal energetic field can be distinguished from the personal and the psychological. This analysis of theatrical performance reveals the ways in which it presents social ideas of the emotions and aesthetic moods, as well as elicits the affect of bodily sensation and invites the emotionally felt responses of audience members. Theatrical performance offers a space for expressing emotions in political protest. (shrink)

Introduction: a peculiar experiment -- Kinaesthetic knowing: the nineteenth-century biography of another kind of knowledge -- Looking: Wölfflin's comparative vision -- Affecting: Endell's mathematics of living feeling -- Drawing: the Debschitz school and formalism's subject -- Designing: discipline and introspection at the Bauhaus -- Epilogue.

Millán Brusslan focuses upon “Life Force or the Rhodian Genius: A Tale,” an essay Humboldt wrote for Schiller’s journal, Die Horen, to demonstrate that both thinkers are propelled by a life force (Lebenskraft) to the aesthetic realm. In Concerning the Sublime (1801), Schiller’s presentation of nature takes place as the limits of our cognitive faculties (the powers of apprehension) are balanced with that which is beyond mastery, taking us to the realm of freedom, where the ideas of the sublime and (...) of beauty find their home. Millán Brusslan argues that Schiller and Humboldt define this home for beauty and the sublime in distinct ways. Humboldt’s realm of freedom is nature itself, whereas Schiller’s idea of freedom is rooted in the human subject, a subject which eclipses nature. (shrink)