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

Abstract:In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact (...) that the subjective and objective attribute of experience remains unclear, and the material base of aesthetics is not solid enough. In this regard, cognitive neuroscience and anthropology provide new ways to understand aesthetic experience. From the perspective of aesthetic anthropology, the study on aesthetic experience is rooted in a broad field and serves as a solid material basis for its objectification. Cognitive neuroaesthetics explains the psychological mechanism of aesthetic experience. Together, they provide an opportunity for the study on aesthetic experience to enter a new realm. Moreover, the new interpretation of the essence of aesthetic experience will help to improve the theory and practice of aesthetic education. (shrink)

Sensibility: the indeterminacy of the imagination -- Praxis: the practice of the subject -- Play: the operation of force -- Aestheticization: the transformation of praxis -- Aesthetics: philosophy's contention -- Ethics: the freedom of self-creation.

儀式是理解人類文化的一把鑰匙。作為人類基本經驗形態的展演，儀式涉及人類文化的諸多方面，是闡釋特定文化經驗、觀察文化意蘊、理解不同文化體系的表達模式的切入點。本書秉承審美人類學的理念，把儀式作為人類的基 本文化形式和審美文化機制，在全面理解儀式理論觀念和相關概念的基礎上，闡釋了儀式與審美制度、審美認同和審美交流的關系，為讀者理解審美人類學提供了重要參考。 張良叢，哈爾濱師范大學文學院副教授，馬列文論研究會理事，主要從事審美人類學和西方文學理論研究。.

The aim of this work is to show how Novalis designs his own development of Fichte’s and Kant’s gnoseological systems. The analysis is brought upon the distinction between “natural man” and “artificial man” expressed in Novalis’ fragments, and follows his exam of Nature, I and God – all three considered by a Kantian and Fichtean perspective. The conclusion of this paper is to show how two of the main concepts of Novalis’ philosophy (Schweben and Romantisierung) can be used as aesthetical (...) and gnoseological devices to comprehend Novalis’ interpretation of the subject. (shrink)

This book focuses on the reconfiguration of aesthetic anthropology into an anthropological problem of cogitation, opening up a fascinating new dialogue between the domains of anthropology, philosophy, and art. Tarek Elhaik embarks on an inquiry composed of a series of cogitations based on fieldwork in an ecology of artistic and scientific practices: from conceptual art exhibitions to architectural environments; from photographic montages to the videotaping of spirit seances; from artistic interventions in natural history museums to ongoing dialogues between (...) performance artists and marine scientists. The chapters examine the image-work, ethical demands, and aesthetic struggles of interlocuters including artists Mathias Goeritz, Mounir Fatmi, Silvia Gruner, Joan Jonas, and Patricia Lagarde. (shrink)

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

_Purpose._ The article aims to define the philosophical narratives about the "beautiful human" of Greek antiquity in the coordinates of the triad of "natural", "social" and "cultural" body. _Theoretical basis._ When achieving this purpose, the author based on the conceptual provisions of the philosophical anthropology of Н. Plessner, in particular, concerning the attitude of a limited body to its limit as an empirical comprehension of a human him/herself and the world. Developing the position of the body as a socio-cultural phenomenon (...) and proceeding from the definition of corporeality as a "transformed human body under the influence of social and cultural factors, which has socio-cultural meanings and performs certain socio-cultural functions" (I. Bykhovskaya) (transl. by O. G.), the triad of "natural", "social" and "cultural" body was used as a methodological basis to analyse the research object. _Originality_ lies in the explication of the peculiarities of aesthetic and anthropological discourse in Ancient Greek philosophy, not only through the prism of the dichotomy of "soul" and "body", but also through the prism of the triad "natural", "social" and "cultural" body, allowing rethinking of the narratives concerning the "beautiful human" of the formation period of the European anthropological aesthetics in Antiquity. _Conclusions._ The anthropological aesthetics of Greek Antiquity is masculine aesthetics, the aesthetics of the male "cultural body". If a man is an epistemological subject, he is able, despite the ugliness and abomination of his natural body, to reach the level of the cultural body, the level of "personal existence of corporeality". As for the female corporeality, since the Ancient Greek philosophy does not provide the status of an epistemological subject for a woman, she remains at the level of "social body". (shrink)

RESUMEN En este texto proponemos que el fundamento de la teoria mimética de René Girard, que le permitió construir una "antropología fundamental", se puede encontrar en el realismo estético. Expondremos algunas notas características de la relación mimética, para luego poder postular que Girard se opone no solo a la mentira romántica que evita aceptar la mimesis como elemento estructurador del deseo, sino también al falseamiento impresionista que oculta la violencia fundadora de las sociedades. Para esto, analizaremos su teoría de la (...) violencia mimética en dos de sus más importantes libros: Mentira romántica y verdad novelesca y La violencia y lo sagrado, y la expondremos de cara a los conceptos del Romanticismo, el Realismo y el Impresionismo, tomados de la historia del arte y la literatura. Por último, haremos una breve mención a la ausencia de evidencia empírica, como crítica a la antropología fundamental girardiana, para concluir que tal proceder no impide hablar de un realismo en esta teoría. ABSTRACT In this text, we propose that the basis of René Girard's mimetic theory, which allowed him to construct a "fundamental anthropology", can be found in Aesthetic Realism. We will expose some characteristic notes of the mimetic relation, to then be able to postulate that Girard opposes not only the romantic lie, which avoids accepting mimesis as a structuring element of desire but also the impressionistic falsification that hides the founding violence of societies. For this, we will analyze his theory of mimetic violence in two of his most important books, Romantic lie & romanesque truth [Deceit, Desire and the Novel: Selfand Other in Literary Structure] and Violence and the Sacred, and we will expose it facing the concepts of Romanticism, Realism and Impressionism, taken from the history of art and literature. Finally, we will briefly mention the absence of empirical evidence, as a criticism of Girardian fundamental anthropology, to conclude that this does not prevent us from speaking of realism in this theory. (shrink)

Medicine does not usually consider the human body from an aesthetic point of view. This article explores the notion of the lived body as aesthetic object in anthropological medicine, concentrating on the views of Buytendijk and Straus on human uprightness and gracefulness. It is argued that their insights constitute a counter-balance to the way the human body is predominantly approached in medicine and medical ethics. In particular, (1) the relationship between anthropological, aesthetic and ethical norms, (...) (2) the possible danger of a naturalistic fallacy, (3) the implications for the care of disabled people and (4) the intrinsic aesthetic quality of the human body are dealt with. (shrink)

This paper offers an interpretation of and introduction to the philosophical anthropology of Roger Scruton through an examination of the aesthetic dimension of human rationality. We argue that attending to our aesthetic experience as individuated subjects capable of intersubjective communion offers a helpful corrective to the deracinated and disembodied view of human rationality prevalent in much of our contemporary ethical and scientific discourse. Through a consideration of how embodied rationality is at work in four different forms of art (...) – painting, music, dance, and architecture – our paper develops the rudiments of a more concrete philosophical anthropology, and on the basis of first principles advances a normative claim about the importance of art and beauty to human life. (shrink)

In a wide-ranging 2007 study of Claude Lévi-Strauss's aesthetic thought, Boris Wiseman demonstrates not only its centrality within his oeuvre but also the importance of Levi-Strauss for contemporary aesthetic enquiry. Reconstructing the internal logic of Lévi-Strauss's thinking on aesthetics, and showing how anthropological and aesthetic ideas intertwine at the most elemental levels in the elaboration of his system of thought, Wiseman demonstrates that Lévi-Strauss's aesthetic theory forms an integral part of his approach to Amerindian masks, (...) body decoration and mythology. He reveals the significance of Lévi-Strauss's anthropological analysis of an 'untamed' mode of thinking at work in totemism, classification and myth-making for his conception of art and aesthetic experience. In this way, structural anthropology is shown to lead to ethnoaesthetics. Lévi-Strauss, Anthropology and Aesthetics adopts a broad-ranging approach that combines the different perspectives of anthropology, philosophy, aesthetic theory and literary criticism into an unusual and imaginative whole. (shrink)

This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic (...) study and intellectual debate. Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)

The problem of providing an objective characterization of human variation have been often intermingled with the questionable task of providing scientific grounds for racism. The source of this confusion lies in the misconception that Petrus Camper’s (1722–1789) theory of the facial line demonstrates the superiority of the Caucasian racial type. In this paper, we argue that the invention of the facial line, far from obeying Euro-centric aesthetic bias, grounded Camper’s neutrality with respect to any claim of racial superiority. This (...) can be understood by analyzing the representational function of the facial line in the light of the aesthetic underpinnings of Camper’s overall theory. Thus, we show that the theory of the facial line rests upon the fundamental assumption that if a representation faithfully captures certain aesthetic properties of its target, then it also represents objective physical properties thereof. To unpack how this principle underlies the construction of the theory of the facial line, we analyze the influence of Johan Joachim Winckelmann’s (1717–1768) conception of Ideal Beauty on Camper’s craniological studies. The features of correctness, neutrality, and duality which Winckelmann ascribes to the Ideal Beauty informed the discovery of the facial line as the appropriate key for the anthropometric characterization of human variation. From this it is argued that a consistent interpretation of Camper’s work must consider his representation of human variation as a preorder, not a hierarchy, in the logical space of the facial angle. (shrink)

In surveying the field of the anthropology of aesthetics, the author argues that the phenomenon of cultural relativism in easthetic preference may be accounted ...

After the discovery of the anthropoid ape in Asia and in Africa, eighteenth-century Holland became the crossroads of Enlightenment debates about the human species. Material evidence about human diversity reached Petrus Camper, comparative anatomist in the Netherlands, who engaged, among many other interests, in menschkunde. Could only religious doctrine support the belief of human demarcation from animals? Camper resolved the challenges raised by overseas discoveries with his thesis of the facial angle, a theory which succeeding generations distorted and misused in (...) order to justify slavery, racism, antisemitism, and genocide. Thanks to his abundant papers in Dutch archives, Camper's ideas are restored to their original state. Eighteenth-century issues differed from those of other centuries: Did orang-utans talk like humans, walk like humans; even rape humans? What was the skin pigmentation of Adam and Eve? Did the spectrum of human physiognomies around the globe reflect the Fall of Man, the Creator's bounty, or merely bizarre beauty practices? Why did the ideal beauty of the Greeks appear to be the reverse of the Hottentots? The book contains some 50 illustrations, including apes with hiking sticks or tea cups, metamorphoses of living forms, and Apollo or Venus icons which titillated the science of man. (shrink)

Anna Kawalec ABSTRACT: Through a detailed case study of investigations on beauty, I demonstrate that a thoughtful consideration of empirical evidence can lead to the disclosure of the fundamental assumptions entrenched in a philosophical discipline. I present a contrastive examination of two empirically oriented approaches to art and beauty, namely, the anthropology of art and ….

This article presents a summary of the main views in Dambeck’s lectures on aesthetics on the basis of all known sources and compares the views thus obtained with views developed in German aesthetics in the late eighteenth and the early nineteenth century, with the aim of finding their chief source and reintegrating them both into German aesthetics and, more narrowly, into the aesthetics taught at Prague University. Johann Heinrich Dambeck constructed his lecture series on the plan of Zschokke’s textbook Ideen (...) zur psychologischen Aesthetik (1793) which has never been taken into account in any other research on his lectures. The close link between Dambeck’s lectures and this textbook compels us to revise the current understanding of the nature of their ideas. Dambeck has so far been most often unproblematically presented as an adherent and disseminator of Kant’s and Schiller’s ideas about aesthetics in the Bohemian Lands. The key textbook on which he bases his university lecture series is, however, intentionally un-Kantian. Zschokke’s Ideen is part of the psychological-anthropological stream of Late-Enlightenment German aesthetics. (shrink)

Combining anthropological descriptions with historical criticism, Cox situates the Zen arts within contemporary critical discourses.

Nietzsche and Kant on Aesthetics and Anthropology is the third of a three-volume collection exploring Nietzsche’s relationship to the Kantian legacy in philosophy. This volume examines his relationship to Kant’s aesthetic and anthropological views, focusing on the traces of Kant’s third Critique and Anthropology from a Pragmatic Point of View that can be found in Nietzsche’s published and unpublished works. In this review, I offer a summary of each of its chapters, with some brief commentary, and underscore its (...) major themes, contributions, and omissions. In their introduction, Maria Branco and Katia Hay signal that the scope of this volume goes well beyond a strict understanding of aesthetics as the evaluation of... (shrink)

Anthropology, History, and Education, first published in 2007, contains all of Kant's major writings on human nature. Some of these works, which were published over a thirty-nine year period between 1764 and 1803, had never before been translated into English. Kant's question 'What is the human being?' is approached indirectly in his famous works on metaphysics, epistemology, moral and legal philosophy, aesthetics and the philosophy of religion, but it is approached directly in his extensive but less well-known writings on physical (...) and cultural anthropology, the philosophy of history, and education which are gathered in the present volume. Kant repeatedly claimed that the question 'What is the human being?' should be philosophy's most fundamental concern, and Anthropology, History, and Education can be seen as effectively presenting his philosophy as a whole in a popular guise. (shrink)

Anthropology, History, and Education contains all of Kant's major writings on human nature. Some of these works, which were published over a thirty-nine year period between 1764 and 1803, have never before been translated into English. Kant's question 'What is the human being?' is approached indirectly in his famous works on metaphysics, epistemology, moral and legal philosophy, aesthetics and the philosophy of religion, but it is approached directly in his extensive but less well-known writings on physical and cultural anthropology, the (...) philosophy of history, and education which are gathered in the present volume. Kant repeatedly claimed that the question 'What is the human being?' should be philosophy's most fundamental concern, and Anthropology, History, and Education can be seen as effectively presenting his philosophy as a whole in a popular guise. (shrink)

This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of _appearing_. _Appearing_ bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, _appearing_ plays its part everywhere in the aesthetic realm, in all aesthetic activity. In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which (...) in continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel's framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is _appearing_ is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about. (shrink)

Evolutionary aesthetics (EA) investigates the origins and evolution of aesthetic preferences and artistic behaviors, along with the underlying capacities that support these preferences and behaviors. EA is a multidisciplinary approach that intersects various disciplines – e.g. evolutionary psychology, biology, neurosciences, art history, archeology, anthropology, philosophical aesthetics – providing a comprehensive framework for understanding the deep-rooted biological and evolutionary underpinnings of human aesthetic preferences and artistic expressions. Central to EA, in fact, is the exploration of when, how and why (...) aesthetic preferences and artistic behaviors originated in human history, as well as understanding whether these behaviors are evolutionary adaptations, by-products of evolutionary processes, or nonbiological cultural products (Killin 2021; Richards 2022). (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address (...) questions of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

The complex relationship between life and the arts has always Vbeen a crucial topic in philosophical discourse. The essays in this book discuss fundamental issues of modern and contemporary aesthetics, drawing upon the work of the French philosopher Jean- Pierre Cometti, a key fi gure in the studies of aesthetics, pragmatism, and Austrian philosophy. The volume covers a wide-range of topics, from the examination of fundamental principles of art and literary criticism to a new understanding of the Modernist notion of (...) art. It proposes an anthropological aesthetics using Musil's The Man Without Qualities or the analysis of literary characters such as Tolstoj's Hadji Murat and Cervantes' Don Quixote as a tool to cast light on themes in Wittgenstein's philosophy. Editors Carla Carmona and Jerrold Levinson have brought together renowned voices in the field of philosophy to offer a window onto Cometti's philosophical work, as well as an in-depth analysis of contemporary artistic and aesthetic practices, in an effort to overcome what can sometimes appear as a gulf between art and life. (shrink)

Linguistics, Anthropology and Philosophy in the French Enlightenment treats the development of linguistic thought from Descartes to Degerando as both a part of and a determining factor in the emergence of modern consciousness. Through his careful analyses of works by the most influential thinkers of the time, author Ulrich Ricken demonstrates that the central significance of language in the philosophy of the enlightenment is how it reflected and acted upon contemporary understanding of humanity as a whole. Although primarily focused on (...) French thought between 1650 and 1800, the author discusses contemporary developments in England, Germany and Italy and covers an unusually broad range of writers and ideas, including Leibniz, Wolff, Herder and Humboldt. This study places the history of language philosophy within the broader context of the history of ideas, aesthetics and historical anthropology and will be of interest to scholars working in these disciplines. (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, (...) questioning the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

La insistencia de Ortega y Gasset en la dimensión lúdica de la vida, tan opuesta a la trágica de Unamuno, ha sido analizada desde diferentes puntos de vista. Sin embargo, apenas se ha tenido en consideración la influencia que pudo tener la reflexión filosófica de Friedrich Schiller, quien hizo del juego la clave de la educación ilustrada del hombre y del logro de una vida plena. Con este presupuesto, se someten a examen dos textos fundamentales de Ortega, El tema de (...) nuestro tiempo y Qué es filosofía, poniendo énfasis en las semejanzas de planeamiento con respecto a las tesis del famoso dramaturgo alemán. (shrink)

The Aesthetic Animal answers the ultimate questions of why we adorn ourselves, embellish our things and surroundings, and produce art, music, song, dance and fiction. It is written in a lively and entertaining tone, with beautiful color illustrations. This must-read presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, evolutionary psychology and neuro-aesthetics.

Purpose. The article is aimed to reveal the essence of the eternal problem, comprehended by Augustine Aurelius in the culture of the early Middle Ages – the focus of the value orientations of the anthropological search. Theoretical basis. Only in the twentieth century, various aspects of Augustine’s creative legacy became the subject of scientific research by many authors. As the direction of their scientific research, the problem of the relationship of reason, faith, knowledge, which has risen sharply in medieval (...) Christian culture, has been considered. The logical outcome of these studies was the assertion that for Augustine Platonism was the main of the philosophical teachings of antiquity; that Augustine, being in line with Christian philosophy, considered the understanding of the aesthetic perfection of the Divine creation of the world as the sense of human life. The analysis of their works gives reason to argue that the definition of the human essence – the Augustine’s anthropological problems, was practically not addressed by representatives of domestic and foreign philosophical thought, and therefore remained undiscovered. Originality. The authors have proved that the definition of the human essence by Augustine is in the correlation with his answers to questions about the nature of the origin of man, about the secrets of being, etc. The ethical ideal of the thinker has been revealed, which is systematically formed in his works. Conclusions. The thesis has been substantiated that the anthropological views of Augustine Aurelius are in correlation with his epistemological judgments. Only by knowing the order of things in the universe, determined by the will of the Lord, we will know also the order of our value orientations. The basis of the philosophical comprehension of the human essence by Augustine Aurelius is a series of questions that constantly arise before mankind – about the nature of its appearance, about the secrets of human existence, the sense of life, death and immortality, etc. The ethical ideal of the thinker is an eternal city that is not based on human nature, it is too volatile, therefore it is only to a small extent subject to research, but on a Divine basis – the Christian idea. (shrink)

This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity. In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which (...) in continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel’s framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about. (shrink)

The rationalisation of the world is answered in Germany by an Aesthetic Revolution (Winckelmann, the romantic movement). It culminates in Nietzsche, and becomes a conservative revolution in the 1920s. After 1945, Beckmann and M. Walser embody the necessity of the aesthetic perspective.

On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn (1927–2008). The speakers at this event discussed Hepburn’s oeuvre from several perspectives. For this book, the collection of the revised versions of their talks has been supplemented by the papers of other scholars who were unable to attend the symposium itself. Thus this volume contains contributions from (...) eighteen notable scholars of different disciplines, ranging from contemporary aesthetics and art theory through to philosophical approaches to religion, education and social anthropology. It also includes a bibliography of Hepburn’s writings. The essays were first published in two special issues of the Journal of Scottish Thought, vols. 10–11 (2018–2019). -/- Ronald William Hepburn was born in Aberdeen on 16 March 1927. He went to Aberdeen Grammar School, then he graduated with an M.A. in Philosophy (1951) and obtained his doctorate from the University of Aberdeen (1955). His tutor at Aberdeen was Donald MacKinnon (1913– 1994), a Scottish philosopher and theologian, the author of A Study in Ethical Theory (1957) and The Problem of Metaphysics (1974). Hepburn taught as Lecturer at the Department of Moral Philosophy at Aberdeen (1956–60), and he was also Visiting Associate Professor of Philosophy at New York University (1959–60). He returned from the United States as Professor of Philosophy at Nottingham University. In 1964, he was appointed as a Chair in Philosophy at the University of Edinburgh and between 1965 and 1968 he was also Stanton Lecturer in the Philosophy of Religion at the University of Cambridge. From 1975 until his retirement in 1996, he held the Professorship of Moral Philosophy at Edinburgh. He died in Edinburgh on 23 December 2008. His philosophical interests ranged from theology and the philosophy of religion through moral philosophy and the philosophy of education to art theory and aesthetics. Notably, Hepburn is widely regarded as the founder of modern environmental and everyday aesthetics as a result of the influence of papers in the 1960s which pioneered a new approach to the aesthetics of the natural world. (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)