Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics (...) of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations. (shrink)

This article challenges the prevailing binary in civic education that pits teacher neutrality against political activism. I argue that the real tension is not whether partisanship belongs in the classroom—it always does—but how it is engaged. Drawing on the concept of partisan justification, I define partisanship as reasoning from within a contestable normative framework that shapes what issues are foregrounded, how they are framed, and which disagreements are possible. I critique two dominant models: the Controversial Issues approach, which relies (...) on the illusion of neutrality by concealing partisan framing, and the Activist approach, which risks the illusion of consensus by treating a single vision of justice as settled. Against both, I advocate for an educational partisanship as a democratic design: a practice that acknowledges the inevitability of partisan commitments and structures classroom inquiry to make them visible, discussable, and open to challenge. Using a classroom example focused on Diversity, Equity, and Inclusion (DEI), I show how teachers can disclose their commitments without imposing them, expanding democratic understanding through genuine contestation. I conclude that democratic education depends not on evading partisanship but on practicing it transparently and with care—designing classrooms where disagreement is expected, plurality is preserved, and no view, including the teacher's, is above scrutiny. (shrink)

When aiming to justify the infliction of harm upon a culpable wrongdoer, the notion of desert most readily finds its home within the context of punishment. Thus, according to one dominant theory of punishment, retributivism, a wrongdoer deserves the hard treatment constitutive of punishment. In this paper, I argue that desert can play a role in helping justify certain types of defensive action. Specifically, I aim to show how desert‐based reasons can help justify seemingly futile defensive efforts. Importantly, this justification (...) does not stem from the idea that the victim of an attack may “draw against punishment” in seeking to avert a threat, but rather from the belief that culpable aggressors deserve to be resisted. (shrink)

Various heads of non-pecuniary loss recovery in negligence cast doubt on the explanatory capacity of the traditional twin categories of pain and suffering and loss of amenity. This includes, in particular, loss of congenial employment and loss of reproductive autonomy. The central arguments of this piece are that we can construct from these, based on the existing law, a third category of non-pecuniary loss for personal injury; and that recognising this allows us to rationalise, expand and develop the claims (...) more coherently, rather than castigating them as exceptional extras. The article demonstrates that, alongside pain and suffering and losses of amenity, the courts have already accepted ‘loss of a protected decision’ in these contexts. From that base, the argument considers with more conceptual coherence whether further instances of this category can be accepted in the healthcare and other contexts. (shrink)

Arthur Winnington-Ingram, Bishop of London, features prominently in all the scholarly narratives of the activities of the Church of England during the First World War. Particular emphasis has been placed on his description of the conflict as a “Holy War”, on his assertion that those who died in the cause of Britain and her allies should be seen as martyrs, and on his very successful efforts to persuade men to enlist as combatants. Furthermore, many books claim that the Bishop in (...) a 1915 sermon called on his hearers to “Kill Germans”. This paper closely examines contemporary narratives of that sermon and the way in which an anti-clerical writer of the 1930s edited the original text, thus seriously distorting Winnington-Ingram’s message. An analysis of the Bishop’s declaration which was made in 1960, but significantly modified in 1971, is identified as being highly influential in shaping contemporary perceptions of him. The context of a short article in which the Bishop described the conflict as a “Holy War” is examined and an attempt is made to show that such pronouncements were the logical development of the then widely-held perception of Britain as a nation especially chosen by God to take to the world both the benefits of its Empire and the light of the Gospel. It is shown that the most balanced assessments of his activities have come from non-British historians and theologians who have been able to offer a more detached and less anachronistic analysis than, in particular, some ordained Anglican writers. The way in which the scholarly critique of Winnington-Ingram has in recent years been taken up by more popular authors in a process of distillation and embellishment is described. Finally, his repudiation of popular calls for reprisals against German civilians, in the context of the serious loss of life incurred through the German bombing of London, is offered as a corrective to the highly prejudicial way in which the war-time activities of Arthur Winnington-Ingram have been presented in both the scholarly literature and popular narratives. (shrink)

In the UK, comparative law is an influence but not a determining one in judicial decisions, unless it comes from a familiar source, mainly from the common law. Scholarly comparative law, which is substantial and thriving, contributes in a more indirect fashion to create an environment in which some decisions become thinkable to judges and legislators. In the current atmosphere of a retreat from European-wide legal rules, comparing different national legal systems will be more influential than the (...) appeal to pan-European standards in both judicial decisions and in inspiring legislation. (shrink)

Once one declares that works of art that are created for, and rewarding of, disinterested aesthetic attention are socially other and transcendent, one must expect that such works will often be seen as having religious significance. This chapter identifies and discusses a number of the different types of religious significance that writers in the modern and contemporary periods have ascribed to fine art. Clive Bell held that works of the arts are revelatory of ultimate reality; Herbert Marcuse argued (...) that works of the arts harbor the potential of liberating us from domination; Paul Gauguin claims that the artist is a creator like unto God. (shrink)

In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.

Over the last few decades there has been a phenomenal growth of interest in metaphor as a device which extends or revises our perception of the world. Clive Cazeaux examines the relationship between metaphor, art and science, against the backdrop of modern European philosophy and, in particular, the work of Kant, Heidegger and Merleau-Ponty. He contextualizes recent theories of the cognitive potential of metaphor within modern European philosophy and explores the impact which the notion of cognitive metaphor has on (...) key positions and concepts within aesthetics, epistemology and the philosophy of science. (shrink)

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

This chapter offers an account of the nature of contempt and highlights the ways in which it is distinct from other hard feelings such as hatred and disgust. Contempt is characterized as a way of negatively and comparatively regarding someone who is presented as falling below the contemnor’s personal baseline. This form of regard constitutes a withdrawal from the target of contempt.

The journal Environmental Values is thirty years old. In this retrospective, as the retiring Editor-in-Chief, I provide a set of personal reflections on the changing landscape of scholarship in the field. This historical overview traces developments from the journal's origins in debates between philosophers, sociologists, and economists in the UK to the conflicts over policy on climate change, biodiversity/non-humans and sustainability. Along the way various negative influences are mentioned, relating to how the values of Nature are considered in policy, (...) including mainstream environmental economics, naïve environmental pragmatism, the strategic role of corporations, neoliberalism and eco-modernism/techno-optimism. At the same time core value debates around intrinsic value in Nature and instrumentalism remain relevant, along with how plural environmental values can be articulated and acted upon. Naturalness, human relations to non-humans, and Nature as other, remain central considerations. The broadening of issues covered by the journal (e.g. covering social psychology, sociology and political science), reflect the need to address both human behaviour and the structure of social and economic systems to confront ongoing social-ecological crises. (shrink)

_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition (...) includes selections from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

This longitudinal case study reports on a charity in the UK which gained a new CEO who was reported by two middle managers who worked in the charity, to embody all or most of the ten characteristics within a measure of corporate psychopathy. The leadership of this CEO with a high corporate psychopathy score was reported to be so poor that the organisation was described as being one without leadership and as a lost organisation with no direction. This paper outlines (...) the resultant characteristics of the ensuing aimlessness and lack of drive of the organisation involved. Comparisons are made to a previous CEO in the same organisation, who was reportedly an authentic, effective and transformational leader. Outcomes under the CEO with a high corporate psychopathy score were related to bullying, staff withdrawal and turnover as effective employees stayed away from and/or left the organisation. Outcomes also included a marked organisational decline in terms of revenue, employee commitment, creativity and organisational innovativeness. The paper makes a contribution to both leadership and to corporate psychopathy research as it appears to be the first reported study of a CEO with a high corporate psychopathy score. (shrink)

Why is degrowth being sidelined by some of its highest profile populist writers? Is the term degrowth too negative and neo-Malthusian? Should degrowth be treated as a quantitative reduction in economic growth or GDP? Is degrowth drifting from its origins? What happened to degrowth's foundational concerns for limits to growth and stopping the imperialist spread of growth as development? Are pragmatic political alliances now creating fundamental contradictions? Answering such questions this article probes into the attempts to unify disparate theories (...) and ideas and the rise of alliances under the banner of post-growth. The compatibility of four approaches is probed based on high profile advocates public speeches: degrowth (Giorgos Kallis), post-growth (Tim Jackson), doughnut economics (Kate Raworth) and steady-state economics (Timothy Parrique). The speeches are primarily the plenary presentations given at the two major European Parliament conferences profiling the degrowth community within policy-making circles: Post-Growth 2018 and Beyond Growth 2023. Uncritical broad alliances are brought into question as conflicting with creating meaningful and coherent understanding. Three issues are then discussed further: conceptualising the growth imaginary, the reality of limits, and development within planetary boundaries. The analysis suggests a series of ways forward using critical realism as under-labourer. These include applying rational judgement to choose between theories, realism in conceptualisation, and investigating causal mechanisms and structure to identify potentiality for systems change. (shrink)

This study investigated whether employee perceptions of corporate social responsibility (CSR) were associated with the presence of Corporate Psychopaths in corporations. The article states that, as psychopaths are 1% of the population, it is logical to assume that every large corporation has psychopaths working within it. To differentiate these people from the common perception of psychopaths as being criminals, they have been called “Corporate Psychopaths” in this research. The article presents quantitative empirical research into the influence of Corporate Psychopaths (...) on four perceptual measures of CSR and three further measures of organizational commitment to employees. The article explains who Corporate Psychopaths are and delineates the measures of CSR and organizational commitment to employees that were used. It then outlines the research conducted among 346 corporate employees in Australia in 2008. The reliability of the instrument used is commented on favorably in terms of its statistical reliability and its face and external validity. Results of the research are described showing the highly significant and negative influence of Corporate Psychopaths on all of the measures of CSR and of organizational commitment to employees used in the research. When Corporate Psychopaths are present in leadership positions within organizations, employees are less likely to agree with views that: the organization does business in a socially desirable manner; does business in an environmentally friendly manner and that the organization does business in a way that benefits the local community. Also, when Corporate Psychopaths are present in leadership positions within organizations, employees are significantly less likely to agree that the corporation does business in a way that shows commitment to employees, significantly less likely to feel that they receive due recognition for doing a good job, to feel that their work was appreciated and to feel that their efforts were properly rewarded. The article argues that academics and researchers in the area of CSR cannot ignore the influence of individual managers. This is particularly the case when those managers have dysfunctional personalities, or are actually psychopaths. The article further argues that the existence of Corporate Psychopaths should be of interest to those involved in corporate management and corporate governance because their presence influences the way corporations are run and how corporations affect society and the environment. (shrink)

Contingent valuation of the environment has proven popular amongst environmental economists in recent years and has increased the role of monetary valuation in public policy. However, the underlying economic model of human psychology fails to explain why certain types of stated behaviour are observed. Thus, good scope exists for interdisciplinary research in the area of economics and psychology with regard to environmental valuation. A critical review is presented here of some recent research by social psychologists in the US attempting to (...) explain stated behaviour in contingent valuation. Attitudinal scales have been used to analyse the role of ecocentric, biocentric and altruistic motives for giving. However, the research is shown to draw some potentially misleading conclusions and be unrepresentative of contingent valuation. Two recent economic studies using contingent valuation are then reported and shown to have identified non-economic motives for WTP. The complexity of value formation and expression is found to go far beyond that generally accepted by economic models. Greater consideration of the role played by attitudes and ethical considerations then becomes relevant to the interpretation of results being used in standard cost-benefit analysis and environmental policy. (shrink)

When the Bloomsbury critics, Roger Fry and Clive Bell, introduced an aesthetically-conservative English public to recent Parisian avant-garde painting, they explained its disconcerting imagery by way of a late-nineteenth-century metaphysical tradition which had long intrigued musicians and Symbolist writers on the European continent. The Post-Impressionist aesthetic they devised advocated a direct response to the formal ingenuity of the work of art without recourse to prior knowledge and it emphasized the significance of visionary genius albeit to the detriment of (...) narrative acuity and technical accomplishment, values hitherto upheld by the Edwardian art Establishment. The provocation was calculated, the author suggests, and its domestic ramifications were predictable: the reaction of an Anglo-conformist public in New York, on the other hand, was anything but. Recreating an Anglo-American dialogue inspired by Fry and Bell, and framed within a period encompassing Fry's Manet and the Post-Impressionists exhibition in 1910 and Alfred Barr Jr's Cubism and Abstract Art exhibition in 1936, the author demonstrates how key components of Bloomsbury's aesthetic bypassed a pre-existent modernist practice in New York and were taken up instead by an urban intelligentsia which adapted them to the requirements of an increasingly professionalised institutional practice during the 1920s. (shrink)

Everyday photographs as well as art photographs may be aesthetically appreciated. Although this may be most obvious in the case of advertising it is also true for amateur photographs. Non-art photographs play an important role in our everyday lives and should not be neglected by aesthetics. That these photographs draw much of their value from being associated with memories and musings does not make them non-aesthetic. I discuss these issues drawing on Clive Bell, Lyotard and Bourdieu with (...) special emphasis placed such contemporary art photographers as Nan Goldin and Ed Burtynsky. (shrink)

The current paper explores the rationality and associated non-emotionality of the psychopathic mind. This was undertaken because psychopaths in the corporate sphere (corporate psychopaths) have been identified as possessing the ability to rise to senior leadership positions within organisations from where they can wield enormous power over their colleagues, organisation and society. When in leadership, the psychopathic create emotional turbulence among their colleagues and subordinates, resulting in an extreme workplace environment. Nonetheless, findings as to the rationality of the psychopathic, (...) include that psychopaths do embody the characteristics of economic rationality and may be the only rational human or ‘homo economicus’ that exists. Taken together with their total immorality and lack of all integrity this makes them the most serious threat to business ethics globally and a threat to the coherence of human society. These findings are important because such people care nothing for the future of humanity and their rationality is dedicated towards personal, short-term gratification. Potentially dire implications for humanity, organisations and society are drawn from this. (shrink)

Ontology tends to be held in deep suspicion by many currently engaged in the study of technology. The aim of this paper is to suggest an ontology of technology that will be both acceptable to ontology’s critics and useful for those engaged with technology. By drawing upon recent developments in social ontology and extending these into the technological realm it is possible to sustain a conception of technology that is not only irreducibly social but able to give due weight to (...) those features that distinguish technical objects from other artefacts. These distinctions, however, require talk of different kinds of causal powers and different types of activity aimed at harnessing such powers. Such discussions are largely absent in recent technological debates, but turn out to be significant both for ongoing technology research and for the recasting of some more traditional debates within the philosophy of technology. (shrink)

If an artist sends a live peacock to an exhibition, is it art? 'What is art?' is a question many of us want answered but are too afraid to ask. It is the very question that Nigel Warburton demystifies in this brilliant and accessible little book. With the help of varied illustrations and photographs, from Cézanne and Francis Bacon to Andy Warhol and Damien Hirst, best-selling author Warburton brings a philosopher's eye to art in a refreshing jargon-free style. With (...) customary clarity, he explains art theories, that are much discussed but little understood, by thinkers such as Clive Bell, R.G Collingwood and Wittgenstein. He illuminates other perplexing problems in art, such as the artist's intention, representation and emotion. Drawing on photographs of Cindy Sherman and Tiananmen Square, Warburton shows that, if we are ever to answer the art question, we must consider each work of art on its own terms. A stimulating and handy guide through the art maze, _The Art Question_ is essential reading for anyone interested in art, philosophy or those who simply like looking at and thinking about pictures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

By reconsidering the theme of isolation in the philosophy of technology, and by drawing upon recent developments in social ontology, Lawson provides an account of technology that will be of interest and value to those working in a variety of different fields. Technology and Isolation includes chapters on the philosophy, history, sociology and economics of technology, and contributes to such diverse topics as the historical emergence of the term 'technology', the sociality of technology, the role of technology in social acceleration, (...) the relationship between Marx and Heidegger, and the relationship between technology and those with autism. The central contribution of the book is to provide a new ontology of technology. In so doing, Lawson argues that much of the distinct character of technology can be explained or understood in terms of the dynamic that emerges from technology's peculiar constitutional mix of isolatable and non-isolatable components. (shrink)

_The newly expanded and revised edition_ _of Cooper’s popular anthology featuring classic writings on aesthetics, both historical and contemporary_ The second edition of this bestselling anthology collects essays of canonical significance in aesthetics and the philosophy of art, featuring a wide range of topics from the nature of beauty and the criteria for aesthetic judgement to the value of art and the appreciation of nature. Includes texts by classical philosophers like Plato and Kant alongside essays from art critics (...) like Clive Bell, with new readings from Leonardo da Vinci, Oscar Wilde, Walter Pater, Ronald W. Hepburn, and Arthur C. Danto among others Intersperses philosophical scholarship with diverse contributions from artists, poets, novelists, and critics Broadens the scope of aesthetics beyond the Western tradition, including important texts by Asian philosophers from Mo Tzu to Tanizaki Includes a fully-updated introduction to the discipline written by the editor, as well as prefaces to each text and chapter-specific lists of further reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Historical Significance and Structure of Monroe Beardsley's AestheticsAn AppreciationNoël Carroll (bio)IntroductionMonroe C. Beardsley's Aesthetics: Problems in the Philosophy of Criticism, published in 1958 by Harcourt, Brace and World Inc.,1 was a watershed event in the history of analytic aesthetics—a climax of sorts with respect to what preceded it and, at the same time, the opening of a new, more intricately developed and defended research program in aesthetics (...) than what had been previously on offer. Beardsley's Aesthetics, and developments therefrom,2 consolidated and crystallized a tendency in aesthetics that had begun to emerge at least by the time of the publication of Francis Hutcheson's An Inquiry Concerning Beauty, Order, Harmony, Design,3 which tendency, following Beardsley, we can call the aesthetic theory of art. Assembled out of parts and suggestions from Hutcheson, Kant, Schopenhauer, and Bell, among others, the aesthetic theory of art—of which Beardsley's version is one of the most accomplished, if not the most accomplished—has shown remarkable resilience, continuing to command allegiance from many distinguished, contemporary proponents, including Nick Zangwill, Gary Iseminger, and, with certain important modifications, Alan Goldman and Malcolm Budd.Part of what I would like to do in this essay is not only to trace the evolution of the aesthetic theory of art from its origins through to Beardsley's Aesthetics (and his subsequent tinkering with this masterwork) but also to show how the structure of the aesthetic theory of art, as crafted by Beardsley, is simultaneously so elegant, comprehensive, and systematic that it is understandable that Beardsley preferred constantly to repair it after each attack rather than to abandon it for the kinds of alternatives being proffered by Goodman, Danto, Wollheim, Dickie, Wolterstorff, and then Walton. In other words, Beardsley's reluctance to give up was genuinely motivated. [End Page 2] For, if only the kinks could have been smoothed out of it, the aesthetic theory of art, of the sort initiated in Aesthetics and elaborated subsequently by Beardsley, was itself a thing of beauty: exceedingly economical in its foundational principles and powerful in its reach. Thus, whereas typically I address the shortcomings of the aesthetic theory of art, in this essay I would like to talk about its strengths, strengths that I believe encouraged Monroe Beardsley to stick with it through thick and thin—that is, through a thick swarm of often thin counterexamples.In the next part of this essay, I will try to place Aesthetics historically in the course of Western aesthetics. Then in the final section, I shall attempt to explain how the structure of the sort of aesthetic theory of art incipient in Beardsley's Aesthetics and pursued by him in later works is so almost irresistibly attractive that virtually no number of anomalies can shake its friends out of the faith that such problems can be ultimately controlled, if not entirely overcome.On the Historical Significance of Beardsley's AestheticsBeardsley's Aesthetics is the culmination of certain tendencies that had been coalescing in various ways in Western aesthetics since the eighteenth century. One of Beardsley's most significant and influential twentieth-century predecessors was Clive Bell, who in his book Art, as is well known, defined art as that which possessed significant form. Significant form, in turn, was characterized as that which caused an aesthetic emotion. Bell's notion of an aesthetic emotion, I conjecture, derived from Schopenhauer's claim that what an artwork does is to lift us out of our everyday concerns—out of the world of striving. The aesthetic emotion, according to Bell, is a matter of being carried "out of life into ecstasy."4 The aesthetic experience, according to the Schopenhauer-Bell line of thought, involves the release of the individual from the pressures of life—from the pursuit of an endless process of desiring in Schopenhauer's lingo.This notion of aesthetic experience as detachment owes something to Kant's hypothesis that an authentic aesthetic judgment is disinterested, which, of course, itself is descended historically from Hutcheson's contention that beauty amounts to an experience of disinterested pleasure. However, whereas for Hutcheson and Kant disinterestedness is a... (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within (...) society. Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

This is another volume in the continuing series published under the auspices of Tulane University. It contains eight articles. Ramona Cormier’s article "The Concept of Isolation in Contemporary Aesthetic Theory" uses the term isolation in accordance with Langer’s definition. In order to develop her point Cormier distinguishes between the historicity of an art work and the historiography of the work. On the basis of this she discusses briefly the attitudes of Jerome Schiller, Clive Bell, T. S. Eliot, Jerome (...) Stolnitz, Roger Fry, George Dickie. Shannon DuBose remarks in "Poesis and Cosmos" that "... views advanced [on art] in The Republic loom larger than need be in discussion of Plato’s theory of art; they should be balanced with suggestions advanced in other dialogues, particularly The Timaeus." One cannot agree more with this need for balance. Professor Feibleman’s article "The Art of the Philosophy of Art" is not so much a discussion of the philosophy of art as it is a discussion of the artist, the role of art in society, the relation of art to other areas of a culture in which art specifically exists. John Glenn, Jr. has written on "Kierkegaard on the Unity of Comedy and Tragedy." I do not agree with all his interpretations of Kierkegaard but his article is interesting. Harold N. Lee in "Action, Perception and Art" rethinks a position he held in the original edition of his Perception and Aesthetic Value. He now holds that "... the two views of the nature of art can be shown to be essentially related and not only externally so...." Marian L. Paulson writes an article, "Structures in Art Media," where she suggests that perhaps the problem of structural relations among art media may find a solution if one takes account of the Jungian notion of the racial unconscious, especially in the resolution of the tensions between anima and animus and between the shadow and transcendence. The article "Truth in Art" by Louise N. Roberts discusses one of the many ways in which the expression "truth in art" may be considered. The author in this case shows how paintings may present a truth in a way quite different from verbal statements. The book concludes with John Sallis’ commentary on Nietzsche’s The Birth of Tragedy.—P. N. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

When A. J. Ayer arrived in Oxford in the autumn of 1929 he had no thought of becoming a professional philosopher. He intended to go to the Bar, but, in the manner of an Etonian, by way of Literae Humaniores rather than the study of law. He had read a couple of philosophical books. The first of them was Russell's Sceptical Essays , which he bought on its first appearance in 1928. The other was Principia Ethica , to which he (...) had been led by a reverent aside in Clive Bell's Art . These choices were significant. Ayer always thought of himself as Russell's successor. He modelled his thought on that of Russell, both in its content and in its unguarded expression and also, to some extent, his manner of life, both political and amorous. What he got from Moore is less obvious, although his respect for Moore is evident, as is shown by the preface to Language, Truth and Logic and by his devoting a book to a close examination of his ideas, along with those of Russell. An important likeness is that both Moore and Ayer were provoked to philosophize by the assertions of other philosophers, not by problems arising outside philosophy in mathematics or the sciences, in history or everyday life. (shrink)

Adriano Ardovino, Raccogliere il mondo. Per una fenomenologia della rete [Angela Maiello] • Clive Bell, L’Arte [Filippo Focosi] • Alessandro Bertinetto, Il pensiero dei suoni. Temi di filosofia della musica [Domenica Lentini] • Terrence Deacon, Incomplete Nature. How Mind Emerged From Matter [Mariagrazia Portera] • Roger Scruton, La bellezza. Ragione ed esperienza estetica [Filippo Focosi] • Miriam Bratu Hansen, Cinema and Experience. Sigfried Kracauer, Walter Benjamin and Theoder W. Adorno [Domenico Spinosa] • Lawrence Barsalou, scritti sulla “Grounded (...) Cognition” [Gialuca Consoli] • Dis-forme , Università degli Studi di Palermo, 28-29 maggio 2012 [Michele Bertolini e Pietro Conte]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Only a Promise of Happiness: The Place of Beauty in a World of ArtJoe WinstonOnly a Promise of Happiness: The Place of Beauty in a World of Art, by Alexander Nehamas. Princeton, NJ: Princeton University Press, 2007, 186 pp., $29.95 cloth.We cannot doubt that, since the turn of the new millennium, there has been something of what Michael Bérubé has called a "Return to Beauty" in cultural and (...) literary scholarship.1 Bérubé locates the beginning of this return in an article written by Marjorie Perloff for the Chronicle of Higher Education in December 4, 1998, and in an opinion that he shares with Rita Felski, he sees it as a misguided attack on cultural studies.2 It is clear that when Elaine Scarry spoke disparagingly of "the enemies of beauty" in her influential book On Beauty and Being Just, she had the more extreme relativists of cultural studies in her sights.3 Far from being a short-lived spat, however, the renewed scholarly interest in beauty has grown, moved on a pace, and shows no sign of intellectual exhaustion; and most of this work has not, as Bérubé would have us believe, directed itself against postmodern aesthetics. Wendy Steiner, in The Trouble with Beauty, took Modernism and the art of the twentieth-century avant-garde as her target;4 whereas John Armstrong's The Secret Power of Beauty provided a sustained and accessible look at the history of aesthetic thought and reminded us of the significance of beauty in our lives, as both a concept and as a value.5 Arthur Danto's The Abuse of Beauty traced, like Steiner, the rejection of beauty to the rise of Modernism. Significantly, he did not attack Modernist art but recognized how it drove a wedge between beauty and the arts, showing us in the process that art need not be beautiful to be of value. In reassessing Modernism's rejection of beauty, however, Danto concluded by arguing forcefully that if beauty need not be excluded from art, it cannot be excluded from everyday living: "Beauty is an option for art but not a necessary condition. But it is not an option for life. It is a necessary condition for life as we would want to live it"6When a scholar with the reputation of Alexander Nehamas turns his attention to beauty, then we know it is still on the agenda in a big way. As with John Armstrong's work, one of the many delights of this book is its clarity of expression and the accessibility of its prose. In no way is Nehamas ever talking down to or patronizing the reader, however. He takes us on a philosophical journey that is rigorously argued and backed up by a wide selection of examples drawn chiefly from the world of art, which is indeed the subject of the writer's attention. If he has cultural studies in his sights, then he is very quiet about it. In fact, the canonical writers of cultural studies, whether they be Foucault, Bourdieu, Williams, or Gramsci, are entirely absent from the text. Instead, the central role goes to Plato—on whom Nehamas has written in two previous publications7—with important [End Page 124] contributions from Schopenhauer, Kant, Nietszche, and Clive Bell, not to mention Proust and Thomas Mann or the artworks themselves. This has a strong whiff of the canon about it perhaps; be that as it may, only a reviewer with a very large ideological drum to beat could remain deaf to the argument itself. For these individuals are all supportive of Nehamas's own thinking and of the argument he has himself developed, which, I think, is not only important to the world of art and art education but, more broadly, to the aesthetics of contemporary schooling itself.Before beginning to look at this argument in detail, it is worth noting that Nehamas has something telling to say about the principles and role of the reviewing process, something that cannot but make me feel wryly self-conscious as I begin it here. A review, he tells us, is a kind of advertisement to help... (shrink)