Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.
{"title":"Aesthetic Non-Naturalism","authors":"Daan Evers","doi":"10.1093/aesthj/ayad047","DOIUrl":"https://doi.org/10.1093/aesthj/ayad047","url":null,"abstract":"\u0000 Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I analyse the phenomenon of eeriness as a kind of strange aesthetic experience. Beginning with Fisher’s insight (The Weird and the Eerie, 2017) that we can distinguish weirdness and eeriness from uncanniness, I offer an original account of eeriness. I argue that eeriness is the appearance of an underdetermination in the spatio-temporal location of objects of experience, relative to experiencing agent; this underdetermination results in a destabilisation of the “horizon of object-ivity” within which we make sense of the objects of appearance. This has the existential consequence of destabilising the subject’s sense of being-in-the world. I ground the analysis in examples from both fictional and non-fictional contexts to indicate the generality of the analysis.
在本文中，我将 "阴森 "现象作为一种奇特的审美体验进行分析。费舍尔（The Weird and the Eerie，2017）指出，我们可以将怪异和阴森与不可思议区分开来，从这一见解出发，我对阴森现象进行了原创性的阐述。我认为，"阴森恐怖 "是相对于体验者而言，体验对象的时空位置出现了不确定性；这种不确定性导致了 "对象性视界 "的不稳定性，而我们正是在这一视界中对出现的对象进行感知的。这就造成了主体在世界中的存在感的不稳定。我以虚构和非虚构语境中的例子作为分析的基础，以表明分析的普遍性。
{"title":"An Analytic of Eeriness","authors":"R. Stopford","doi":"10.1093/aesthj/ayad046","DOIUrl":"https://doi.org/10.1093/aesthj/ayad046","url":null,"abstract":"\u0000 In this paper, I analyse the phenomenon of eeriness as a kind of strange aesthetic experience. Beginning with Fisher’s insight (The Weird and the Eerie, 2017) that we can distinguish weirdness and eeriness from uncanniness, I offer an original account of eeriness. I argue that eeriness is the appearance of an underdetermination in the spatio-temporal location of objects of experience, relative to experiencing agent; this underdetermination results in a destabilisation of the “horizon of object-ivity” within which we make sense of the objects of appearance. This has the existential consequence of destabilising the subject’s sense of being-in-the world. I ground the analysis in examples from both fictional and non-fictional contexts to indicate the generality of the analysis.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141817558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Geography of Taste","authors":"Emily Williamson","doi":"10.1093/aesthj/ayae027","DOIUrl":"https://doi.org/10.1093/aesthj/ayae027","url":null,"abstract":"","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141815728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain, all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art—namely that if one is going to do so, one must ensure the pain has been ‘beautified’. In developing this second point, I argue that emotional hardcore is well-suited (although not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain.
{"title":"Why delight in screamed vocals? Emotional hardcore and the case against beautifying pain","authors":"Sean T. Murphy","doi":"10.1093/aesthj/ayae012","DOIUrl":"https://doi.org/10.1093/aesthj/ayae012","url":null,"abstract":"\u0000 Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain, all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art—namely that if one is going to do so, one must ensure the pain has been ‘beautified’. In developing this second point, I argue that emotional hardcore is well-suited (although not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141831469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his essay ‘Of the Standard of Taste’, Hume identifies two standards of taste: the general rules of art and the joint verdict of true judges. From this the following questions arise: Why did Hume present two standards? And, how should we understand the relation between them? We must first get a firmer grasp on each of the standards that Hume presents. Hence, this paper has two main goals. The first is to understand the general rules of art in the light of Hume’s philosophical method, which is consonant with Newtonian methods of analysis and synthesis. The second is to provide a new interpretation of what Hume takes to be the joint verdict of true judges. In my interpretation, the joint verdict of true judges constitutes the standard of taste, not because their verdicts converge, but because their verdicts encompass blameless differences. With this new foundation for understanding the two standards, I will present my own reading of the relation between them.
{"title":"The chief business of the true judges in Hume’s Standard of Taste","authors":"Byoungjae Kim","doi":"10.1093/aesthj/ayae009","DOIUrl":"https://doi.org/10.1093/aesthj/ayae009","url":null,"abstract":"\u0000 In his essay ‘Of the Standard of Taste’, Hume identifies two standards of taste: the general rules of art and the joint verdict of true judges. From this the following questions arise: Why did Hume present two standards? And, how should we understand the relation between them? We must first get a firmer grasp on each of the standards that Hume presents. Hence, this paper has two main goals. The first is to understand the general rules of art in the light of Hume’s philosophical method, which is consonant with Newtonian methods of analysis and synthesis. The second is to provide a new interpretation of what Hume takes to be the joint verdict of true judges. In my interpretation, the joint verdict of true judges constitutes the standard of taste, not because their verdicts converge, but because their verdicts encompass blameless differences. With this new foundation for understanding the two standards, I will present my own reading of the relation between them.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141643942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay details that which is arguably the essential nature of a ubiquitous kind of visual display prominently involved in a great many phenomena that people have in mind when they think and talk about the cinema. My argument begins with a summary and critique of an important precedent, Noël Carroll’s essentialist definition of the detached moving image display. The remainder of my discussion concentrates on the structure and dynamics of a particular sort of luminescent display. This display is essential to what I call the cinematic display. As I understand it, the cinematic display is neither the or a medium of cinema nor perforce a vehicle for artistic content. It is, rather, a luminescent display in service of someone’s presentational intentions. I conclude with thoughts about the ontological relation between cinematic displays and works, the latter tentatively defined as a display of expressive or artistic agency.
{"title":"Cinema, displayed","authors":"Trevor Ponech","doi":"10.1093/aesthj/ayae003","DOIUrl":"https://doi.org/10.1093/aesthj/ayae003","url":null,"abstract":"\u0000 This essay details that which is arguably the essential nature of a ubiquitous kind of visual display prominently involved in a great many phenomena that people have in mind when they think and talk about the cinema. My argument begins with a summary and critique of an important precedent, Noël Carroll’s essentialist definition of the detached moving image display. The remainder of my discussion concentrates on the structure and dynamics of a particular sort of luminescent display. This display is essential to what I call the cinematic display. As I understand it, the cinematic display is neither the or a medium of cinema nor perforce a vehicle for artistic content. It is, rather, a luminescent display in service of someone’s presentational intentions. I conclude with thoughts about the ontological relation between cinematic displays and works, the latter tentatively defined as a display of expressive or artistic agency.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141651445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What is it for art-critical conversation to be productively and appropriately responsive to a work of fine art? Broadly, contemporary work on the nature and purpose of aesthetic discourse tends to prioritize one of two poles: the need for agreement in judgement and/or sensibility, and the flourishing of individuality through aesthetic response. I propose that these alternatives each express the legacy of Kantian and Schillerian thought, respectively. Furthermore, I argue that a favourable approach is available if we look to Friedrich Hölderlin’s way of characterizing the kind of communication that can occur between friends. This is a framework that binds together a plurality of perspectives and voices with what it is for one’s individuality to flourish in and through aesthetic response. Drawing on Hölderlin’s thought, I submit Diversity-in-Unity as a norm on art-critical conversation. In art criticism, individual perspectives need to be reciprocally shaped in new and surprising ways.
{"title":"Diversity-in-unity: art criticism in conversation","authors":"Joseph Kassman-Tod","doi":"10.1093/aesthj/ayae002","DOIUrl":"https://doi.org/10.1093/aesthj/ayae002","url":null,"abstract":"\u0000 What is it for art-critical conversation to be productively and appropriately responsive to a work of fine art? Broadly, contemporary work on the nature and purpose of aesthetic discourse tends to prioritize one of two poles: the need for agreement in judgement and/or sensibility, and the flourishing of individuality through aesthetic response. I propose that these alternatives each express the legacy of Kantian and Schillerian thought, respectively. Furthermore, I argue that a favourable approach is available if we look to Friedrich Hölderlin’s way of characterizing the kind of communication that can occur between friends. This is a framework that binds together a plurality of perspectives and voices with what it is for one’s individuality to flourish in and through aesthetic response. Drawing on Hölderlin’s thought, I submit Diversity-in-Unity as a norm on art-critical conversation. In art criticism, individual perspectives need to be reciprocally shaped in new and surprising ways.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141653410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g., schematisation and abbreviation. I also argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others.
{"title":"‘Making-remote’ as an alternative to realism in late Palaeolithic cave art: Representations of the human at the threshold of appearance","authors":"Fiona Hughes","doi":"10.1093/aesthj/ayae011","DOIUrl":"https://doi.org/10.1093/aesthj/ayae011","url":null,"abstract":"\u0000 I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g., schematisation and abbreviation. I also argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141352292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This introduction to the special issue of the British Journal of Aesthetics, ‘Remote Art: Engaging with Art from Remote Times and Places’, presents the notion of art’s remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship.
{"title":"Remote art and aesthetics: An introduction","authors":"Ancuta Mortu, Jakub Stejskal, M. Windsor","doi":"10.1093/aesthj/ayae015","DOIUrl":"https://doi.org/10.1093/aesthj/ayae015","url":null,"abstract":"\u0000 This introduction to the special issue of the British Journal of Aesthetics, ‘Remote Art: Engaging with Art from Remote Times and Places’, presents the notion of art’s remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141107228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marginalized people have used body aesthetic practices, such as clothing and hairstyles, to communicate their worth to the mainstream. One such example is respectability politics, a set of practices developed in post-Reconstruction black communities to prevent sexual assault and convey moral standing to the white mainstream. Respectability politics is an ambivalent strategy. It requires assimilation to white bourgeois aesthetic and ethical standards, and so guides practitioners toward blandness and bodily erasure. Yet, it is an aesthetic practice that cultivates moral agency and helps communities avoid violence and meet social and economic goals. I contrast respectability politics with the anti-assimilationist body aesthetics of Chike Jeffers and Janell Hobson. Because these accounts do not seek to neutralize or erase the body, they fundamentally value black people. As such, they more effectively convey personhood than assimilationist strategies do and also demonstrate the positive role that body aesthetics can play in everyday ethical projects.
{"title":"Erasure and assertion in body aesthetics: Respectability politics to anti-assimilationist aesthetics","authors":"Madeline Martin-Seaver","doi":"10.1093/aesthj/ayad044","DOIUrl":"https://doi.org/10.1093/aesthj/ayad044","url":null,"abstract":"\u0000 Marginalized people have used body aesthetic practices, such as clothing and hairstyles, to communicate their worth to the mainstream. One such example is respectability politics, a set of practices developed in post-Reconstruction black communities to prevent sexual assault and convey moral standing to the white mainstream. Respectability politics is an ambivalent strategy. It requires assimilation to white bourgeois aesthetic and ethical standards, and so guides practitioners toward blandness and bodily erasure. Yet, it is an aesthetic practice that cultivates moral agency and helps communities avoid violence and meet social and economic goals. I contrast respectability politics with the anti-assimilationist body aesthetics of Chike Jeffers and Janell Hobson. Because these accounts do not seek to neutralize or erase the body, they fundamentally value black people. As such, they more effectively convey personhood than assimilationist strategies do and also demonstrate the positive role that body aesthetics can play in everyday ethical projects.","PeriodicalId":46609,"journal":{"name":"BRITISH JOURNAL OF AESTHETICS","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140674798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：