{"title":"The Implied Designer of Digital Games","authors":"Nele Van de Mosselaer, S. Gualeni","doi":"10.33134/eeja.303","DOIUrl":"https://doi.org/10.33134/eeja.303","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78487623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Looking through Images: A Phenomenology of Visual Media by Emmanuel Alloa","authors":"Joachim Rautenberg","doi":"10.33134/eeja.395","DOIUrl":"https://doi.org/10.33134/eeja.395","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"493 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77055528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What Is Evolutionary Aesthetics? Three Waves","authors":"Onerva Kiianlinna","doi":"10.33134/eeja.344","DOIUrl":"https://doi.org/10.33134/eeja.344","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82786754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Emilia Dilke on Aesthetics","authors":"Alison Stone","doi":"10.33134/eeja.328","DOIUrl":"https://doi.org/10.33134/eeja.328","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73996999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper I distinguish between different kinds of failures of aesthetic judgements with a view to exploring a form of failure that involves the outright omission of aesthetic judgement. Such omissions come to pass when an object of attention could or ought to have been experienced and judged aesthetically but where such an experience or judgement simply failed to arise, and can be traced back to at least three kinds of reason: (1) lack of aesthetic quality; (2) lack of appropriate ontological status; and (3) lack of aesthetic prominence. I shall examine some aspects of this kind of failure and argue that a missed opportunity to experience an object of attention’s aesthetic character is a missed opportunity to engage with that object’s aesthetic potential where such potential, although not always accessible to us, can nonetheless retroactively be said to pertain to the object in a meaningful sense also under experientially unfavourable conditions. This warrants talk of rehabilitation to some degree.
{"title":"Failure as Omission: Missed Opportunities and Retroactive Aesthetic Judgements","authors":"Elisabeth Schellekens","doi":"10.33134/eeja.439","DOIUrl":"https://doi.org/10.33134/eeja.439","url":null,"abstract":"In this paper I distinguish between different kinds of failures of aesthetic judgements with a view to exploring a form of failure that involves the outright omission of aesthetic judgement. Such omissions come to pass when an object of attention could or ought to have been experienced and judged aesthetically but where such an experience or judgement simply failed to arise, and can be traced back to at least three kinds of reason: (1) lack of aesthetic quality; (2) lack of appropriate ontological status; and (3) lack of aesthetic prominence. I shall examine some aspects of this kind of failure and argue that a missed opportunity to experience an object of attention’s aesthetic character is a missed opportunity to engage with that object’s aesthetic potential where such potential, although not always accessible to us, can nonetheless retroactively be said to pertain to the object in a meaningful sense also under experientially unfavourable conditions. This warrants talk of rehabilitation to some degree.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation.
至少在上个世纪，艺术家们创作的作品似乎缺少了一些东西。萨尔瓦多·加劳(Salvatore garauo)的雕塑《索诺》(Sono)(显然)是由空白的空间组成的;罗伯特·劳森伯格(Robert rauschenberg)的《被抹去的德库宁素描》(deleted de Kooning drawing)的核心原画基本上消失了;劳森伯格(rauschenberg)的白色油画主要是白色的画布。在本文中，我研究了这一“缺失的东西”。mdash;我称之为“美学缺失”。这些缺失在美学上与艺术作品的身份、意义和价值相关，观众发现了这些缺失，但这种相关性只有在缺失得到解决后才能完全确定和评估，而这种解决是通过解释的行为来实现的。
{"title":"Aesthetic Absence and Interpretation","authors":"David Fenner","doi":"10.33134/eeja.315","DOIUrl":"https://doi.org/10.33134/eeja.315","url":null,"abstract":"At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135446731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contemporary Art and the Problem of Indiscernibles: An Adverbialist Approach","authors":"T. Koblížek","doi":"10.33134/eeja.283","DOIUrl":"https://doi.org/10.33134/eeja.283","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81497819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur.
{"title":"In Defence of Tourists","authors":"Michel-Antoine Xhignesse","doi":"10.33134/eeja.343","DOIUrl":"https://doi.org/10.33134/eeja.343","url":null,"abstract":"It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135444832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Pictorial Narrator","authors":"Vanessa Brassey","doi":"10.33134/eeja.316","DOIUrl":"https://doi.org/10.33134/eeja.316","url":null,"abstract":"","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87839438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Why It’s OK to Love Bad Movies by Matthew Strohl","authors":"Paisley Livingston","doi":"10.33134/eeja.418","DOIUrl":"https://doi.org/10.33134/eeja.418","url":null,"abstract":"A book review of Matthew Strohl, Why It’s OK to Love Bad Movies. New York: Routledge, 2022, 206 pp. ISBN 9780367407650.","PeriodicalId":53570,"journal":{"name":"Estetika : The Central European Journal of Aesthetics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135445079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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