The subject of the thesis is the relationship between aesthetic and God. It aims to discuss whether the sense of beauty is proof of the existence of God and to determine the plausibility of aesthetic proof. As a matter of fact that reality and the perception of beauty point to two-way consciousness. In this context, it will be inevitable to mention God's relation with consciousness in the emergence of beauty. In the first part, the concepts of aesthetics will be analyzed, (...) and their philosophical discussions will be investigated. In the second part, the source of beauty will be questioned, and beauty will be grounded way of a priori and a posteriori with God. Afterward, aesthetic proofs will be presented and an evaluation will be made in the context of naturalistic claims and objections. Among the traditional arguments in the philosophy of religion, aesthetic proof offers a value-oriented approach rather than a mechanical view. It appreciates beauty from an inclusive perspective and has an existential aspect. The study concentrates on the nature of beauty and aesthetics, philosophical discussions, and the rational value of aesthetic proof and concludes that it is rational to suppose that the existence of God can be ontologically and epistemologically explanatory for aesthetic properties. (shrink)

In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. This article (...) opens with a brief discussion of feminist interventions in ethics, with particular emphasis on the ethics of care. Next, the differences between care and tenderness are enumerated and described, in order to show how tenderness can serve as an extension and complement of the feminist ethic of care. These considerations are guided by the question of why tenderness is a better—more appropriate and more responsive to contemporary challenges—moral guidepost than care. (2) From the aesthetic perspective, tenderness is the negation of a contemplative, distanced, impersonal, and rational view of reality. As an aesthetic imperative, tenderness implies engaged experience of the beauty of reality in all of its manifestations. Therefore, in the last part of the article, existential tender attunement is described in aesthetic terms, as a position serving to sensitize others to the beauty and complexity of the post-anthropocentric world. (shrink)

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. Despite their diversity, I argue that there is a psychological commonality to experiencing nostalgic foods of all kinds: imagination. On my account, imagination is the key to understanding the cognitive, conative, (...) affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks (...) an important linguistic difference between aesthetic judgments and judgments of personal taste. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...) how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...) also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contribute to the aesthetic character and value of these works. (shrink)

Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...) help us understand the conceptual basis and normativity of art. In particular, the ecology of art, an understanding of how individuals interact within particular environments, can help us understand the engineered art niches in which we create and experience art. Each niche is associated with a particular deme, or set of individuals that interact within that niche, and a set of cognitive, epistemic, and pedagogical technologies that form the conceptual basis of a niche-dependent normativity. This is to be contrasted with the niche-independent normativity revealed by many of the scientific approaches. This framework, and the conflicting streams of normativity it reveals, allows us to better understand conflicts in normativity and the implausibility of unequivocal and universal normative principles. (shrink)

According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection, and show that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...) not lie in the moral goodness per se (the “adjacent properties” response); and that only a dispositional motivation to act is required for the moral judgements that are typically made as part of judgements of moral beauty, whereas aesthetic judgements only rule out state motivations to act (the “equivocation of motivation required” response). In addressing the objection, I show how moral beauty is consistent with disinterestedness, and so should be accepted more widely; and also clarify where the beauty in moral beauty resides, and how the moral-aesthetic distinction should be drawn. (shrink)

In this paper I examine a set of exceptional aesthetic experiences that remove us from our pragmatic everyday life and involve a specific type of unaffordability. I then extend this notion of unaffordability to experiences of awe and its relation to the sublime. My analysis is guided by considerations of the phenomenologically inspired enactivist approach that supports an affordance-based accounts of aesthetic experience. I review some recent neurophenomenological studies of the experience of awe, and I then sketch out a phenomenology (...) of awe as it approaches the sublime. (shrink)

Why is aesthetics important to Wittgenstein? What, according to him, is the function of the aesthetic? My answer consists of three parts: first, I argue that Wittgenstein finds himself in an aporia of normative consciousness – that is to say, a problem with regard to our awareness of the world in terms of its relation to a norm. Second, I argue that the function of Wittgenstein’s aesthetic writings is to deal with this aporia. Third, through a comparison with Friedrich Schlegel’s (...) writings on allegory, I try to show that the way in which Wittgenstein resolves the aporia renders him a Romanticist philosopher. The point of an aesthetic interaction, for Wittgenstein, is that it can render clear what cannot be described without running against the walls of our cage: the absolute. Through aesthetic interactions we are able to (indirectly) access a ground for norms by which we experience ourselves as unconditionally bound. (shrink)

Whether it is consciously focusing on a painting’s intricate layers of pigment or spontaneously being drawn to new layers of voices in a choral performance, attention appears essential to aesthetic experience. It is surprising, then, that the actual nature of attention is little discussed in aesthetic theory. Conversely, attention is currently one of the most vibrantly discussed topics in the philosophy of perception and in cognitive science. My aim is to demonstrate the need for and the value of aestheticians considering (...) such philosophical accounts in order to establish a clear understanding of ‘aesthetic attention’. I assess the existing aesthetic candidates against Wayne Wu’s characterization of attention as ‘selection for a task’. Finding that these candidates lack full explanatory force, I make the novel proposal that aesthetic attention is best characterized as ‘selecting for the sake of selection’. Finally, I suggest that both aesthetics and, more broadly, the philosophy of attention would benefit from paying aesthetic attention more attention. (shrink)

Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of aesthetic reasons has often been (...) thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons. (shrink)

In this new book, Florian Klinger gives readers a basic action-theoretical account of the aesthetic. While normal action fulfills a determinate concept, Klinger argues, aesthetic action performs an indeterminacy by suspending the action's conceptual resolution. Taking as examples work by Tino Sehgal, Kara Walker, Mazen Kerbaj, Marina Abramović, Cy Twombly, and Franz Kafka, the book examines indeterminacy in such instances as a walk that is at once leisurely and purposeful, a sound piece that is at once joyous and mournful and (...) mechanical, or, a sculpture that at once draws one in and shuts one out. Because it has irresolution as its point, aesthetic action presents itself as an unsettling of ourselves, our ways, our very sense of who we are. As performers of such action, we don't recognize one another as bearers of a shared human form as we normally would, but find ourselves tasked anew with figuring out what sharing a form would mean. In conversation with philosophers such as Kant, Hegel, Wittgenstein, and Anscombe; political thinkers such as Marx and Lorde; and contemporary interlocutors such as Michael Thompson, Sebastian Rödl, and Thomas Khurana, Klinger's book makes a case for a conception of the human form that systematically includes the aesthetic: an actualization of the form that is indeterminate and nevertheless rational. The book gives the project of Western philosophical aesthetics a long-overdue formulation for our present that aims to do justice to contemporary aesthetic production as it actually exists. It will appeal to those working in philosophy, art, and political thought. (shrink)

A philosophical exploration of aesthetic experience during bereavement. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins reflects on the ways that aesthetics aids people experiencing loss. Some practices related to bereavement, such as funerals, are scripted, but many others are recursive, improvisational, mundane—telling stories, listening to music, and reflecting on art or literature. Higgins shows how these grounding, aesthetic practices can ease the disorienting effects of loss, shedding new light on the importance of aesthetics for personal and communal (...) flourishing. (shrink)

Anjan Chatterjee has promoted an analogy between the Bengalese finch and the human artist. With reduced selective pressure from females due to its domestication, the male finch’s song has become more elaborate. Similarly, art’s lack of a practical function facilitates the creative generativity shown by artists. I argue that this analogy is flawed on both sides. Only recently has some art been regarded as non-functional. And the elaboration of the finch’s song is an effect of female selection under the conditions (...) of domestication. (shrink)

This is the first book on the role of cognition in the aesthetic theory of Li Zehou (1930–2021), one of China's most important and influential contemporary philosophers. The cognitive dimension and its integration with practice is discussed by examining one of Li's pivotal concepts: "subjectality," a human subject shaped by the world in which they live, including beauty and aesthetic experience. Li's theory is also contextualized in the threefold inspiration coming from Confucian, Kantian, and Marxist philosophies, which differently conceptualize the (...) aesthetic and cognitive dimensions in humans. By referring to different aesthetic theories and interdisciplinary approaches to cognition, the book aims to show how Li's cognitively oriented project can contribute to contemporary research into aesthetics. Although primarily written for philosophers working in aesthetics, Chinese, and comparative philosophy, the book is also addressed to anyone interested in contemporary Chinese thought. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)