Results for 'Aesthetic Autonomy'

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  1. Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas.Jennifer A. McMahon - 2011 - International Journal of Philosophical Studies 19 (2):155-175.
    Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to (...)
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  2. Varieties of Aesthetic Autonomy.Irene Martínez Marín - 2024 - Philosophy Compass 19 (12):e70012.
    The concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy (...)
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  3. Autonomy and aesthetic valuing.Nick Riggle - 2024 - Philosophy and Phenomenological Research (I):391-409.
    Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we (...)
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  4. Autonomy and Aesthetic Engagement.C. Thi Nguyen - 2019 - Mind 129 (516):1127-1156.
    There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, (...)
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  5. Beyond the Pleasure Principle: A Kantian Aesthetics of Autonomy.Dominic McIver Lopes - 2021 - Estetika: The European Journal of Aesthetics 1 (1):1-18.
    Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant’s third Critique contains resources for a nonhedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant’s because it ties his aesthetics into a key theme of his larger philosophy.
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  6. Autonomy and Community in Kant's Theory of Taste.Jessica J. Williams - forthcoming - The Journal of Aesthetics and Art Criticism.
    In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that (...)
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  7. Coolness, Aesthetic Agency and Self-Construction.Emanuele Arielli - 2020 - Zonemoda Journal 1 (10):15-22.
    The notion of coolness is connected with a broad range of different meanings that involve personal attitude, taste, fashion choices but also the recognition of uniqueness and authenticity by others. Moreover, coolness is related to self-confidence and imperturbability, as the usual historical reconstructions of its meaning show. In fact, the manifestation of subjective invulnerability is the expression of the general need to avoid any weakness that could challenge one’s own autonomy through other people’s gaze. In other words, the opposite (...)
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  8. Autonomy of artistic practices in the Anthropocene: political and ecological perspectives.Karolina Rybačiauskaitė - 2019 - Athena 14:221-233.
    In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the (...)
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  9. Leo Tolstoy’s tragic death and his impacts on Max Weber and György Lukács: On autonomy of arts and science/ O tema da morte trágica de Liev Tolstói e set impacto em Max Weber e György Lukács: Sobre a autonomia nas ciências e na arte.Luis F. Roselino - 2014 - Revista História E Cultura 3 (1):150-171.
    The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his disenchantment (...)
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  10. The Aesthetics and Ethics of Sexiness.Hans Maes - 2017 - In David Goldblatt, Stephanie Partridge & Lee Brown (eds.), Aesthetics: A Reader in Philosophy (4th ed.).
    All too often women are considered sexy in accordance with an externally dictated and unduly narrow conception of sexiness – one that excludes large portions of the female population from being considered sexy. In response to this, some feminists have suggested that we should give up on sexiness altogether. Since the agency, subjectivity, and autonomy of a woman being judged sexy is generally ignored, they argue, we have, in effect, an equation of sexiness with objecthood. In a recent essay (...)
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  11. Agency and aesthetic identity.Kenneth Walden - 2023 - Philosophical Studies 180 (12):3253-3277.
    Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of (...)
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  12. (1 other version)The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller.Xiaoyan Hu - 2021 - Estetika : The European Journal of Aesthetics 2 (LVIII/XIV):129-143.
    In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection (...)
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  13. Moritz Geiger’s Postulate of Aesthetics as an Autonomous Science.Błażej Mzyk - 2018 - Polish Journal of Aesthetics 49 (2):71-84.
    Moritz Geiger (1880–1937) in Phänomenologische Ästhetik paper postulates aesthetics to become an autonomous science. The new science is intended to analyze aesthetic values and to discover the rules of their regulations. It tends to be separated from aesthetics as the sub-discipline of philosophy (especially under the influence of metaphysics) and aesthetics as a field of applying other sciences (mainly psychology). It may be achieved by the usage of a phenomenological method.
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  14. The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances.Xiaoyan Hu - 2019 - Proceedings of the European Society for Aesthetics 11:339–374.
    In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that (...)
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  15. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Brand Weiser & Edward Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 192-221.
    This essay is about the history of challenges that women in elite sports have faced with respect to their gender identity within a society that perpetuates misleading aesthetic norms of beauty; it is a history fraught with controversy and injustice. . . . We recommend both the acknowledgment within the realm of elite sport of perceptual sexism based on misleading aesthetic norms of beauty, and a way of correcting such erroneous categorization that allows athletes the autonomy and (...)
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  16. Art as a Form of Negative Dialectics: 'Theory' in Adorno's Aesthetic Theory.William D. Melaney - 1997 - Journal of Speculative Philosophy 11 (1):40 - 52.
    Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his (...)
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  17. Self, Sense and Autonomy.Matthew Ian Harding - manuscript
    This study advances a refutation of Physicalism. It demonstrates that it cannot, coherently, be maintained. An alternative approach based on Husserl’s ‘transcendental ego’ is developed. This is an account where the physical world is constituted by a freely acting self from a phenomenology that is ontologically neutral. By doing so, the, so-called, ‘hard problem’ of consciousness is dissolved. It will be shown that the self is compelled to attribute moral and aesthetic value to the world that it has constituted. (...)
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  18. The anxieties of control and the aesthetics of failure.Emanuele Arielli - 2021 - Studi di Estetica 19 (1).
    For many contemporary artists, failure has been an instrument of experimentation and self-expression, of investigation into existential questions and manifestation of utopian tensions. In this paper, I will discuss how some of the well-known strategies of experimental and avant-garde artistic practices with failure involve risky actions, challenging or impossible attempts, loss of control, and compulsive repetition of inconclusive acts. In those experimentations, the ideal model of an effective and successful action performance (in which a goal is defined through a clear (...)
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  19. Tragedy Without the Gods: Autonomy, Necessity and the Real Self.Alison Denham - 2014 - British Journal of Aesthetics 54 (2):141-159.
    The classical tragedies relate conflicts, choices and dilemmas that have meaningful parallels in our own experience. Many of the normative dimensions of tragedy, however, rely critically on the causal and motivational efficacy of divine forces. In particular, these narratives present supernatural interventions invading their characters’ practical deliberations and undermining their claims to autonomous agency. Does this dynamic find any analogy in a contemporary, secular conception of moral agency? It does, but it is an analogy that challenges certain standard philosophical accounts (...)
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  20. Making Artists of Us All: The Evolution of an Educational Aesthetic.George E. Abaunza - 2005 - Dissertation, Florida State University
    The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...)
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    From Tools to Authors (Chapter 8 of "Artificial Aesthetics", Lev Manovich, Emanuele Arielli).Emanuele Arielli & Lev Manovich - forthcoming - In Emanuele Arielli & Lev Manovich (eds.), Artificial Aesthetics.
    Chapter 8, "From Tools to Authors" of "Artificial Aesthetics" discusses the evolving role of AI in artistic creation, moving from a tool to a potential creative agent. It explores the concept of "extended aesthetics," where technology enhances both human creativity and perception. The chapter outlines different levels of AI autonomy and examines how this shift challenges traditional ideas of authorship, comparing AI collaborations to historical artistic practices. It raises questions about the value of effort in art, contrasting human struggle (...)
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  22. Counterfactual Reasoning in Art Criticism.Angela Sun - 2022 - Journal of Aesthetics and Art Criticism 80 (3):276-285.
    When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how (...)
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  23. On Diffident and Dissident Practices: a Picture of Romania at the End of the 19th Century.Roxana Patraș - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (1):35-51.
    The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though (...)
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  24. Adorno's Arcades Orthodoxy.Luis A. Recoder - 2019 - Berlin Journal of Critical Theory 3 (2):49-60.
    Theodor W. Adorno’s letter correspondence with Walter Benjamin throughout the decade of the 1930’s entertains the central question concerning the possibility of philosophy in their intellectual milieu. The fate of this possibility for Adorno hinges on Benjamin’s work-in-progress Das Passagen-Werk—a fate that is catastrophically blocked by an uncritical tendency convicted repeatedly by the former as “undialectical.” And yet Adorno obstinately persists in clinging to the canon of a philosophically overdetermined demand he endearingly calls “my Arcades orthodoxy.” The threatening destruction of (...)
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  25. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable (...)
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  26. Minding Literature’s Business: Cultivating a Sense of Evanescence Within Political Affairs.Roxana Patraș - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (4):481–491.
    The paper investigates the relationship between political oratory and literature in Romania during the second part of the 19th century. Extending the theories of Jacques Rancière, Fredric Jameson, Slavoj Žižec, and Leonidas Donskis, I analyze the relationship between politics and literature by comparing a set of illustrative speeches delivered by Take Ionescu and P. P. Carp, who distinguished themselves as brilliant political orators and also as personalities who gave up literature in order to assume a political career. My main goal (...)
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  27. Value Capture.Christopher Nguyen - 2024 - Journal of Ethics and Social Philosophy 27 (3).
    Value capture occurs when an agent’s values are rich and subtle; they enter a social environment that presents simplified — typically quantified — versions of those values; and those simplified articulations come to dominate their practical reasoning. Examples include becoming motivated by FitBit’s step counts, Twitter Likes and Re-tweets, citation rates, ranked lists of best schools, and Grade Point Averages. We are vulnerable to value capture because of the competitive advantage that such crisp and clear expressions of value have in (...)
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  28. Hegel's End of Art and the Artwork as an Internally Purposive Whole.Gerad Gentry - 2023 - Journal of the History of Philosophy 61 (3):473-498.
    Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel (...)
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  29. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of (...)
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  30. On the Interest in Beauty and Disinterest.Nick Riggle - 2016 - Philosophers' Imprint 16:1-14.
    Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general (...)
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  31. Moral Tuning.Sveinung Sundfør Sivertsen, Jill Halstead & Rasmus T. Slaattelid - 2018 - Metaphilosophy 49 (4):435-458.
    Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have (...)
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  32. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
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  33. The value of up-hill skiing.Ignace Haaz - 2022 - In Ignace Haaz & Amélé Adamavi-Aho Ekué (eds.), Walking with the Earth: Intercultural Perspectives on Ethics of Ecological Caring. Geneva, Switzerland: Globethics Publications. pp. 181-222.
    The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a particular (...)
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  34. Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand (...)
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  35. (1 other version)A consciência e a questão da humanidade do humano em Das Wesen des Christentums, de Ludwig Feuerbach.Nuno Pereira Castanheira - 2006 - Philosophica 28:135-164.
    Individualism is one of the fundamental traits of our time, based on an emphatic and recurrent defence of individual freedom, as experienced by consciousness. This point of view seems to entail a refuse of all kinds of transcendence, cosmological or onto-theological, characterized by an authoritarian and undisputed heteronomy. However, this perspective does not take into account a third type of transcendence, one that occurs in that radical immanence, in the core of individual freedom and autonomy. This type of transcendence (...)
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  36. Beauty Before the Eyes of Others.Jonathan Fine - 2016 - In Fabian Dorsch & Dan-Eugen Ratiu (eds.), Proceedings of the European Society for Aesthetics. University of Fribourg. pp. 164-176.
    This paper pursues the philosophical significance of a relatively unexplored point of Platonic aesthetics: the social dimension of beauty. The social dimension of beauty resides in its conceptual connection to shame and honour. This dimension of beauty is fundamental to the aesthetic education of the Republic, as becoming virtuous for Plato presupposes a desire to appear and to be admired as beautiful. The ethical significance of beauty, shame, and honour redound to an ethically rich notion of appearing before others (...)
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  37. Sculpted Agency and the Messiness of the Landscape.Quill Rebecca Kukla - 2021 - Analysis 81 (2):296-306.
    In Games: Agency as Art, Thi Nguyen has given us a deep and compelling picture of agency as much more layered, volatile, environment-dependent and discontinuous than it appears in most philosophical accounts. Games ‘inscribe … forms of agency into artifactual vessels’.1 1 When we play a game, we take up a form of agency, including a set of motivations, values and goals, which has been artificially provided by the game. Our purpose in playing, in the kinds of gameplay that interest (...)
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  38. Empirische Ästhetik: Kognitiv-semiotische Prozesse der Wirklichkeits-Konstruktion in Alltag, Kunst und Design.Klaus Schwarzfischer - 2016 - Hamburg: Verlag Dr. Kovac.
    Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...)
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  39. A formação da subjetividade moral no pensamento de Michel Foucault.Bruno Camilo de Oliveira - 2021 - Journal Cajuína 6 (1):11-22.
    The objective of this work is to present Michel Foucault's perspective on the formation of moral subjectivity according to his text entitled “The use of pleasures and the techniques of self”. In the referred text, Foucault emphasizes that moral action should not be constituted in acts according to a rule of conduct supported by moral concepts, but in acts according to a pure relation of the subject with his internal wisdom (subjectivity), a relationship that should not be understood as simply (...)
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  40. Philosophizing with children as a playful activity: Purposiveness without purpose.Stylianos Gadris - 2022 - Journal of Philosophy in Schools 1 (9):68 - 83.
    While trying to preserve the autonomy of their playful activity consisting in a game of ‘questioning and answering’, the Gymnosophists defy Alexander the Great and, more importantly, go against their own chances of survival (since giving a wrong answer to the king’s question amounts to losing their life). Thankfully, we do not need to face such dilemmas when philosophising with children. Nevertheless, the Gymnosophists’ example helps construct a notion of philosophy for/with children as an autonomous playful activity that albeit (...)
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  41. A Historical Outline of Byzantine Philosophy.Katelis Viglas - 2006 - Res Cogitans 3 (1):73-105.
    We are going to present a panorama of Byzantine Philosophy. As starting point should be considered the Patristic Thought, which preceded the Byzantine Philosophy and was established in the first centuries A.D. into the Greek-Roman world. It was based on the Old and New Testament, the apostolic teachings, as well as on Judaism and Greek Philosophy. Also, the Ancient Oriental Religions – especially those of the Greek-Roman period, i.e. the Gnosticism- exerted an influence on it. The Patristic Thought and the (...)
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  42. Beauty as a Symbol of Morality.Zhengmi Zhouhuang - 2019 - In Das Selbst und die Welt - Denken, Handeln und Hoffen in der Klassischen Deutschen Philosophie. pp. 113-134.
    Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism (...)
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  43. A Historical Outline of Byzantine Philosophy and Its Basic Subjects.Katelis Viglas - 2010 - Peitho 1 (1):121-144.
    The article seeks to present an overview of the history of Byzantine philosophy. It takes its point of departure in the most important factors that influenced and shaped the Patristic thought. Subsequently, the paper considers the relative autonomy of Byzantine philosophy and offers a brief profile of major philosophers that contributed to the stream in the period from 9th to 15th century. From the numerous subjects that were taken into account by the most prominent Byzantine philosophers, the article discusses (...)
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  44. The Inauguration of Formalism: Aestheticism and the Productive Opacity Principle.Michalle Gal - 2022 - Journal of Comparative Literature and Aesthetics 2 (24):20-30.
    This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as (...)
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  45. Art and Ethics: Formalism, in James Harold (ed.) The Oxford Handbook of Ethics and Art.Michalle Gal (ed.) - 2023 - London: Oxford University Press.
    This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of (...)
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  46. Architecture and Deconstruction. The Case of Peter Eisenman and Bernard Tschumi.Cezary Wąs - 2015 - Dissertation, University of Wrocław
    Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...)
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  47. Co-Producing Art's Cognitive Value.Christopher Earley - forthcoming - British Journal of Aesthetics.
    After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate (...)
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  48. La pantalla digital y el exceso representacional: pliegue y espectáculo.Guillermo Yáñez Tapia - 2009 - Aisthesis 45.
    Abstract: The purpose of this article is to highlight the aesthetic layout created by the digital device in the ontological autonomy of the digital representation. As a result, in the digital screen, as a simulated immersive area, the object is alienated through the hyper-representation of a hyper-reproduction: a hyper-reproduction which causes the data and its image to be the monadic support that multiplies it in always livable creases by interactivity. A digitally-represented world would become the ultimate alienation of (...)
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  49. Games and the art of agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  50. Ben Hewitt, Byron, Shelley, and Goethe’s Faust. An Epic Connection (London: Legenda, 2015), and Wayne Deakin, Hegel and the English Romantic Tradition (London: Palgrave Macmillan, 2015). [REVIEW]Jennifer Mensch - 2016 - Keats-Shelly Journal 65:168-171.
    In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the story (...)
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