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1
Sounding the center: History and aesthetics in Thai Buddhist performance. Chicago: University of Chicago Press, 2001.
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2
Sirikit. Suntharīyasāt thritsadī hǣng wičhit sinlapākō̜n. Bangkok]: Krom Sinlapākō̜n, 2004.
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3
Desideri, Fabrizio, and Giovanni Matteucci, eds. Dall'oggetto estetico all'oggetto artistico. Florence: Firenze University Press, 2006. http://dx.doi.org/10.36253/88-8453-386-4.
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Does such a thing as an "aesthetic" object exist? And if so, how can it be defined? This book, with no less than 23 contributions, emerging from a Seminar on Aesthetics and a Convention of the Italian Philosophical Society, seeks to answer these questions, exploring the concept of the aesthetic object as distinct from the artistic object. The first section is theoretical and attempts to identify what are the aesthetic properties of an object as opposed to the physical or semantic. This is followed by a historical-aesthetic section, where the question is explored in terms of its theoretical effects within the coils of contemporary aesthetics. Finally, there is a third part devoted to grasping the object-dimension in certain occasions of contemporary art.
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Thai, Praisanī. Sayām sin ʻattalak Thai ʻāraya lōk: Siam art : the aesthetic of Thai identity & civilization. Krung Thēp Mahā Nakhō̜n: Praisanī Thai, 2013.
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5
Lindner, Christoph, and Gerard Sandoval, eds. Aesthetics of Gentrification. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722032.
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Gentrification is reshaping cities worldwide, resulting in seductive spaces and exclusive communities that aspire to innovation, creativity, sustainability, and technological sophistication. Gentrification is also contributing to growing social-spatial division and urban inequality and precarity. In a time of escalating housing crisis, unaffordable cities, and racial tension, scholars speak of eco-gentrification, techno-gentrification, super-gentrification, and planetary gentrification to describe the different forms and scales of involuntary displacement occurring in vulnerable communities in response to current patterns of development and the hype-driven discourses of the creative city, smart city, millennial city, and sustainable city. In this context, how do contemporary creative practices in art, architecture, and related fields help to produce or resist gentrification? What does gentrification look and feel like in specific sites and communities around the globe, and how is that appearance or feeling implicated in promoting stylized renewal to a privileged public? In what ways do the aesthetics of gentrification express contested conditions of migration and mobility? Addressing these questions, this book examines the relationship between aesthetics and gentrification in contemporary cities from multiple, comparative, global, and transnational perspectives.
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Why is that art?: Aesthetics and criticism of contemporary art. 2nd ed. New York: Oxford University Press, 2012.
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7
Barret, Terry. Why is that art?: Aesthetics and criticism of contemporary art. New York: Oxford University Press, 2008.
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8
Why is that art?: Aesthetics and criticism of contemporary art. Oxford: Oxford University Press, 2007.
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9
Barrett, Terry. Why is that art?: Aesthetics and criticism of contemporary art. New York, NY: Oxford University Press, 2007.
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10
Barrett, Terry. Why is that art?: Aesthetics and criticism of contemporary art. Oxford: Oxford University Press, 2008.
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11
Otherwise than knowing: Ten meditations on a theme inspired by Harri Laakso. Helsinki: Aalto, 2013.
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12
Art that kills: A panoramic portrait of aesthetic terrorism, 1984-2001. London: Creation, 2007.
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13
Chāt, Thailand Samnak Phiphitthaphanthasathān hǣng. Ngān chāng sinlapakam læ suntharīyaphāp Thai-Yīpun =: Artisanship and aesthetic of Japan and Thailand. Krung Thēp: Samnak Phiphitthaphanthasathān hǣng Chāt, Krom Sinlapākō̜n, 2011.
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14
1961-, Niramon Mēthīsuwakun, and Rōngrīan Dek Rak Pā (Surin, Thailand), eds. Dek rak pā: Banthưk thammachāt-sinlapa : ngān khīan læ phāpwāt čhāk Rōngrīan Dek Rak Pā. Surin, Thailand: Khanang Publishing, 1998.
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15
Huron, David. Aesthetics. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0014.
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Aesthetics is commonly defined as the study of beauty, and its opposite, ugliness. Some philosophers conceive of aesthetics as applying solely to the arts or to artistic experience. Beginning in the 1960s, the field of cognitive science became increasingly influential in the philosophy of mind. While much of this influence relates to the nature of thought, reasoning, and consciousness, the impact of cognitive science has expanded to other areas of philosophy, including aesthetics. This article focuses on how cognitive science influences modern thinking in musical aesthetics. It argues that cognitive neuroscience is poised to overtake philosophical aesthetics: rather than influencing aesthetic philosophy, aesthetic philosophy is receding to a sideline ‘advisory’ role, while cognitive science takes an unaccustomed leadership position.
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Saito, Yuriko. Aesthetics of the Familiar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.001.0001.
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Everyday aesthetics was recently proposed as a challenge to the contemporary Anglo-American aesthetics discourse dominated by the discussion of art and beauty. This book responds to the subsequent controversies regarding the nature, boundary, and status of everyday aesthetics and argues for its legitimacy. Specifically, its discussion highlights the multifaceted aesthetic dimensions of everyday life that are not fully accounted for by the commonly held account of defamiliarizing the familiar. Instead, the appreciation of the familiar as familiar, negative aesthetics, and the experience of doing things are all included as being worthy of investigation. These diverse ways in which aesthetics is involved in everyday life are explored through conceptual analysis as well as by application of specific examples from art, environment, and household chores. The significance of everyday aesthetics is also multi-layered. This book emphasizes the consequences of everyday aesthetics beyond the generally recognized value of enriching one’s life experiences and sharpening one’s attentiveness and sensibility. Many examples, ranging from consumer aesthetics and nationalist aesthetics to environmental aesthetics and cultivation of moral virtues, demonstrate that the power of aesthetics in everyday life is considerable, affecting and ultimately determining the quality of life and the state of the world, for better or worse. In light of this power of the aesthetic, everyday aesthetics has a social responsibility to encourage cultivation of aesthetic literacy and vigilance against aesthetic manipulation. Ultimately, everyday aesthetics can be an effective instrument for directing humanity’s collective and cumulative world-making project for the betterment of all its inhabitants.
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Forster, Michael N. Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199588367.003.0007.
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Aesthetics, or the philosophy of literature and art, was one of Herder’s main focuses. By valorizing these areas of culture (in comparison with others such as science and religion) and in several other ways he prepared the ground for German Romanticism. He also established many principles of great intrinsic importance: rejecting apriorism and systematization in aesthetics in favor of an empirical, non-systematic approach; insisting that arts such as sculpture and painting express meanings and therefore require interpretation; recognizing the central role of genre not only in literature but also in such arts; perceiving the deep historical, cultural, and even individual variability of literature and art in respect of semantic content, genre, moral values, and aesthetic values, plus the major implications this variability has for both interpretation and evaluation; developing a set of radical views concerning beauty; and emphasizing the importance of literature and art as means of moral pedagogy.
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Lord, Errol. How to Learn about Aesthetics and Morality through Acquaintance and Deference. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823841.003.0004.
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There are parallel debates in metaethics and aesthetics about the rational merits of deferring to others about ethics and aesthetics. In both areas it is common to think that there is something amiss about deference. A popular explanation of this in aesthetics appeals to the importance of aesthetic acquaintance. This kind of explanation has not been explored much in ethics. This chapter defends a unified account of what is amiss about ethical and aesthetic deference. According to this account, deference is a non-ideal way of thinking about ethics and aesthetics because it does not allow us to possess the full range of reasons provided by the ethical and aesthetic facts. It has this feature because it does not acquaint us with ethical and aesthetic facts. It is argued further that despite this defect, there is no general obligation not to defer. The upshot is a moderate optimism about ethical and aesthetic deference.
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Carlin, Nathan. Pastoral Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190270148.001.0001.
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It is often said that bioethics as a field began in theology during the 1960s but that it became secular during subsequent decades, yielding to other disciplines and professions such as philosophy and law, because it was felt that a neutral language was needed to provide a common ground for guiding clinical practice and research protocols. This common ground was provided by Tom Beauchamp and James Childress in their The Principles of Biomedical Ethics—an approach that became known as principlist bioethics. Pastoral Aesthetics recovers a role for religion in bioethics by providing a new perspective rooted in pastoral theology. Nathan Carlin argues that pastoral theologians can enrich moral imagination in bioethics by cultivating an aesthetic sensibility that is theologically-informed, psychologically-sophisticated, therapeutically-oriented, and experientially-grounded. To achieve these ends, Carlin employs Paul Tillich’s method of correlation by positioning four principles of bioethics with four images of pastoral care. In so doing, he draws on a range of sources, including painting, fiction, memoir, poetry, journalism, cultural studies, clinical journals, classic cases in bioethics, and original pastoral care conversations. The result is a form of interdisciplinary inquiry that will be of special interest to bioethicists, theologians, and chaplains.
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Higgins, Kathleen. Comparative Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0040.
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One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.
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Devereaux, Mary. Feminist Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0038.
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This article provides a critical survey of English-language feminist work in aesthetics since the early 1970s. The aim is to focus on those areas of feminist inquiry that have most significantly affected philosophical aesthetics in the analytic tradition. Feminist aesthetics starts from the assumption that the historical domain of art and the aesthetic is itself patriarchal. At one level, it simply extends the analysis of patriarchy to the practices of art institutions, in particular to the treatment of women in and by these institutions (e.g. demotions in the status of female-authored artworks previously believed to be the work of male artists).
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Lopes, Dominic McIver. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0001.
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Practised as a second-order discipline, aesthetics constructs theories of artistic and aesthetic phenomena as those phenomena are understood in the humanities and social and behavioural sciences. Parts II and III of this book illustrate how to do aesthetics as a second-order discipline, focusing first on the psychology of images and then on their socially embedded functions. Part I considers some of the advantages of second-order aesthetics. It protects against the parochialism that can result from a reliance on intuitions in philosophy. Second-order aesthetics also promises to bring together and integrate disparate lines of inquiry across disciplines, bridging the recent explosion of new research in the aesthetic sciences with scholarship in the humanities.
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Stevenson, Kenneth. Anglican Aesthetics. Edited by Mark Chapman, Sathianathan Clarke, and Martyn Percy. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199218561.013.11.
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This chapter focuses on the applied aesthetics of Anglican worship. As a seventeenth-century development, with definitive roots in the sixteenth-century Reformation, as well as in the Western Catholic tradition, Anglican aesthetics is a complex interaction of all sorts of factors, theological, cultural, and historical, which at times make it appear contradictory, even dysfunctional. Beginning with the particular case study of the opening Eucharist of the 2008 Lambeth Conference, the chapter goes on to show how Anglican identity in worship has from its very beginnings been constantly evolving and responding to new contextual challenges. After discussing the importance of church music and hymnody and charting its development through the centuries, it moves on to describe the architectural shape of the liturgy which has also evolved along with changing patterns of worship. It concludes by suggesting that it will continue to evolve into the future in as yet uncharted ways.
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Reno, Seth T. Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.001.0001.
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Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling and emotion have been traditional mainstays of Romantic literature, the concept of love is under-studied and under-appreciated, often neglected or dismissed as idealized, illusory, or overly sentimental. However, Seth Reno shows that a particular conception of intellectual love is interwoven with the major literary, scientific, and philosophical discourses of the period. Romantic-era writers conceived of love as integral to broader debates about the nature of life, the biology of the human body, the sociology of human relationships, the philosophy of nature, and the disclosure of being. Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics,through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets. From William Wordsworth and John Clare’s love of nature, to Percy Shelley’s radical politics of love, to the more sceptical stances of Felicia Hemans, Alfred Tennyson, and Matthew Arnold, this book shows intellectual love to be a pillar of Romanticism.
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Saito, Yuriko. The Aesthetics of Wind Farms. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0004.
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As one of the sustainable forms of energy production, wind farms are becoming increasingly prevalent, changing the global landscapes and seascapes. They are often met with resistance, primarily because of their presumed ‘eyesore’ effect. This chapter reviews several arguments based upon imagination and comparison to art that are intended to mitigate the negative aesthetic impact of wind farms. It concludes that the most promising aesthetic argument in support of wind farms must be a part of a larger aesthetics of sustainability informed by life values, sometimes referred to as the ‘thick’ sense of aesthetics. At the same time, life values, such as sustainability, cannot by themselves determine the aesthetic values, since purely sensuous, ‘thin,’ considerations, such as colors, shapes, and spatial arrangements, constitute the core of aesthetic values. Most importantly, aesthetic disputes involving public space call for civic environmentalism: empowerment and inclusion of those whose aesthetic lives are affected.
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Hedberg Olenina, Ana. Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.001.0001.
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In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.
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Sartwell, Crispin. Aesthetics of the Everyday. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0046.
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‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.
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Lopes, Dominic McIver. Hundred Mile Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827214.003.0008.
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The main argument for the network theory of aesthetic value is that it better explains the facts about aesthetic activity than aesthetic hedonism. According to the network theory, an aesthetic value figures in a fact that lends weight to the proposition that it would be an aesthetic achievement for an agent to act in the context of an aesthetic practice. Each aesthetic practice has its own aesthetic profile, in which determinate aesthetic values are distinctively realized, and each has core aesthetic norms centred on its distinctive aesthetic profile. An account is given of the valence of aesthetic values. The theory explains why aesthetic experts disperse into almost all demographic niches, why they jointly inhabit the whole aesthetic universe, why they specialize by aesthetic domain, why they specialize by type of activity, why they specialize by activity and domain interacts, and why their expertise is rooted in relatively stable psychological traits.
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Budd, Malcolm. Aesthetics of Nature. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0006.
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The long period of stagnation into which the aesthetics of nature fell after Hegel's relegation of natural beauty to a status inferior to the beauty of art was ended by Ronald Hepburn's ground-breaking paper (1966). In this essay, which offers a diagnosis of the causes of philosophy's neglect of the aesthetics of nature, Hepburn describes a number of kinds of aesthetic experience of nature that exhibit a variety of features distinguishing the aesthetic experience of nature from that of art and endowing it with values different from those characteristic of the arts, thus making plain the harmful consequences of the neglect of natural beauty. The subtlety of Hepburn's thought precludes simple summary, and this article does no more than enumerate a few of his themes that have been taken up and developed in the now flourishing literature on the aesthetics of nature (although not always with the nuanced treatment accorded them by Hepburn).
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Lopes, Dominic McIver. Aesthetic Theory and Aesthetic Science. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0005.
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There is currently a great deal of fundamental disagreement in research into aesthetic response. The remedy is ideally integration, wherein researchers in the different aesthetic sciences and humanistic studies converge on a common conception of what they are trying to explain, even if they continue to disagree about how to explain it. If it is to be successful, this convergence will require that researchers in both the scientific and humanistic disciplines be sensitive to the limitations that are inherent in each of these two different approaches. On the one hand, we should not expect a conception of aesthetic response that is productive for research across disciplines to be given a precise a priori definition. On the other hand, aesthetic science must acknowledge that aesthetic response is embedded in critical practice, about which the humanities have a lot to say.
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Bull, Michael. Remaking the Urban. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0023.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores the creation of an urban sonic aesthetic through a critical analysis of Apple iPod use. Based on original ethnographic material, it chapter explores the differing audiovisual ways in which urban space is mediated through communication technologies like the Apple iPod. It divides the experience of urban space into Fordist aesthetics and hyper-post-Fordist aesthetics and strategies and situates these aesthetic “moments” within a critical analysis informed by the work of a range of urban and critical theorists. In doing so, the chapter re-evaluates the meaning of an everyday audiovisual aesthetic that challenges accepted explanations of urban aesthetic experience, such as flânerie and the cosmopolitan subject that is located in the works of Auge, Benjamin, Sennett, Simmel, and others.
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Eldridge, Richard. Aesthetics and Ethics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0043.
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To the extent that these neo-Aristotelian value realisms offer multi-dimensional accounts of the good and very flexible appreciations of different virtues (of both character and art) in different contexts, they account well for the varieties of characters, actions, and works of art that we value. But it is not always easy to see exactly how the particularism fits with the objectivism. When there is that much variety in judgements of value, often indexed to local cultural or historical circumstance, then, even if it need not be true, the thought that such judgements are mere expressions of individual or social preference looms. When, in contrast, the overall theory of the good or the beautiful is given more shape and content, so that common features of beauty or goodness in different particulars are discernible, then the particularism lapses.
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Nanay, Bence. Aesthetics: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198826613.001.0001.
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Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste. It doesn’t just consider traditional artistic experiences such as artworks in a museum or an opera performance, but also everyday experiences. Aesthetics: A Very Short Introduction considers both Western and non-Western aesthetic traditions, and explores why it is sometimes misunderstood or considered to be too elitist—by artists, musicians, and even philosophers. The scope of aesthetics extends far wider than that of art, high or low, including much of what we care about in life. If an experience is worth having for you, it thereby becomes the subject of aesthetics.
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Davidson, Michael. Invalid Modernism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198832812.001.0001.
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Invalid Modernism contributes to an intersectional moment in disability studies by looking at aesthetics through non-conforming bodies and minds. It also offers an intersectional understanding of modernism by studying the representation of physical and cognitive difference during a period marked by progressive reforms in health, labor, and welfare. Readings of texts by Henry James, Samuel Beckett, Virginia Woolf, William Carlos Williams, James Joyce, Djuna Barnes, Oscar Wilde, F. T. Marinetti, Jean Toomer, an opera by Alexander Zemlinsky, and paintings and constructions of Dadaists and Surrealists are set against historical developments in sexology, medical discourse, and eugenics and anthropometry. Modernist works are well known for challenging formal features of narration and representation, but this challenge has often been enabled by shell-shocked veterans, tubercular heroines, blind soothsayers, invalid aesthetes, and neurasthenic women. Such figures complicate an aesthetics of autonomy by which modernism is often understood. Since its evolution in the eighteenth century modern aesthetics has been seen in terms of judgments based on detached appreciation. What begins as a private sensory response to an object or natural formation results in a disinterested judgment about the value of that response. By looking at modernist aesthetics through a disability optic, Invalid Modernism attempts to restore the missing body to aesthetic discourse through figures marked by medical discourse of the period as “invalid” subjects.
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Inoue, Mayumo, and Steve Choe, eds. Beyond Imperial Aesthetics. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455874.001.0001.
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Observing that the division between theory and empiricism remains inextricably linked to imperial modernity, manifest at the most basic level in the binary between "the West" and "Asia," the authors of this volume reexamine art and aesthetics to challenge these oppositions in order to reconceptualize politics and knowledge production in East Asia. Current understandings of fundamental ideas like race, nation, colonizer and the colonized, and the concept of Asia in the region are seeped with imperial aesthetics that originated from competing imperialisms operating in the twentieth and twenty-first centuries. Such aesthetics has sustained both colonial and local modes of perception in the formation of nation-states and expanded the reach of regulatory powers in East Asia since 1945. The twelve thought-provoking essays in thiscollectiontackle the problematics that arise at the nexus of aesthetics and politics in four areas: theoretical issues of aesthetics and politics in East Asia, aesthetics of affect and sexuality, the productive tension between critical aesthetics and political movements, and aesthetic critiques of sovereignty and neoliberalism in East Asia today. If the seemingly universal operation of capital and militarism in East Asia requires locally specific definitions of biopolitical concepts to function smoothly, this book critiques the circuit of power between the universalism of capital and particularism of nation and culture. Treating aesthetic experiences in art at large as the bases for going beyond imperial categories, the contributors present new modes of sensing, thinking, and living that have been unimaginable within the mainstream modality of Asian studies, a discipline that has reproduced the colonial regime of knowledge production.
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Donnelly, Kevin J. Extending Film Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.020.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film remains at the apex of audiovisual culture, providing inspiration and aspiration for other media. Film music and other sounds from the soundtrack have extended film aesthetics beyond the bounds of film into other media and culture. Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered a spatial sonic arena wherein sonic elements have mixed into a sensual and psychological field. Modern film soundtracks often evince a conceptual or aesthetic unity strikingly similar to musical unity, evident in disc releases unconnected to the cinema. In films sounds on their own work in a different way, implying visuals that we then expect to see or imagine. That soundimpliesvisuals is crucial also to extended soundtracks outside film.
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McGonigal, Andrew. Aesthetic Reasons. Edited by Daniel Star. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199657889.013.40.
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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.
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Treadwell, John. The Aesthetic Market: More than Meets the Eye. Perfected Pen Publishing, 2012.
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Brady, Emily. Aesthetic Value, Nature, and Environment. Edited by Stephen M. Gardiner and Allen Thompson. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199941339.013.17.
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This chapter discusses key issues and questions about aesthetic experience and valuing of natural objects, processes, and phenomena. It begins by exploring the character of environmental, multisensory aesthetic appreciation and then examines the central debate between “scientific cognitivism” and “noncognitivism” in contemporary environmental aesthetics. In assessing this debate and the place of knowledge, imagination, and emotion in aesthetic valuing, it is argued that non-cognitive approaches have the advantage of supporting a critical pluralism that recognizes the variety and breadth of aesthetic engagement with nature. Interactions between aesthetic and ethical values are also discussed, especially with respect to their role in philosophical positions such as “aesthetic preservationism” and the call for developing aesthetic theories that are consistent with environmentalism.
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Zitin, Abigail. Practical Form. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300244564.001.0001.
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In early eighteenth-century Britain, writers asked after the nature and causes of the pleasure we feel when we encounter beauty. It took a painter, however, to steer the nascent field of philosophical aesthetics toward questions of spatial form. Drawing inspiration from William Hogarth’s 1753 treatise on beauty, this book traces the development of form as a concept in and for aesthetics. Hogarth’s experience as a draftsman and printmaker guided his dissent from the developing consensus on aesthetic pleasure and standards of taste. The immediate cause of aesthetic pleasure, he argues, is beautiful form, which is detected through the activity of formal abstraction. The insight that formal abstraction has heuristic value in judging beauty emerges from the way practitioners think about skill across the domains of art and craft. Zitin’s account of the history of form in eighteenth-century thought substitutes women and artisans, as virtuosos of aesthetic judgment, for the proverbial man of taste, a substitution with the power to reshape our understanding of canonical statements on aesthetics from the writings of Shaftesbury to Kant’s Third Critique.
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Saito, Yuriko. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0008.
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One mission of everyday aesthetics is to unearth hidden potentials behind the façade of ordinariness that makes up our daily lives. The art of living includes cultivating a capacity and sensibility to shed light on the all-too-familiar and to be able to derive a fresh aesthetic experience. Enriching individual lives in this way is one important role of everyday aesthetics....
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Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford University Press, USA, 2007.
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Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford University Press, Incorporated, 2017.
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Barrett, Terry. Why Is That Art?: Aesthetics and Criticism of Contemporary Art. Oxford University Press, USA, 2007.
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Berliner, Todd. Hollywood Aesthetic. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.001.0001.
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Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among large populations, translate into box office success. More than any other historical mode of art, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a mass scale. If the Hollywood film industry succeeds in delivering aesthetic pleasure both routinely and, at times, in an outstanding way, then we should ultimately regard Hollywood cinema as an artistic achievement, not merely a commercial success. Hollywood Aesthetic accounts for the chief attraction of Hollywood cinema worldwide: its entertainment value. The book addresses four fundamental components of Hollywood’s aesthetic design: narrative, style, ideology, and genre. Grounded in film history and in the psychological and philosophical literature in aesthetics, the book explains: (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Offering a comprehensive appraisal of the capacity of Hollywood cinema to provide aesthetic pleasure, the book sets out to explain how Hollywood creates, for masses of people, some of their most exhilarating experiences of art.
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Hills, Alison. Aesthetic Understanding. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190469863.003.0008.
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This chapter applies an account of understanding why (developed by the author elsewhere) to aesthetic understanding, by which is meant understanding why a work of art is aesthetically valuable. The chapter develops some of the main claims, that understanding involves a kind of intellectual know-how, that it is a matter of degree, and that it differs from knowledge. It discusses in some detail aspects of the account that may seem questionable when applied to aesthetics, notably that understanding involves explanation, and that that explanation can be articulated. The chapter finishes by using the account to illuminate a particularly important activity: the appreciation of a work of art.
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Stokes, Dustin. Rich Perceptual Content and Aesthetic Properties. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.003.0002.
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Both common sense and dominant traditions in art criticism and philosophical aesthetics maintain that aesthetic features or properties are perceived. However, there are many reasons to be sceptical of this. This chapter defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents who maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. This chapter offers a novel argument—the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art, concluding that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds.
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Iseminger, Gary. Aesthetic Experience. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0005.
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This article surveys attempts by aestheticians writing in the Anglo-American analytic tradition during the last half of the twentieth century to clarify, defend, and use the idea of a distinctively aesthetic state of mind. Their ambitions typically include most or all of the following: giving an account of what distinguishes the aesthetic state of mind from other states of mind that are like it in some ways, such as sensual pleasure or drug-induced experience, or from those connected with other realms of human concern, such as the religious, the cognitive, the practical, and the moral; giving that account in a way that appeals neither to any prior idea of the aesthetic nor to the concept of art; explaining related ideas of the distinctively aesthetic, e.g. the ideas of aesthetic properties, qualities, aspects, or concepts, of the aesthetic object, of the aesthetic judgement, and of aesthetic value, in terms of the idea of the distinctively aesthetic state of mind; and defending some more or less close connection between the realm of the aesthetic thereby explained and the realm of art, while recognizing that the aesthetic state of mind may appropriately be directed towards or grounded in non-art (e.g. nature) as well.
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Zangwill, Nick. Aesthetic Realism 1. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0003.
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This article considers the nature of our aesthetic thought and experience. It does not tackle head-on the issue of whether or not we should think that reality includes mind-independent aesthetic properties and thus mind-independent aesthetic states of affairs in which objects or events possess mind-independent aesthetic properties. However, thinking about the nature of our aesthetic thought and experience unavoidably involves us in thinking about the metaphysics that we are committed to in our aesthetic thought and experience. The issue is whether or not aesthetic thought and experience is ‘realist’, in the sense that we represent aesthetic properties and states of affairs in such thoughts and experiences. If so, ‘common sense’ or ‘folk aesthetics’ has metaphysically dirty hands, though whether or not this common-sense metaphysics is true is another matter. In contrast with realists, there are ‘non-realists’, who deny that ordinary aesthetic thought and experience have such metaphysical commitments.
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Lopes, Dominic McIver. Aesthetics on the Edge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.001.0001.
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Recent years have seen an explosion of research on the biological, neural, and psychological foundations of artistic and aesthetic phenomena, which had previously been the province of the social sciences and the humanities. Meanwhile, it is a boom time for meta-philosophy, many new methods have been adopted in aesthetics, and philosophers are tackling the relationship between empirical and theoretical approaches to aesthetics. These eleven essays propose a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. The volume opens with four essays outlining the methodology and its potential. Subsequent essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.