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Journal articles on the topic 'Social sciences -> philosophy -> aesthetics'

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Published: 26 July 2024

Last updated: 27 July 2024

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1

Portera, Mariagrazia. "Aesthetics as a Habit: Between Constraints and Freedom, Nudges and Creativity." Philosophies 7, no. 2 (March 2, 2022): 24. http://dx.doi.org/10.3390/philosophies7020024.

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This paper is a preliminary attempt to bring to the fore some questions and issues regarding the role of habits in aesthetics. Indeed, much attention has recently been given to habits across a wide range of fields of inquiry: philosophers turn to the concept to investigate its significance to the historical development of Western thought; neuroscientists look into the role that habits play in the functioning of the human mind and identify the neural and psychological underpinnings of habitual behavior; anthropologists, political scientists and sociologists tap into habits as a key notion to explain social dynamics and collective behavior. For all of these waves that the notion has made in other parts of the humanities and social sciences, there have been so far, however, only a few sustained discussions of habits in conjunction with aesthetics. What is the role of habits in aesthetic experience? How do habits influence and regulate artistic creative processes?

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2

Raunig, Gerald. "Singers, Cynics, Molecular Mice: The Political Aesthetics of Contemporary Activism." Theory, Culture & Society 31, no. 7-8 (December 2014): 67–80. http://dx.doi.org/10.1177/0263276413497406.

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On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA (13) ‘agents’ AND AND AND as radically inclusive, polyvocal and transversal, it proposes a position that differs from Rancière’s rejection of activist art, a non-totalizing political aesthetics as a component of molecular revolution.

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3

Nutas, Andrei. "Review of Sorgner's Philosophy of Posthuman Art." International Journal of Technoethics 13, no. 1 (January 1, 2022): 1–7. http://dx.doi.org/10.4018/ijt.313197.

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The paper deals with a review of Sorgner's new book, Philosophy of Posthuman Art. The review highlights Sorgner's positioning of postmodern art as emerging from a way of dealing with the realities of ontological naturalism and epistemic perspectivism. It is also highlighted why the author believes that the avant-garde and modernist aesthetic is lacking in dealing with a world of technology embedded post-modernity. In this sense, Sorgner's arguments for the totalitarian aspects of the avant-garde are presented. The paper also offers a critique regarding Sorgner's continental focus, and an argument for why his 10 aesthetics of posthuman art could be boiled down to eight, before finalizing with a walk through Sorgner's view on a posthuman total work of art and his view leisure within a posthuman era.

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4

Richmond, Sheldon. "Is “Aesthetics” Art Studies?" Philosophy of the Social Sciences 44, no. 2 (March 2014): 223–32. http://dx.doi.org/10.1177/0048393112442630.

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5

Berleant, Arnold. "Aesthetics and community." Journal of Value Inquiry 28, no. 2 (June 1994): 257–72. http://dx.doi.org/10.1007/bf01079570.

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6

Trafí-Prats, Laura. "Aesthetic Post-Phenomenological Inquiry: A Compositional Approach to the Invention of Worlds." Qualitative Inquiry 26, no. 5 (June 21, 2019): 432–39. http://dx.doi.org/10.1177/1077800419857454.

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In this article, I think retrospectively with art and passages of writing produced in connection to a study on aesthetic activity and urban nature with two classes of fifth graders attending school in a city of the American Midwest. For this, I take on the art philosophy of Deleuze, Deleuze and Guattari and Deleuzian scholars to discuss how aesthetics and processes of art-making can inform empirical gestures based on distance from and invention of worlds. Art extracts sensations from chaotic forces that function in excess, variation, and proliferation, offering valuable practices to attune toward the affectivity of post-phenomenological life worlds.

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Шмагало, Р. Т. "ДЕКОРАТИВНЕ МИСТЕЦТВО І ЕКО-ДИЗАЙН: ФІЛОСОФСЬКО-ОСВІТНІ ОСНОВИ РОЗВИТКУ І СУЧАСНІ ВИКЛИКИ." Art and Design, no. 4 (February 15, 2021): 185–94. http://dx.doi.org/10.30857/2617-0272.2020.4.15.

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Purpose. Identification and analysis of philosophical, educational and aesthetic foundations of the development of decorative and applied arts and design in the context of new socio-cultural challenges. Methodology. It is based on a systematic approach that synthesizes the methodological principles of related sciences: art history, philosophy, aesthetics, pedagogy with universal for these sciences methods of historical, typological and comparative analysis. Results. Basic philosophical and aesthetic origins of the phenomenon of decorative and applied art in the context of art and related design education, as well as the bank of basic ideas and principles of its progress in the time continuum are determined. There also have been traces social and cultural values acquired over the centuries, relevant for different historical periods and modern challenges, facing the art and education sphere. Scientific novelty. Determining of the philosophical and aesthetic principles of the functioning of decorative and applied arts in line with art and design education, its timeless universal social and cultural values. Practical significance. The research will contribute to the formation of a deep, philosophical and aesthetic level of worldview perception of the phenomenon of decorative and applied arts, art and design education, the development of guidelines for the implementation and design of new creative ideas in art, education and eco design

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8

Clammer, John. "Can Art Embody Truth? Ethics, Aesthetics and Gandhi." Social Change 51, no. 1 (March 2021): 92–103. http://dx.doi.org/10.1177/0049085721996859.

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The philosophical question of whether moral standards apply in art and the practical one of whether the arts can be vehicles of positive social transformation run through a great deal of social theory. In this article, these issues are discussed through an examination of Mahatma Gandhi’s approach to art and in particular his views on music and visual arts as they formed part of his personal world view and his socio-political programme. The article contextualises this in relation to Gandhi’s over-arching concern with the pursuit of truth and its theistic basis, his relationship to certain aspects of classical Indian philosophy and in particular the status of rasa among the four traditional purusharthas, and his relationship with Rabindranath Tagore and the artists at Kala Bhavan in Santiniketan, in particular Nandalal Bose. The article suggests that Gandhi was far from uninterested in aesthetic matters, but that the key to his thought lies in his holistic approach to both philosophy and lifestyle where the arts play an important role when integrated with ethical and religious demands.

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9

Koutras, Konstantinos. "The Politics of Film Aesthetics: Filmososphy, Post-Theory, and Rancière." Philosophies 9, no. 2 (April 12, 2024): 50. http://dx.doi.org/10.3390/philosophies9020050.

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The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this article, I will offer an alternative account of film aesthetics that draws on Jacques Rancière’s theory concerning the mutually determining relationship between aesthetics and politics. In particular, I will consider the relevance of Rancière’s thesis concerning what he calls the distribution of sensible to current accounts, as well as taking up his novel consideration of aesthetic distance and the “emancipated” spectator. With respect to film phenomenology, I will examine how its film-theoretical program rests on the flawed concept of a de-politicized spectator enchained by the film image. With respect to post-theory, I will examine how its appropriation from cognitive science of the rational agent model of meaning making inappropriately limits the political potential of film aesthetics.

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10

Sidorov, Aleksei Mikhailovich. "The politics of aesthetics in German Idealism." Философия и культура, no. 11 (November 2022): 107–18. http://dx.doi.org/10.7256/2454-0757.2022.11.14385.

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The subject of the study is the aesthetic aspects of the German philosophy of the late XVIII - early XIX centuries. Modern culture, with its anti-traditionalist impulse for autonomy, freedom from external authority, the use of critical reason, universal principles, in terms of which is questioned religion, history, customs, by this time found its internal contradictions. Post-religious and postconventional Enlightenment values - secularism, humanism, the primacy of reason and science - poorly suited to maintaining the moral and social relations, in the course of everyday life, and led to their progressive deterioration. German idealists turned to the area of aesthetic in searh of means of reconciliation between science and morality, the nature and the subject. The article taken hermeneutical analysis of texts submitted in the tradition of German romanticism and idealism in order to identify the aesthetic basis of searches and solutions in the philosophy of this period. Project of aesthetics which emerged in the XVIII century is seen as key to European philosophy and culture "after the Enlightenment," and as having not only theoretical but also of political importance, because it is in aesthesis - subjective field of experiences, feelings, affects, modern man could seek reconciliation with the world after the loss of traditional meanings and authority

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11

Vujović, Aleksandra. "The Bauhaus Viewed from the Perspective of Jacques Rancière’s Theoretical Concept of the Aesthetic Revolution." AM Journal of Art and Media Studies, no. 24 (April 15, 2021): 135–47. http://dx.doi.org/10.25038/am.v0i24.427.

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The philosophical platform of the contemporary French theorist Jacques Rancière is one of the crucial interpretations of the way art is identified and acts in various social and historical conditions. Encompassing the domains of political philosophy, social history, education, and aesthetics, Rancière’s oeuvre is vitally important for recognizing the import of aesthetic experience as vital for anticipating the community of the future as well as for understanding the relationship between art and politics. The initial basis of this text comprises Rancière’s aesthetic conceptions, a constitutive element and axiom of which is the principle of equality, which he uses to illuminate the synthesis of art and social context. The text focuses on analyzing the work and creativity of the Bauhaus as an aesthetic practice from the perspective of the aesthetic revolution, as theorized by Rancière. Using analytical and historical methods, the text shows how the Bauhaus successfully used its intentions and practice to overthrow previously imposed hierarchies and conventions of art and, by analogy, social divisions as well, and became a major outcome of the aesthetic revolution as theorized by Rancière. Article received: April 16, 2020; Article accepted: July 1, 2020; Published online: April 15, 2021; Original scholarly paper

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12

Bishop, P. "Social critique and aesthetics in Schopenhauer." History of European Ideas 29, no. 4 (December 2003): 411–35. http://dx.doi.org/10.1016/s0191-6599(03)00019-6.

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13

Latuny, Marsiano Rocky, and Handry Rochmad Dwi Happy. "Synesthesia and the Experience of the Art of Photography." Jurnal Desain Komunikasi Visual Asia 7, no. 01 (February 28, 2023): 45. http://dx.doi.org/10.32815/jeskovsia.v7i01.913.

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Photography is one branch of a large grouping in the arts, apart from design and painting. As a field of art, photography certainly has its own aesthetic concept, even the aesthetic concept is closely related to "feeling", an abstract concept regarding the process of absorbing something in human beings that cannot even be fully described. Understanding the concept of aesthetics is a dialectical process related to other issues such as philosophy, social, politics, culture, and economics so that the values of goodness and truth often appear in a variety of aesthetic discussions. The development of an approach to the concept of the creation process that involves the audience and seeks to provide various stimuli for the five senses requires the ability to process other senses, namely connecting the five senses. The concept related to this is known as synaesthesia (synesthesia), a concept where the five senses work together at the same time when responding to a stimulus so that it will cause a sensation that exceeds the expression of one of the five senses. Understanding aesthetics with these various approaches is an active appreciation process that aims to uncover new discourse possibilities in the development of photography.

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14

Gilmore, Jonathan. "Ethics, Aesthetics, and Artistic Ends." Journal of Value Inquiry 45, no. 2 (May 2011): 203–14. http://dx.doi.org/10.1007/s10790-011-9270-4.

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15

Bojsen, Heidi. "Taking Glissant’s Philosophy into Social Sciences?: A Discussion of the Place of Aesthetics in Critical Development Discourse." Callaloo 36, no. 4 (2013): 995–1013. http://dx.doi.org/10.1353/cal.2013.0200.

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16

Moon, Joonil. "Aesthetic Debates in “The World of Art” in the Early 20th Century: Focusing on the Debate between Diaghilev and Repin." East European and Balkan Institute 47, no. 4 (November 30, 2023): 49–75. http://dx.doi.org/10.19170/eebs.2023.47.4.49.

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From the end of the 19th century to the 20th century, Russia experienced a period of caution. Russian culture of the 1890s and 1900s reflects the complexity and contradictions of an era filled with acute social conflict and political struggle. These conflicts and struggles gave new character and characteristics to the perception of society and art. However, the social and cultural life of the late 19th century contrasted markedly with previous periods in the spiritual sphere. During this period, there was a psychological tension quite different from that of the 1880s, and an expectation of a “great revolution.” This concept of “vigilance” and “transition” experienced by Russia spread among the intelligentsia in the field of art. In the early 20th century, Russia experienced a “Russian Renaissance.” Russia experienced a heyday of poetry and philosophy, and trends of intense religious inquiry and mysticism dominated the period. In literature, the sense of justice and simplicity of 19th century Russian literature has disappeared. The world view of left-wing intelligentsia was shaken. Aesthetic consciousness changed and art began to be given greater meaning. The “art world” reflects the “new art” and aesthetics of this period. Their biggest task was to liberate spiritual culture from social utilitarianism. For them, the previously suppressed aesthetic element was a stronger force than the ethical element. However, changing the world view and setting a new direction was not easy. In the field of art, controversy with the existing utilitarian and populist intelligentsia was an inevitable process. This debate became a space for “art world” groups to declare their programs and aesthetics. This paper seeks to examine the aesthetics of the “world of art” through the debates between Diaghilev and Stasov and Diaghilev and Repin, which were the most representative debates of the “world of art.”

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17

H. Freeman, Margaret. "AESTHETICS AND THE POWER OF STEAM." MESSENGER of Kyiv National Linguistic University. Series Philology 20, no. 2 (September 5, 2022): 43–53. http://dx.doi.org/10.32589/2311-0821.2.2017.120843.

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Introduction. In linguocognitive perspective the paper highlights the ways of integrating the methods of studying the linguistic phenomena from philosophy of science and the philosophy of arts points of view. The author tries to rethink the relation between aesthetics and the sciences, to explore the underlying nature of aesthetics arising from sensate cognition to discover whether or not it—and how, if it does—coincides, correlates, or complements the underlying nature of scientific theories and methodologies. Purpose. The paper focuses not on aesthetic experience only, in its modern, reductive sense of taste, beauty, and pleasure in the arts, but on the role of sensate cognition underlying all human cognitive processing including scientific investigation and most manifested in artistic activity. Methods. The paper presents the beginnings of a theory that reconstructs aesthetics as the foundational basis for all human experience, knowledge, and creative activity. It suggests a more productive approach to explore the underlying sensory-motor-emotive processes of sensate cognition in their relation to conceptual awareness. The paper gives a total reversal of what we have come to accept as undeniable divisions between the categories that make up the various "sciences" and those that constitute the various "humanistic" disciplines, as well as those that create divisions within those categories. Results. Cognitive activities include all the creations of human beings from artefacts to systems of thought, including mathematics and the sciences, to cultural and social institutions. Like the leaves of a tree that develop from the tree’s branches and trunk, these activities arise from our ability to conceptualize, to formulate conscious ideas and images. Beneath the surface of the cognitive tree lie the pre-conceptual, subliminal roots of sensory, motor, and emotive experiences that feed our conceptual awareness. Just as the living tree survives by drawing sustenance through its roots, so do all our cognitive activities depend on sensate cognition. And just as the roots of the tree are nourished by the quality of the material components of the earth in which they are embedded, so do the qualities of aesthetic imagination and judgment enable the flourishing of the physical and spiritual values that give rise to the harmonious balance of the self as part of the natural world. Perceptual imagining, as involved in the interpretation of scientific results, also plays an important role in the sciences. The perceptual content provided by the images constrains and shapes the imagination of the relevant objects. The objects are imagined on the basis of how they are perceptually experienced, and the resulting interpretations are formulated taking into account the perceptual imagination in question. Conclusion. The health of nature is therefore not metaphorical. Well-being imbues all of life, from the air we breathe, the water we drink, the earth that sustains the life of plants, the sun that gives light and heat, from the smallest insect to the larger expanses of the universe. In maintaining the ideals and values of cultural well-being, we participate in maintaining the harmony and balance of the whole world. Greek thought recognized the truth of that reciprocity without assuming the need to prove it. What one draws from the lessons of παιδεία is the essential development of expertise in all human cognitive activity.

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18

Scanlan, James P. "Nikolaj Chernyshevsky and the philosophy of realism in nineteenth-century Russian aesthetics." Studies in Soviet Thought 30, no. 1 (July 1985): 1–14. http://dx.doi.org/10.1007/bf01045127.

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19

Pouivet, Roger. "From Virtue Epistemology to Virtue Aesthetics." Journal of Value Inquiry 52, no. 3 (August 22, 2018): 365–78. http://dx.doi.org/10.1007/s10790-018-9655-8.

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20

Steinby, Liisa. "Hermann Cohen and Bakhtin’s early aesthetics." Studies in East European Thought 63, no. 3 (July 1, 2011): 227–49. http://dx.doi.org/10.1007/s11212-011-9144-0.

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21

Brickhouse-Bryson, Devon. "New frontiers in the aesthetics of science." Metascience 30, no. 1 (February 3, 2021): 103–5. http://dx.doi.org/10.1007/s11016-021-00616-5.

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22

Christlieb, Pablo Fernandez. "Political Psychology as Social Aesthetics." Political Psychology 22, no. 2 (June 2001): 357–66. http://dx.doi.org/10.1111/0162-895x.00244.

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23

Leddy, Thomas. "American Society for Aesthetics: 50th anniversary meeting." Journal of Value Inquiry 28, no. 2 (June 1994): 339–44. http://dx.doi.org/10.1007/bf01079576.

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24

Midtgarden, Torjus. "Peirce’s Classification of the Sciences." KNOWLEDGE ORGANIZATION 47, no. 3 (2020): 267–78. http://dx.doi.org/10.5771/0943-7444-2020-3-267.

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Charles Peirce’s classification of the sciences was designed shortly after the turn of the twentieth century. The classification has two main sources of inspiration: Comte’s science classification and Kant’s theoretical philosophy. Peirce’s classification, like that of Comte, is hierarchically organised in that the more general and abstract sciences provide principles for the less general and more concrete sciences. However, Peirce includes and assigns a superordinate role to philosophical disciplines which analyse and provide logical, methodological and ontological principles for the specialised sciences, and which are based on everyday life experience. Moreover, Peirce recognises two main branches of specialised empirical science: the natural sciences, on the one hand, and the social sciences, the humanities and psychology on the other. While both branches share logical and methodological principles, they are based on different ontological principles in studying physical nature and the human mind and its products, respectively. Peirce’s most basic philosophical discipline, phenomenology, transforms his early engagement with Kant. Peirce’s classification of aesthetics, ethics and logic as normative sub-disciplines of philosophy relate to his philosophical pragmatism. Yet his more overarching division between theoretical (philosophical and specialised) sciences and practical sciences may be seen as problematic. Taking Peirce’s historical account of scientific developments into consideration, however, I argue that his science classification and its emphasis on the interdependencies between the sciences could be seen as sustaining and supporting interdisciplinarity and interaction across fields of research, even across the divide between theoretical and practical sciences.

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Milam, Erika Lorraine. "The aesthetics of evolution." Metascience 27, no. 3 (June 19, 2018): 389–94. http://dx.doi.org/10.1007/s11016-018-0334-y.

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Allingham, Peter. "Cars, Aesthetics and Urban Development." Knowledge, Technology & Policy 21, no. 3 (August 26, 2008): 115–23. http://dx.doi.org/10.1007/s12130-008-9053-9.

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27

Purviance, Susan M. "Aesthetics and adjudication: Intersubjective requirements and juridical judgment." Journal of Value Inquiry 27, no. 2 (April 1993): 165–78. http://dx.doi.org/10.1007/bf01207374.

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28

Gaus, Nurdiana. "Philosophy and politics in higher education." Qualitative Research Journal 19, no. 3 (July 24, 2019): 294–306. http://dx.doi.org/10.1108/qrj-12-2018-0008.

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Purpose The purpose of this paper, which is drawn on Indonesian academic women’s experiences, is to examine the extent to which the aesthetics of existence or true life of women academics in relation to the truth telling, played out within the interaction between philosophy and politics, is affected by the application of NPM in research and publication productivities, and the way in which women academics are voicing their opinions toward this issue. Design/methodology/approach In total, 30 women academics across two geographical region (east and west) universities took part in this research, sharing their perceptions and the way they criticize this policy to the audiences (Indonesian government), framed within the concept of parrhesia (truth telling), parrhesiastes (truth teller) of Foucault and the pariah of Arendt. Findings Using semi-structured interviews, this research finds that women academics in Indonesian universities have shown discursive voices and stances to the extent to which they agree and oppose this policy, showing the patterns similar to those of parhesiastes and pariah. The implication of this study is addressed in this paper. Originality/value This research, via the lenses of Parrhesia and Pariah, finds several kinds of philosopher roles of women academics in Indonesian universities, such as apathetic philosophers or depraved orators and Schlemihl figure of Pariah, and Parrhesiastic philosophers of Socrates and a conscious figure of Pariah.

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Bystrov, Vladimir, and Vladimir Kamnev. "Vulgar Sociologism: The History of the Concept." Sotsiologicheskoe Obozrenie / Russian Sociological Review 18, no. 3 (2019): 286–308. http://dx.doi.org/10.17323/1728-192x-2019-3-286-308.

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This article can be considered as the history of the concept of vulgar sociologism, including both the moment of the emergence of this concept and its subsequent history. In the 20th century, new approaches were formed in the natural sciences about society and man which assumed to consider all of the ideas from the point of view of class psycho-ideology. This approach manifested itself somewhat in the history of philosophical and scientific knowledge, but chiefly in literary criticism (Friche, Pereverzev). As a result, any work of art turns into a ciphered message behind which the interest of a certain class or group hides. The critic has to solve this code and define its sociological equivalent. In the discussions against vulgar sociology, M. Lifshitz and his adherents insisted on a limitation of the vulgar-sociological approach, qualifying it as a bourgeois perversion of Marxism. They saw the principle of the criticism of vulgar sociology in the well-known statement by K. Marx about the aesthetic value of the Ancient Greek epos. The task of the critic does not only reduce to the establishment of social genetics of the work of art because he also needs to explain why this work causes aesthetic pleasure during other historical eras. In the article, it is shown that later attempts to reduce the complete spectrum of modern western philosophy and aesthetics into a paradigm of vulgar sociology of the 1920s is an unreasonable exaggeration. At the same time, in discussions in the 1930s, the question of the need of the differentiation of the vulgar-sociological approach and a sociological method in general was raised. As for sociology, this question remains relevant even today.

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30

Chaloupka, William. "John Dewey’s Social Aesthetics as a Precedent for Environmental Thought." Environmental Ethics 9, no. 3 (1987): 243–60. http://dx.doi.org/10.5840/enviroethics1987938.

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Orgad, Yariv. "On wabi sabi and the aesthetics of family secrets: Reading Haruki Murakami's Kafka on the shore." Culture & Psychology 23, no. 1 (July 24, 2016): 52–73. http://dx.doi.org/10.1177/1354067x16650811.

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Family secrets are commonly considered as a defense mechanism that conceals shameful content and evades guilt. As shame and guilt threaten narcissistic perfection, secrecy functions as a self-protective mechanism by evading acknowledgment of imperfection, thus conceptualizing imperfection as a psychological threat. However, the meaning of perfection and imperfection is culturally grounded, and, therefore, our understanding of family secrets may gain better understanding by examining different cultural perspectives of perfection/imperfection. In this context, we can gain insights to the process of family secrets through wabi sabi, a Japanese aesthetic ideal and philosophy that stresses imperfection as the basis for harmony. In this paper, I suggest an interpretation of family secrets that draws on wabi sabi aesthetics. The paper's main argument is illustrated through a careful reading of Murakami's Kafka on the shore, presenting wabi sabi of family secrets as distinguished aesthetics and a potential source for mental transformation and growth.

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Satybaldieva, D. S. "THE CATEGORY OF "PERFECTION" IN AL-FARABI'S PHILOSOPHY." Al-Farabi 79, no. 3 (September 15, 2022): 15–25. http://dx.doi.org/10.48010/2022.3/1999-5911.02.

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The article is devoted to the study of the category of “perfection”, presented in the philosophy of Al-Farabi in the following natural-scientific, historicalphilosophical, social, ethical and aesthetic treatises: “On the Views of the Inhabitants of the Virtuous City”, “On the Origin of Sciences”, “Indicating the Path to Happiness”, “Civil Policy”, “Aphorisms of a Statesman”, “The Great Book of Music”. While analyzing the category of “perfection”, Al-Farabi places it in the context of achievement of human happiness. The study concludes that the category of “perfection” in AlFarabi’s treatises manifests itself at the ontological, axiological, religious, social, ethical and aesthetic levels of philosophical understanding.

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33

Harle, Rob. "An Introduction to the Social and Political Philosophy of Bertolt Brecht: Revolution and Aesthetics." Leonardo 49, no. 1 (February 2016): 88–89. http://dx.doi.org/10.1162/leon_r_01168.

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34

Dobrokhotov, Aleksandr. "GAKhN: an aesthetics of ruins, or Aleksej Losev’s failed project." Studies in East European Thought 63, no. 1 (November 27, 2010): 31–42. http://dx.doi.org/10.1007/s11212-010-9131-x.

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35

Rohde, Rick. "Ideology, Bureaucracy and Aesthetics: Landscape Change and Land Reform in Northwest Scotland." Environmental Values 13, no. 2 (May 2004): 199–221. http://dx.doi.org/10.1177/096327190401300205.

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Scottish devolution and land reform were high on the political agenda with Labour's victory at the general election in 1997. In the Highlands of Scotland, where disputes over the ownership and control of land have a long history, initiatives involving the community ownership of land were gathering pace, one of which was Orbost Estate in Skye. What began as an ‘experiment’ in building a new community with the intention of creating a model for land reform, by 2002 had become a symbol of community opposition and heavy-handed mismanagement by bureaucrats. The conflict between local objectors and the government-funded enterprise company that bought the estate, was fought on ideological, aesthetic and bureaucratic grounds. The discourse of conflict reflected opposing understandings of the social, historical and cultural environment – values that are associated with and ‘naturalised’ in the landscape. Rural development is increasingly subject to rigid planning guidelines based on notions of visual landscape aesthetics and imputed historical-cultural values associated with the area's tourist industry. In the absence of strong local democratic institutions, objectors and developers arrived at an uneasy compromise after several years of dispute, through the agency of the bureaucratic planning apparatus itself. This study illustrates how the multi-faceted concept of landscape mediates cultural, social and political issues, and is continually evolving in response to aesthetic, ideological and institutional agencies.

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Andrushchenko, Tetiana, and Oksana Sapiha. "Cultural Discourse in the Formation of Spiritual and Aesthetic Culture." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 61–75. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255426.

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The author considers the problem of complex research of culturological discourse, which influences the formation of spiritual and aesthetic culture as a holistic phenomenon. Synergetic approaches to culturological systems were analyzed in order to identify their importance in the spiritual and aesthetic education of youth. Two areas of cultural study (optimistic and pessimistic) are described in the article, they are generated by its crisis. Isolationist and integrative views on the place of culturology in the system of scientific knowledge are considered from the point of view that according to the first optimistic consideration it is a separate science with its own special approach, which does not replace culturology with other sciences (philosophy of culture, art history, sociology of culture, etc.) thus according to the second pessimistic consideration the culturology is a synthesis of social and humanitarian knowledges not about individual cultural systems, but about the universal properties inherent in all cultures. It is noted that new culturological models of researchers have appeared in modern Ukraine, which directly or indirectly affect the problems of spiritual and aesthetic culture. The concept of the synergetic paradigm of building the cultural continuum of Ukraine is covered in order to reveal the specifics of the history and ethnography of its main cultural regions. The author emphasizes that they have a common cultural basis. The concept of methodological foundations of the study of spiritual and aesthetic culture is substantiated from the standpoint of philosophy, aesthetics and culturology. It is proved that the structural elements of culture, their dynamics and new formations depend on changes in the nature of society, globalization and alterglobalization processes, social commitment of culture and art, reducing cultural and aesthetic needs of consumers of artistic, aesthetic and spiritual values. The culturological model of the sociocultural system is proposed by the author. This model is actively used in the study of the origins of national history and culture, as well as in the return of its basic institutions taking into account the real economic transformations. It was found that the leading role in the preservation of highly spiritual values belongs to the representatives of creative professions as highly intelligent bearers of perfect "craft" and impeccable aesthetic and artistic taste.

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Howells, Christina. "Jean-Luc Nancy and La Peau des images." Body & Society 24, no. 1-2 (March 5, 2018): 166–74. http://dx.doi.org/10.1177/1357034x18760179.

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This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.

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de Vries, Nadia. "Corpse encounters: an aesthetics of death." Mortality 24, no. 4 (February 4, 2019): 490–91. http://dx.doi.org/10.1080/13576275.2019.1572087.

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Papastergiadis, Nikos. "A Breathing Space for Aesthetics and Politics: An Introduction to Jacques Rancière." Theory, Culture & Society 31, no. 7-8 (November 6, 2014): 5–26. http://dx.doi.org/10.1177/0263276414551995.

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Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach in this broad field by clarifying the specificity of the artist’s task in the production of critical and creative transformation, or what he calls the ‘distribution of the sensible’. In conclusion, I complement Rancière’s invocation to break out of the oppositional paradigm in which the political and aesthetic are usually confined by outlining some further methodological techniques for addressing contemporary art.

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KELLY, ÁINE. "“A Radiant and Productive Atmosphere”: Encounters of Wallace Stevens and Stanley Cavell." Journal of American Studies 46, no. 3 (March 23, 2012): 681–94. http://dx.doi.org/10.1017/s002187581100137x.

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Writing on such diverse works as Shakespeare'sKing Lear, Wallace Stevens's “Sunday Morning” and Vincente Minnelli'sThe Bandwagon, Stanley Cavell is a philosopher consistently moved to philosophize in the realm of the aesthetic. Cavell invokes Stevens, particularly, at moments of hisoeuvreboth casual and constructive. In a commemorative address of the “Pontigny-en-Amérique” encounters at Mount Holyoke College in 2006, Cavell takes Stevens as his direct subject. During the original Pontigny colloquia, held during the wartime summers of 1942–44, some of the leading European figures in the arts and sciences (among them Hannah Arendt and Claude Lévi-Strauss) gathered at Mount Holyoke with their American peers (Stevens, John Peale Bishop and Marianne Moore) for conversations about the future of human civilization and the place of philosophy in a precarious world. Stevens suggested at the Pontigny meeting that the philosopher, compared unfavourably to the poet, “fails to discover.” As it is precisely Cavell's acknowledgement of the accidental or the unexpected as displaced from philosophy that draws him to the writings of Stevens, the Mount Holyoke encounters promise an illuminating dialogue between the two. The affinity between such central champions of the poetic dimension of American philosophy is sometimes obvious, more times in question.

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Fumerton (book author), Patricia, and A. Kent Hieatt (review author). "Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament." Renaissance and Reformation 29, no. 4 (January 20, 2009): 69–71. http://dx.doi.org/10.33137/rr.v29i4.11450.

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GEROMINI, Jenifer Cortes Demeterco. "Uma Reflexão sobre a Fenomenologia da Experiência Estética: O Caso do Teatro." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 27, no. 2 (2021): 242–51. http://dx.doi.org/10.18065/2021v27n2.10.

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Art, a fundamentally human subject, has become an important field of study in both philosophy and psychology. It is deemed relevant to think of it from a phenomenological perspective, that regards artistic activities not as a representation, but as an expression. This study aims to consider the actor's/actress's activities based on the book Phénoménologie de l'experience esthétique, the main work by Mikel Dufrenne, a phenomenologist who wrote the most extensive study regarding aesthetics in phenomenology. This task has been accomplished in two stages: a possible explanation about the aesthetic experience as proposed by Dufrenne and, from it, the construction of a reflection about a theater artist's work. The role that art and, above all, the artist plays in the resignification of the world becomes evident, as he is the one who offers the viewer, through an immanent intersubjectivity, a world expressed as a novelty. It is understood that, in addition to the study of specific topics, the study of aesthetic experience in phenomenology, from the Dufrennian perspective, may prove relevant to the comprehension of the human phenomenon in general. Palavras-chave : Aesthetic experience; Phenomenology; Art; Theater.

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Wenger, Rodolfo. "The Regimes of Identification of Art and the Political Reconfiguration of Aesthetics." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 35–42. http://dx.doi.org/10.25038/am.v0i22.386.

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For the philosopher Jacques Rancière there is no ‘art’ without a specific identification regime that delimits it, makes it visible and makes it intelligible as such. A regime of art defines the specific ways in which a given epoch conceives of the nature and logic of artistic representation, puts certain practices in relation to specific forms of visibility and modes of intelligibility, specifies the ways in which the artistic expressions take place within society, what their functions are within social life in general and in relation to the other social activities in particular. In this article we briefly resume the contents of the three fundamental regimes of art: the ethical, the poetic or representative, and the aesthetic taking into account that these regimes are not strictly historical, but rather ‘meta-historical’ categories, because although they may determine and define certain periods of ‘art history’, it is also possible to state that two, or even the three regimes, they can coexist in a specific time like ours, for example. To undertake this approach, we will bear in mind that Rancière's philosophical proposal has both historical and political components that aim to reformulate the traditional way of considering the aesthetic conditions of political experience and the political dimension of aesthetics. Article received: April 30, 2020; Article accepted: June 23, 2020; Published online: September 15, 2020; Review Article

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Schindler, Samuel. "Naturalness in physics: just a matter of aesthetics?" Metascience 28, no. 2 (April 25, 2019): 345–47. http://dx.doi.org/10.1007/s11016-019-00418-w.

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Rampley, M. "Art as a Social System: The Sociological Aesthetics of Niklas Luhmann." Telos 2009, no. 148 (September 1, 2009): 111–40. http://dx.doi.org/10.3817/0909148111.

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Caponi, Gustavo. "Lo natural, lo seglar y lo sobrenatural." Humanities Journal of Valparaiso, no. 14 (December 29, 2019): 27. http://dx.doi.org/10.22370/rhv2019iss14pp27-55.

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In Philosophy of Biology, but also in Philosophy of Mind, in Ethics, in Epistemology, and even in Aesthetics, the term naturalization is usually used in two different ways. It is often used in a meta-philosophical sense to indicate a way for doing philosophy that, in some way, would approximate this reflection to scientific research. But it is also often used in a meta-theoretical sense. In that case, it is used to characterize an explanatory operation proper to science. Sometimes, this scientific operation consists of explaining, in natural science terms, what was previously explained by recourse to the supernatural. Other times, this explanatory operation would result in a biological explanation of what, up to that moment, was explained above in terms of the Social Sciences. In the first situation, the natural is understood as the opposite of the supernatural; and science seeks to advance on that domain, producing cognitive progress. In the second situation, the natural is understood as the opposite of the secular; and Biology advances on that sphere, but not without running the risk of operating as an ideology capable of legitimating unjust and avoidable inequalities. This does not necessarily have to be so, but thought must guard against that risk.

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Lewis, Peter R., and Colin Gagg. "Aesthetics versus function: the fall of the Dee bridge, 1847." Interdisciplinary Science Reviews 29, no. 2 (June 2004): 177–91. http://dx.doi.org/10.1179/030801804225012563.

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Campbell, Norah, Stephen Dunne, and Paul Ennis. "Graham Harman, Immaterialism: Objects and Social Theory." Theory, Culture & Society 36, no. 3 (February 13, 2019): 121–37. http://dx.doi.org/10.1177/0263276418824638.

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The philosopher Graham Harman argues that contemporary debates about the nature of reality as such, and about the nature of objects in particular, can be meaningfully applied to social theory and practice. With Immaterialism, he has recently provided a case-based demonstration of how this could happen. But social theorists have compelling reasons to oppose object-oriented social theory’s 15 principles. Fidelity to Harman’s aesthetic foundationalism, and his particular use of serial endosymbiosis theory as a mechanism of social change, constrain the very practices which it is supposed to enable. However, social theory stands to benefit from object-oriented philosophy through what we call posthuman relationism – characterised as a commitment to the reality of the nonhuman, but not divorced from the human. The emphasis in object-oriented social theory on how objects withdraw from cognitive or affective capture and representation needs to be tempered by an equal focus on how objects appeal.

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Shusterman, Richard. "Postmodernist Aestheticism: A New Moral Philosophy?" Theory, Culture & Society 5, no. 2-3 (June 1988): 337–55. http://dx.doi.org/10.1177/0263276488005002007.

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OBERLE, ERIC. "JAZZ, THE WOUND: NEGATIVE IDENTITY, CULTURE, AND THE PROBLEM OF WEAK SUBJECTIVITY IN THEODOR ADORNO’S TWENTIETH CENTURY." Modern Intellectual History 13, no. 2 (January 9, 2015): 357–86. http://dx.doi.org/10.1017/s1479244314000614.

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This essay addresses the emergence of theories of “identity” in twentieth-century politics, aesthetics, and philosophy by considering Theodor Adorno's understanding of “negative identity” as a form of coercive categorization that nevertheless contains social knowledge. A historical account of the Frankfurt school's relation to questions of race, anti-Semitism, and the idea of culture, the essay analyzes Adorno's infamous jazz articles in light of the transatlantic history of Marxian political theory and its understanding of racism, subject–object relations, and models of cultural production. The result is an investigation of the history of the concept of identity, its emergence alongside the rise of cultural studies, and its relation to international cultural–aesthetic formations such as jazz. The article concludes with an examination of Adorno's critique of idealism, cultural identity, and nationalism in light of the “wounded” political subjectivity of the modern era.

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