The Competitive Perception

This paper aims to define what competitive perception is. Using Dufrenne's phenomenological analysis of the art spectator's experience, namely the concept of aesthetic perception, I will claim that it is useful to apply this phenomenological approach to the experience of watching sport events. I will argue that the concepts of uncertainty and auto teleology, being two main features in sport competition, are helpful to define competitive perception.     

Aesthetic consciousness of site-specific art

The aim of this article is to examine Edmund Husserl's theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic unity of the aesthetic object is limited. Moreover, following Husserl's theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limited- ness of the synthetic unity of the aesthetic object.     

Relativity of the human world and Dao in Lao-Zhuang—An Interpretation of chapter 1 of the Zhuang-zi and of the Lao-zi1

In this essay I offer an interpretative reading of the first chapter in the two canonical works, the Zhuang-zi and the Lao-zi, and argue that there is an inner connection between the first chapters of the two books. My presupposition is that what Zhuang-zi has argued in “Xiao Yao You” is the theme of the relativity of the position of the human world, which is in accord with the mystery of Dao presented at the beginning of the Lao-zi. Therefore, there are two opposite directions running in the Daoist philosophy in Lao-zi and Zhuang-zi: the first one is from this world (worlds) to Dao; the second one is from Dao to the worlds. While the first emphasizes the relativity of the point of views of the worldly beings, the second shows the mystery of Dao. This can be seen as a hermeneutical circle.     

Kind of Borrowed,Kind of Blue

In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note‐for‐note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.     

Busy doing nothing: Evidence for nonaction-effect binding

Research on voluntary action has focused on the question of how we represent our behavior on a motor and cognitive level. However, the question of how we represent voluntary not acting has been completely neglected. The aim of the present study was to investigate the cognitive and motor representation of intentionally not acting. By using an action-effect binding approach, we demonstrate similarities of action and nonaction. In particular, our results reveal that voluntary nonactions can be bound to an effect tone. This finding suggests that effect binding is not restricted to an association between a motor representation and a successive effect (action-effect binding) but can also occur for an intended nonaction and its effect (nonaction-effect binding). Moreover, we demonstrate that nonactions have to be initiated voluntarily in order to elicit nonaction-effect binding.     

Aesthetic freedom and democratic ethical life: A Hegelian account of the relationship between aesthetics and democratic politics

This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches, such as Rancière's, that reconceive all of the political in aesthetic terms or, like Rockhill's, reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct recognition relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth's account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth's account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth's account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life.     

Buddhist Influences on the Idea of the Unconscious

This article evaluates the role of Buddhism in helping to shape a key concept in psychology. The essay begins by deconstructing the synchronicity of Kant's publication of the Critique of Pure Reason with the formation of the Asiatic Society of Bengal by Sir William Jones. The implications of these two separate yet meaningfully related events, occurring within just a few years of each other, contribute to a re-vision of the word unconscious. With the influx of actual Sanskrit works, through the popular Asiatic Researches and other publications, the idea of the unconscious began to take on new value. Under the impact of a critical paradigm shift in Western thought via the work of Kant and the burgeoning science of comparative linguistics, the conception of unconscious thought processes is shown to have evolved semantically. This development is traced through a series of stages, identified as aesthetic, philosophical, and scientific. The aesthetic usage is exemplified in the Lyrical Ballads of Coleridge and Wordsworth, both of whom were familiar with Sanskrit literature. The philosophy of Arthur Schopenhauer, a student of Kant and an early champion of Buddhism, echoed Buddhist notions of dharma and pratitya samupada. The “revised” conceptualization of the unconscious then passed into a scientific stage, through psychological researchers such as Fechner and Wundt. This is followed by the clinical application of the concept within the school of psychodynamic psychology, characterized by Freud and Jung.     

Mozart Among the Theologians

The essay compares and contrasts the philosophical, theological, and aesthetic approaches to Mozart in the writings of Søren Kierkegaard's aesthete A (Either/Or, I), Karl Barth (primarily Wolfgang Amadeus Mozart), and Hans Küng (Mozart: Traces of Transcendence). Whereas Kierkegaard's A outlines a non‐religious ‘daemonic Mozart’, Barth and Küng depict two contrasting theological understandings of Mozart's music. Barth's Mozart reflects a Reformed aesthetic, with Mozart as a ‘parable’ of gospel, whereas Küng's Mozart reflects a Roman Catholic ‘sacramental’ vision of music and religious faith. The essay explores how these different visions of Mozart are shaped by both their theological and aesthetic commitments.     

Simone Weil: The Ethics of Affliction and the Aesthetics of Attention

ABSTRACT

For Simone Weil the invocation of ‘rights’ to address extreme human suffering–what she calls ‘affliction’–is ‘ludicrously inadequate’. Rights, Weil argues, invite a response, whereas what the afflicted require is not dialogue but simply to be heard. For Weil, hearing the ‘cry’ of the afflicted is the basis of all justice. The task of such a hearing is given over to Weil’s concept of attention, which demands an ethics of creative silence. This paper will argue that central to Weil’s ethics of attention, and thus the way she thinks we should show compassion and act justly, is the Kantian aesthetic concept of disinterestedness. I will argue that whilst Weil is influenced by Kant in multiple ways, it is his aesthetics, rather than his normative moral theory, that is most at play in her own ethical theory of attention.     

Forms of gnosis in Sulamī's Sufi exegesis of the Fāti&art1;a

This paper will look at the Sufi interpretations of Sūrat al-fāti&art1;a found in the early mystical Qur'an commentary known as the &art2;aqā'iq al-tafsīr by the well known Sufi, Abū ^c Abd al-Ra&art1;mān al-Sulamī (d. 1021). The Sufi tafsīr of this sūra will be read not only as a compilation of early mystical interpretations of the Qur'an, but also as a unique work by Sulamī himself. A close reading of the various Sufi authors' interpretations set out by Sulamī will show how his own positions concerning the fundamental Sufi concept of ma^crifa come about.     

Aesthetic Disobedience

This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of a conflict between artworld commitments and some shared commitments of a community. Considering artistic transgressions under the concept of aesthetic disobedience highlights often‐overlooked features of modern artworld practices. Most significantly, it draws attention to the deliberative participation of a wide variety of citizens of the artworld, including not just artists and performers but also members of audiences, in the transformation of the rules and boundaries of the artworld itself.     

The Boring

This article discusses the aesthetic concept of boringness, of which there has been relatively little philosophical discussion, especially along its objective, nonpsychological dimensions. I begin by confronting skepticism about the validity of judgments about boringness and rebut suggestions to the effect that these judgments are inevitably compromised by mistakes or vices of the audience. The article then develops an account focused on certain kinds of reasonable expectations we form in a given aesthetic context. I go on to confront the question of whether boringness is inevitable given the internal imperatives of works of art and illustrate the discussion with Richard Wagner's Ring cycle. Although I focus on art, I conclude by drawing some connections with the boring in everyday life.     

The Legacy of Neoplatonism in F. W. J. Schelling's Thought

F.W.J. Schelling, one of the essential thinkers in the development of German Idealism, formed his own thought not only in a critical dialogue with Kant's and Fichte's transcendentalism and Hegel's earlier conception of thinking, but also in an intensive discussion with Plato and Aristotle. Over and above that, Neoplatonism – especially Plotinus, Proclus and the Christian Dionysius the Areopagite – played a decisive role in Schelling's reception and transformation of ancient philosophy. Selecting the manifold aspects which could be reflected on in this field, I want to make plausible as a transcendental analogy to Plotinus' concept of self-knowledge Schelling's requirement for a raising-up and transformation of the finite 'I' into the form of the Absolute, whose central features converge with the goal of the Plotinian self – transformation of thought into a timeless self-thinking and its ground. A main part of this paper discusses Schelling's and Plotinus' concept of nature as a dynamic process constituted by an immanent 'creating theoria'. Furthermore we find in Schelling's theory of the Absolute as the 'utterly One' a union of Plotinus' notion of a pure One beyond Being with that of the reflexive self-presence of nous, so that this Absolute can be understood as an All-Unity which grounds and embraces all actuality – because it is in itself the most unifying self-affirmation or self-mediation. What follows is a reflection on the anagogical function of art, especially from the viewpoint of Plotinus' non-Platonic rehabilitation of art as an imitation of nature. The last perspectives focus on Schelling's concept of matter and emanation – as different from and at the same time coherent with that of Plotinus – and on Schelling's theory of an absolute self – willing will in connection with Plotinus' Enneads VI.8, 'On free will and the will of the One' as a causa sui.     

Transparent and Opaque Performance Personas

Jeanette Bicknell has argued that a singer's public persona is relevant to the aesthetic evaluation of that singer's public performances of popular song. Here, I distinguish varieties of personas: those which are transparent (such as when a singer performs more or less as that singer) and those which are opaque (such as when a singer performs more or less as a fictional character). I also distinguish between performance personas and song personas. After introducing and elucidating these distinctions, I discuss ways in which they further inform aesthetic evaluation of such performances.     

Indexical contextualism and the challenges from disagreement

In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism—individualized indexical contextualism—I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement; claiming that speakers suffer from semantic blindness; and claiming that attributions of beauty carry presuppositions of commonality. I will argue that none of the available strategies gives a response which both (a) satisfactorily explains all of the disagreement-data and (b) is plausible independent of significant evidence in favor of contextualism. I conclude that individualized indexical contextualism about the aesthetic is untenable, although this does not rule out alternative contextualist approaches to the aesthetic.     

Art and the ‘Morality System’: The Case of Don Giovanni

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground‐breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical‐Erotic’, in Either/Or. Kierkegaard's pseudonymous author's (A) approach here is, in some respects, reminiscent of a currently rather fashionable narrative‐inspired moral philosophy, of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’.     

The Free Harmony of the Faculties and the Primacy of Imagination in Kant's Aesthetic Judgment

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’ (Dichtungsvermögen), entirely independent of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance.     

MICHAEL POLANYI ON ART AND RELIGION: SOME CRITICAL REFLECTIONS ON MEANING

This paper is a critique of the theory of meaning in art and religion that Michael Polanyi developed in his last work entitled Meaning. After giving a brief summary of Polanyi's theory of art, I raise two serious difficulties, not with the theory itself, but with the claims Polanyi makes about the relation of meaning in art to science and religion. Regarding the first difficulty, I argue that Polanyi betrays an earlier insight when in Meaning he attempts to dissociate meaning in art from meaning in science; instead I argue that both science and art are aesthetic enterprises. Regarding the second, I argue that Polanyi's account of religion is an aesthetic reduction, that meaning in religion, at least in the Western tradition, is not so much an aesthetic as it is an existential matter.     

Replies to Wallace,Queloz, and Kirwin

In this article, I reply to the comments offered by R. Jay Wallace, Matthieu Queloz, and Claire Kirwin on my book, The Will to Nothingness. An Essay on Nietzsche's Genealogy of Morality (OUP, 2021). These comments and my replies cover central features of the book, including my analysis of ressentiment as an expression of the will to power; the concept of self-undermining functionality I introduce to make sense of Nietzsche's critique of the ascetic ideal; and my reasons for omitting to examine the “unconditional will to truth,” which he presents as the latest embodiment of this ideal.