A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context

In this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the detached mental state as an ideal mental state for art appears to fit in with Kant’s notion of aesthetic freedom. Even though it might be claimed that sensibilities are stressed over rationality in the classical Chinese artistic tradition, I suggest that the detached mental state cultivated through Daoist or Chan Buddhist meditation and experienced in artistic practice helps artists restore a balanced human nature. By projecting Schiller’s account of the play drive, and the account of aesthetic freedom he developed from Kant’s ideas, into the classical Chinese artistic context, I attempt to explain the balanced nature realised through artistic play by classical Chinese artists and point out the differences behind the parallels between these two approaches.     

The Senses Considered as Perceptual Systems,by J. J. Gibson

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.     

中国画审美一致性的专业知识效应:一项fNIRS研究

摘 要 本研究结合fNIRS技术,考察了美术训练学生和普通学生在中国画审美一致性上的差异。行为上,虽然两组被试在审美评分上没有显著差异,但在评分一致性上,美术训练学生相比普通学生在“好看”评分上更一致。脑活动上,美术训练学生右侧颞顶联合区的16通道和24通道的神经活动一致性显著高于普通学生,且美术训练学生的神经活动一致性与“好看”评分呈负相关。本研究揭示了艺术专业知识对中国画审美的重要性,且神经活动一致性可作为中国画审美判断的一项潜在神经标记。     

LES CULS-DE-SAC OF ENLIGHTENMENT AESTHETICS: A METAPHILOSOPHY OF ART

Abstract: This article charts the rise and fall of the Modern System of the Arts and the failure of the aesthetic theory of art to define membership in the so-called system, which, instead, I argue, is and has been, for a long time, merely a historically evolved collection. Rather than endorsing the continued attempt to define Art with a capital A in terms of aesthetic experience, I recommend alternative lines of research for contemporary philosophers of the arts.     

Joseph Margolis on Pragmatism

This paper begins with a memoir of the author’s interactions with Joseph Margolis that delineates both Margolis’s importance as a teacher and their disagreements on aspects of American philosophy. It then turns to Margolis’s discussions of pragmatism as a philosophical movement, with an emphasis on his understanding of John Dewey. The paper considers, third, Margolis’s account of the decline and rebirth of pragmatism, the latter process attributed largely to the work of Richard Rorty. The paper concludes with an examination of what it sees as Margolis’s most valuable work: his explorations of the nature of the self and of human society.     

Psychoanalysis,science, and art: Aesthetics in the making of a psychoanalyst1

This paper critically examines the relationship of psychoanalysis to science and art. Its point of departure is Michael Rustin's theorizing. Specifically, in considering the possibility of a psychoanalyst's having an aesthetic orientation, the author analyses: 1) the difficulty of there being any connection between psychoanalysis and science because science's necessarily presupposed subject‐object dichotomy is incompatible with transference, which, beginning with Freud, is basic to psychoanalysis; 2) the complex relationship between psychoanalysis and aesthetics using Maurice Merleau‐Ponty's philosophical perspective as well as Luigi Pareyson's theory of aesthetics; 3) the Kantian foundations of the psychoanalytic notion of art as the ‘containing form of subjective experience’ 4) intersubjectivity, without which clinical practice would not be possible, especially considering matters of identity, difference, the body, and of sensory experience such as ‘expressive form’; 5) the relationship of psychoanalysis and art, keeping in mind their possible convergence and divergence as well as some psychoanalysts' conceptual commitment to classicism and the need for contact with art in a psychoanalysts's mind set.     

What,After All,Is the Work of Culture?

This paper offers an overview of Joseph Margolis’s philosophy of culture, highlighting how Margolis’s radical historicism is not inconsistent with our realistic intuitions regrading facts and objectivity. While Margolis identifies interpretation as the work of culture, the paper suggests that a much more basic sense of human labor needs to be thematized more fully than Margolis does in any defensible account of culture. Margolis of course appreciates work in this sense, but he does not consistently make it integral to his conception of culture. Even so, what he so forcefully defends is, as one commentator has put it, “beautiful. It’s also erudite, elegant, and insightful (and frightfully, dialectically intricate).”     

From Ode to Sport To Contemporary Aesthetic Categories of Sport: Strength Considered as an Aesthetic Category

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with “O Sport, you are Beauty!”, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts.

The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength’s expression.

It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience.     

Nuanced aesthetic emotions: emotion differentiation is related to knowledge of the arts and curiosity

The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation (ED) in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response to various artworks including positive and negative themes. Positive ED was associated with the embracing sub-trait of curiosity that reflects engagement and enjoyment of novelty and complexity, but was unrelated to artistic knowledge and perceived comprehension. Negative ED was associated with higher curiosity and particularly more knowledge of the arts. This relationship was mediated by appraised comprehension suggesting that deeper engagement with art, by those with more art knowledge, is associated with more fine-grained emotional experiences. This finding extends ED beyond well-being research and suggests that more nuanced emotional experiences are more likely for those with expertise in the arts and motivation for exploration.     

The authority of pleasure

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non‐contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes their aesthetic evaluation and appreciation. This is why and how art is non‐contingently related to pleasure. Call this, the Affective View. While I don't advance conclusive arguments for the affective view in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the affective view is worth serious reconsideration.     

Art,Ethics, and Critical Pluralism

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic‐ethical value relation.     

审美概念理解对审美感性水平影响的实验探索

通常认为审美理性对审美感性有消极影响。这至少对认知心理学和人工智能的研究与发展形成了一种障碍。本研究以审美概念理解作为审美理性活动的典型式,对二者的实际关系进行探索。实验对象分为A类普通被试和B类艺术专业被试。结果表明：无论是否通过专门的审美概念学习训练,实验组和对照组的审美概念理解与审美感性水平的发展都呈共同上升趋势：通过学习训练,审美概念理解程度有显著提高,且显著有助于AB两类被试审美感受总水平提高;审美概念理解的“合理性”（正确性与精确性）是对审美感性各因素影响的显著因子,而其“事实例举”对于审美感性中的审美感知、审美联想、审美情感等是显著因子。A类小学5年级被试的审美感知和审美情感、B类大学美术专业2年级被试的审美感知,实验前后无显著差异,这表明审美理性对审美感性所具有的积极影响,在一定条件下是有限的。     

神经美学：探索审美与大脑的关系

神经美学采用神经科学的技术手段来探索审美的神经机制。本文从审美认知加工过程的角度来探讨审美的心理学原理及其神经机制。回顾了近年来神经美学取得的主要成果, 研究发现与审美加工相关的脑区主要涉及感知觉、运动、情绪以及奖赏等机能系统。神经美学的三个重要研究主题是真与美、离身认知与具身认知以及认知与情绪。未来研究应从时间维度来探讨审美体验的动态性, 从跨艺术形式以及跨文化的视角来探讨审美神经机制的普遍性。     

Is Perception the Canonical Route to Aesthetic Judgment?

It is commonplace amongst philosophers of art to make claims that postulate important links between aesthetics and perception. In this paper, I focus on one such claim—that perception is the canonical route to aesthetic judgment. I consider a range of prima facie plausible interpretations of this claim, and argue that each fails to identify any important link between aesthetic judgment and perception. Given this, I conclude that we have good reason to be sceptical of the claim that perception is in any way privileged as a source of aesthetic judgment.     

Beauty in the blink of an eye: The time course of aesthetic experiences

Under normal circumstances, perception runs very fast and seemingly automatic. In just a few ms, we go from sensory features to perceiving objects. This fast time course does not only apply to general perceptual aspects but also to what we call higher-level judgements. Inspired by the study on ‘very first impressions’ by Bar, Neta, and Linz (2006, Emotion, 6 , 269) the current research examined the speed and time course of three aspects of the aesthetic experience, namely beauty, specialness, and impressiveness. Participants were presented with 54 reproductions of paintings that covered a wide variety of artistic styles and contents. Presentation times were 10, 50, 100 and 500 ms in Experiment 1 and 20, 30 and 40 ms in Experiment 2. Our results not only show that consistent aesthetic judgements can be formed based on very brief glances of information, but that this speed of aesthetic impression formation also differs between different aesthetic judgements. Apparently, impressiveness judgements require longer exposure times than impressions of beauty or specialness. The results provide important evidence for our understanding of the time course of aesthetic experiences.     

Hegel,Danto, Adorno,and the end and after of art

In this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to an end autonomously, owing to art's successful realization of its governing principle, Adorno by contrast sees art as coming to an end heteronomously. Art's narrative is forcibly broken off, rather than completed. Adorno's account, indebted to Hegel, of art's commitment both to autonomy and the realization of ‘spiritual needs’ is explored in order to clarify how, on Adorno's view, this has happened to art; and why, precisely, he believes art is coming to an end.     

Commentary on Corradi et al.’s (2019) new conception of aesthetic sensitivity: Is the ability conception dead?

Corradi et al. (British Journal of Psychology, 2019) argue that their new conception of visual aesthetic sensitivity (as responsiveness to aesthetic features in one’s preferences) presents several advantages in comparison with the current ability view of aesthetic sensitivity, usually defined as the ability to judge aesthetic stimuli in accordance with standards (The Journal of Psychology, 1964, 57 and 49). Although the measure they propose is interesting and presents advances to the field, we point to important issues. Notably, the authors conveniently base their comparison between the two conceptions on psychometric double standards, discard a century of research on aesthetic sensitivity by focusing on Eysenck’s speculations, and disguise an extension of already existing aesthetic preference tests (e.g., The Journal of Psychology, 1952, 33 and 199; Empirical Studies of the Arts, 2005, 23 and 165) as a redefinition of aesthetic sensitivity. We conclude that both aesthetic preference and aesthetic sensitivity research are legitimate objects of study, that the authors present interesting ideas to further the study of aesthetic preferences, but that their approach is not new and that its proposed renaming only adds confusion to the field.     

Psychotherapy in the aesthetic attitude

Abstract: Drawing upon the writings of Jungian analyst Joseph Henderson on unconscious attitudes toward culture that patients and analysts may bring to therapy, the author defines the aesthetic attitude as one of the basic ways that cultural experience is instinctively accessed and processed so that it can become part of an individual's self experience. In analytic treatment, the aesthetic attitude emerges as part of what Jung called the transcendent function to create new symbolic possibilities for the growth of consciousness. It can provide creative opportunities for new adaptation where individuation has become stuck in unconscious complexes, both personal and cultural. In contrast to formulations that have compared depth psychotherapy to religious ritual, philosophic discourse, and renewal of socialization, this paper focuses upon the considerations of beauty that make psychotherapy also an art. In psychotherapeutic work, the aesthetic attitude confronts both analyst and patient with the problem of taste, affects how the treatment is shaped and ‘framed’, and can grant a dimension of grace to the analyst's mirroring of the struggles that attend the patient's effort to be a more smoothly functioning human being. The patient may learn to extend the same grace to the analyst's fumbling attempts to be helpful. The author suggests that the aesthetic attitude is thus a help in the resolution of both countertransference and transference en route to psychological healing.     

‘For Beauty is nothing but the barely endurable onset of Terror’: Outline of a general psychoanalytic aesthetics

Even close to 80 years after Freud's words that psychoanalysis “has scarcely anything to say about beauty” (Freud, Civilization and its Discontents, SE 21, p. 82) the question of a specific psychoanalytic aesthetic is still faced with a deficit in theory. Since aesthetics is related to Aisthesis, the Greek word for ‘perception’, a psychoanalytic aesthetic can solely emerge from a psychoanalysis of perceptive structures. The term ‘kinaesthetic semantic’ is introduced in order to exemplify via music how perceptive experiences must be structured for them to be experienced as beautiful. The basic mechanisms – repetition of form (rhythm, unification) and seduction (deviation, surprise) – are defined. With the help of these mechanisms an intensive contact between perceiving object and kinetic subject, the physical self, is established. The intensive relatedness is a requirement for the creative process in art and also for psychic growth on the subject's level. The described basic mechanisms of the aesthetic process in music can also be encountered in painting and poetry. By the means of a self‐portrait by Bacon it will be examined how, in art, terror and traumatization are represented via targeted disorganization of beauty endowing mechanisms, hence finding an enabling form of confrontation and integration of fended contents.     

Seeing the Unseen: Pastoral Insights Drawn from James Turrell’s Artwork

According to Charles Sanders Peirce’s framework of semiotics, an individual’s life can be regarded as a work of art that as a sign continuously generates meaning by using various life experiences as its art materials. Here the individual plays a role both as an artist and as a viewer of his or her life. This semiotic implication of one’s life reshapes the general goal and function of pastoral care and counseling. In terms of art, the pastoral caregiver’s role is defined as that of a curator who facilitates the overall environment for aesthetic experience by helping an individual to see the unseen in his or her life as a work of art and does so in a didactic but unobtrusive way. As an example, a series of James Turrell’s art installations suggests how the role and function of the pastoral caretaker can be redefined. This aesthetic perspective also reflects the existential and psychospiritual dimensions of pastoral care and counseling.