Art as Festival in Heidegger and Gadamer

In 'Art as Festival', I put Heidegger and Gadamer into dialogue concerning their respective critiques of traditional aesthetics and their more positive views on the work of art. I use the festival theme to examine some of the philosophical issues in Heidegger's and Gadamer's approaches to the work of art. Specifically, I look at the way both figures conceive the work of art as an encounter which, like the festival, involves a transcendence of subjectivity in an encounter with an event - in this case, the artwork - which the individual does not direct, but rather in which they participate. Putting the theme of festival into play also provides a useful critical lever, especially in the way that it raises important issues of community. More specifically, reflecting on the festival celebration raises questions of the nature of this community, of the relation of the community created in the festival event to the community of the everyday, and thus also of the relation of the aesthetic and the political.     

What is manipulative behavior, anyway?

One of the most common ways of characterizing patients diagnosed with borderline personality disorder is that they are manipulative. Clinical usage of the term varies widely but clearly carries a pejorative meaning. Furthermore, behaviors that look similar to those called manipulative in clinical contexts are not called manipulative in broader society. It is crucial to become clear on what manipulation is, because studies show that carers routinely perceive BPD patients as manipulative and so have less empathy for them. In this paper the concept of manipulativity is clarified and its scope narrowed by distinguishing it from a number of related concepts, and a number of reasons why manipulating others is morally objectionable are suggested. I argue that, while some BPD patients may be manipulative, much of their behavior can and should be understood in a different light. Moral and clinical values are conflated in carers' judgments of manipulativity, and clinicians and researchers need to clarify when and why manipulative behavior is dysfunctional, and when it is merely morally wrong. Separating these two domains will enable carers to be more empathetic and less blaming of their patients' behavior.     

The aesthetics of luxury fashion,body and identify formation

In this paper we theorize and empirically investigate how female consumers' attitudes and preferences relating to bodily appearance are linked to their perceptions of the aesthetics of fashion. Our theoretical work is informed by three streams of research: aesthetics of production, aesthetics of reception and aesthetic labor. These three converge to illuminate our study. Using the ZMET technique, we uncover four themes: fashion as wearable art, body and self-identity, bodily appearance and high fashion brands, and aesthetic labor through fashion. Our focus on the aesthetics of fashion and identity formation provides a segue into the broader discussion of the growing importance of aesthetics in understanding consumer behavior.     

Fabric-circle-slider: Prototype Exploring the Interaction Aesthetic of Contextual Integration

Traditionally, designers have explored the aesthetics of interaction through the relationship between the product form and the activity people use it for. However, in the increasing complexity of interconnected and multi-activity devices in the home, aesthetics have been sacrificed in a move to increase usability. In this paper, we present an emerging theory that interaction designs that take a contextual integration approach can draw interaction aesthetics from the context instead of the activity to address the increased complexity. In addition, we present a conceptual interaction widget called the fabric-circle-slider that draws its interaction aesthetic from a lounge chair – the context of use – and supports interaction with many devices.     

Icebreakers: Environmentalism and Natural Aesthetics

ABSTRACT What have natural aesthetics and environmentalism in common? Not much if the former deals with nature as if it were an artwork or a gallery of art objects, or if the latter grounds the protection of nature in consequentialist terms. Suppose, however, one adopts a non-consequentialist environmentalism which, further, stakes out a primary view of nature as terrain rather than as habitat; i.e., a view which is not biocentric (life-centred), let alone anthropocentric. This environmentalism is rooted in the belief that we are prima facie bound not to interfere in any of the world undefined by culture whether or not it supports life. There is a reason forbidding us from strip-mining the far side of the moon, say, even though no habitat is thereby destroyed, nor is there any blight creating visual offence to those immediately affected. To furnish the reason for such an ‘acentric’environmentalism, one needs a natural aesthetic. Why? By elimination, because the stock appeals grounding any moral stance—to rights or interests or happiness or autonomy—are unavailable. The ‘subject’of an acentric environmentalism is insensate. But an ‘acentric’aesthetic seems even more curious than its environmentalist dependent. It would entail an aesthetic viewpoint indifferent to human scale and perspective, the very factors which underwrite any cultural aesthetic. So, is such an aesthetic possible? The barest glimpse of how it might look concludes this paper.     

When Social Accounts Backfire: The Exacerbating Effects of a Polite Message or an Apology on Reactions to an Unfair Outcome1

We examined the effects of ex ante polite or apologetic messages on an individual's responses to a low (unfair) outcome offered in an ultimatum (take‐it‐or‐leave‐it) situation. Results show that these 2 messages (a) increased, rather than decreased, participants' perceptions of unfairness; and (b) decreased, rather than increased, their acceptance of the outcome. Moreover, participants engaged in more punishing behaviors when the outcome was accompanied by either of the messages than when no account was provided. Further analysis revealed that perceived manipulative intent mediated participants' reactions to the polite message and to the apology. These results indicate that if a message seems insincere and manipulative, it can exacerbate an individual's negative reactions to an unfair outcome accompanying the message.     

Dispelling the illusion of invulnerability: the motivations and mechanisms of resistance to persuasion

Three studies examined the impact of a treatment designed to instill resistance to deceptive persuasive messages. Study 1 demonstrated that after the resistance treatment, ads using illegitimate authority-based appeals became less persuasive, and ads using legitimate appeals became more persuasive. In Study 2, this resistance generalized to novel exemplars, persevered over time, and appeared outside of the laboratory context. In Study 3, a procedure that dispelled participants' illusions of invulnerability to deceptive persuasion maximized resistance to such persuasion. Overall, the present studies demonstrate that attempts to confer resistance to appeals will likely be successful to the extent that they install 2 conceptual features: perceived undue manipulative intent of the source of the appeal and perceived personal vulnerability to such manipulation.     

Dependent origination and the dual‐nature of the Japanese aesthetic

As most commentators on Japanese aesthetics agree, the Japanese aesthetic is pervaded by a profound affirmation of things in their suchness or original uniqueness, and at the same time is tinged with an element of sadness or melancholy. While the responses of affirmation and melancholy seem rather subjective and may—at first glance—appear inconsistent with Buddhist notions like anatman, or non‐self and the Buddhist demand for non‐attachment, I shall argue that a more careful reading of certain Buddhist doctrines, specifically the doctrine of dependent origination or pratitya‐samutpāda, reveals that the basic tenets of Buddhism are not only consistent with these sorts of subjective responses, but in fact serve to help explain the dual nature of the Japanese aesthetic. Accordingly, I shall suggest that given the undeniable influence Buddhism has had on Japanese culture, it seems likely that the doctrine of dependent origination is not only compatible with, but also contributed to the formation of what we regard as the Japanese aesthetic.     

Wisdom and Knowledge: The Outline of Eastern and Western Aesthetic Spirits?

Wisdom and knowledge are the basic spirits of Eastern and Western aesthetics. The shortcoming of the aesthetics based on knowledge, i.e., the aesthetics of knowledge, lies in the fact that it clings to the opposing differences between Western- and Eastern-centered theories. These differences include essentialism and anti-essentialism; harmonious and non-harmonious relationships between person, self, nature and society; art or nature as the highest aesthetic realm; metaphysics or psychology as the aesthetic domain; dualism and Advaita; and so on. The aesthetics based on wisdom, namely aesthetics of wisdom, is valuable due to its adopting an impartial attitude toward Eastern and Western aesthetics, essentialism and anti-essentialism, philosophical horizon and psychological horizon, theory of harmony and theory of antagonism, beauty of art and beauty of nature, dualism and Advaita, up to aesthetics of knowledge and aesthetics of wisdom. Contrasted with this understanding of the aesthetics of knowledge, non-dualism and non-Advaita are the soul of the spirit of the aesthetics of wisdom.     

Reply to Reynolds

Abstract

How should we read Foucault's claims, in his late work, for the relevance of ‘aesthetic criteria’ to politics? What is Foucault's implicit understanding of the nature of aesthetics and the autonomy of the aesthetic sphere? Would an ethics which gave a place to the aesthetic legitimize a politics of manipulation, brutality and aggression ‐ in short, a ‘fascist’ politics ‐ as some of Foucault's critics argue? In this paper, I examine key accounts of the fascist ‘aestheticization of politics’ ‐ from Walter Benjamin's classic essay, ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), to Philippe Lacoue‐Labarthe's work on the relation between Heidegger's philosophy and the fascist theme of politics as the plastic art of the state. Through a discussion of Foucault's late work, the paper demonstrates the connection between Foucault's turn to ancient Greek ethical practices and his call for a contemporary renewal of the idea of ethics as an art of living. The aim of the paper is to show in what ways the ethico‐political position which is presented in Foucault's late work, far from contributing to a fascist politics, in fact provides ways of thinking about the relationship between the aesthetic and the political which avoid both mindless radicalism and totalitarian narcissism. In doing so, the key question is, ‘What's aesthetic about Foucault's “aesthetics of existence"?’     

动态性对简笔画动物审美的影响及其神经机制

运用行为和fMRI技术, 通过比较动态刺激与静态刺激审美判断的行为和脑机制的异同探讨动态性对简笔画动物审美的影响, 包括两个实验。结果发现, 动态简笔画动物的美观程度评分和喜欢程度评分都显著高于静态简笔画动物。同时, 动态简笔画动物审美判断激活的区域基本涵盖了静态简笔画动物审美所激活的区域, 二者都激活了枕叶区等视觉加工区域、额叶区等认知加工区域、眶额叶皮层等奖赏区域以及海马、脑岛、扣带回、杏仁核等情绪加工区域。与静态简笔画动物的审美相比, 动态简笔画动物的审美显著激活了双侧舌回、双侧MT。本研究结果表明, 动态性影响了对简笔画动物的审美, 动态简笔画动物比静态简笔画动物被判断为更加美观。     

Structure Disclosed. Replete Moments and Aesthetic Experience in Reading Novels

ABSTRACT

Despite the huge interest in different philosophical questions surrounding literature, particularly analytic philosophers have had relatively little to say about literature’s specifically aesthetic character. Peter Kivy has developed this antiaesthetic tendency furthest, ultimately denying that the reading of prose literature has any deep aesthetic content. Building on Alan Goldman’s and John Dewey’s work on aesthetic experience, I argue that a key literary feature of novels I single out – what I term a replete moment – has the potential to trigger in readers significant aesthetic experiences. Along with revealing aesthetic aspects in reading that Kivy’s position does not cover, my account shows that contemplation of the overall structure of the novel is not the sole, more substantial form aesthetic experience can take in the case of reading, as Kivy’s formalistic literary aesthetics assumes. This conclusion is argued to be significant also for the general philosophical discussion on aesthetic experience. An analysis of a key passage in John Irving’s A Prayer for Owen Meany is an important part of the view of literary aesthetic experience put forth.     

When and how aesthetics influences financial decisions

We observe the influence of aesthetic design on consumer behavior involving financial products—an area where financial decision-makers say they do not take aesthetics into account. In a series of three studies we find that the look of a document in hypothetical investment decisions impacts stock valuation and behavior in some but not all situations. Specifically, our results show that calling attention to the influence of design on behavior moderates the effect, including the paradoxical finding that the effect of design is attenuated when investments involve entities for which aesthetics is of intrinsic value.     

On Aesthetic Judgement and our Relation to Nature: Kant's Concept of Purposiveness

I offer a critical reconstruction of Kant's thesis that aesthetic judgement is founded on the principle of the purposiveness of nature. This has been taken as equivalent to the claim that aesthetics is directly linked to the systematicity of nature in its empirical laws. I take issue both with Henry Allison, who seeks to marginalize this claim, and with Avner Baz, who highlights it in order to argue that Kant's aesthetics are merely instrumental for his epistemology. My solution is that aesthetic judgement operates as an exemplary presentation of our general ability to schematise an intuition with a concept at the empirical level. I suggest that this counts as an empirical schematism. Although aesthetic judgement is not based on empirical systematicity, it can nevertheless offer indirect support for the latter in so far as it is a particular revelation of purposiveness in general.     

Form ‘defines’ function: Neural connectivity between aesthetic perception and product purchase decisions in an fMRI study

In the aesthetics literature, object beauty has been emphasized for its non‐instrumental benefits, in other words, beauty that is ‘rewarding’ in itself, without functional considerations. In the context of consumer products, this study examines the influence of aesthetic perceptions on purchase decisions based on integrating both reward (hedonic) and functional value attribution mechanisms. Brain connectivity analysis of functional magnetic resonance imaging (fMRI) data sheds light on the neural route for the influence of product beauty on purchase. Notably, a significant directional connectivity from brain networks mediating ‘aesthetic perception’ to ‘functional value’ to ‘purchase decision’ shows that the left Amygdala, an emotion‐related region of the aesthetic network, influences all five regions in the functional network, which then influences the purchase network of the brain, thus supporting the utilitarian goals of aesthetic appraisals and the Antonio Damasio's somatic/emotional marker hypothesis. Further, we find clear evidence that the reward (hedonic) network, which also influences the purchase network, receives information from the functional network of the brain, integrating both the non‐instrumental and instrumental value of the product. In other words, beauty in consumer products influences purchase decisions by evoking emotions that importantly define the functional value of products, in addition to their hedonic/reward value uncovered in previous literature. In light of the novel findings, the authors discuss important implications for marketing theory, methodology, and practice. Copyright © 2016 John Wiley & Sons, Ltd.     

庄子"天地大美"思想的现代阐释

在知识学、美学、伦理学分科的学术背景下解读庄子思想,庄子以“道”为指归,批判现实人生中的知识、伦理因素,追求与“道”相融通的境界,向自身、向固有存在结构复归,具有美学内涵。“天地大美”作为其唯一肯定的通达于“道”的中介,在于使世界以其本来面目自然呈现,具有“美”的本体意义,成为体现庄子思想美学内涵的核心范畴。     

Excess in Art: The Case of Oversinging

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste.