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.     

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"?’     

Celestial Aesthetics: Over Our Heads and/or in Our Heads

I am the daughter of earth and water,

And the nursling of the sky.

Percy Bysshe Shelley, “The Cloud,” 1820

Abstract Looking at the night sky, we may seem cosmic dwarfs, overwhelmed with a sense of otherness, abyss, lostness. But humans alone enjoy such celestial awe. We can move to a sense of the beholder's celestial ancestry and ongoing relatedness in “our cosmic habitat.” That account joins aesthetics with mathematics, finds dramatic interrelationships gathered under “the anthropic principle,” and considers meteorological aesthetics. The wonder is as much this Homo sapiens with mind enough to search the universe. What is out there is inseparably linked with what is down here. We are at home in the universe. The glory is both over our heads and in our heads.     

Between art tourism and ‘Protestant pilgrimage’: individual journeys to artworks in two churches of Reformed denomination near Bern,Switzerland

ABSTRACT

Can an individual trip to an artwork in a Protestant church, that evokes experiences of transcendence, be understood as a ‘Protestant pilgrimage’? The question is discussed with a historical example from the eighteenth century and a contemporary example from the twenty-first century, both of which refer to the transcendental dimension of (religious) art and raise the question about the interrelationship between art tourism and pilgrimage. Although the motivation for such journeys is often aesthetic and not spiritual, visitors may be deeply touched by the artworks and experience feelings that transcend the mundane present. If these examples are considered as ‘pilgrimages’ (and not only in a merely metaphorical sense), attention must be paid to their ecumenical, potentially heterodox character. For in the Reformed tradition, the importance of the pilgrimage is the journey itself, and not the final destination.     

The Creative Dilemma: The Influence of Schiller''s Aesthetics on the Life and Work of Otto Rank

The impact of philosophical wisdom on the pioneers of psychoanalytic work is presented in this article, in particular the influence of Schiller's aesthetics on the theoretical and clinical work of Otto Rank. The essay will compare and contrast Schiller's major themes—in particular his notions of the aesthetic impulse, will, and his concept of harmonia—with aspects of Rank's contributions, namely, his notions of creativity and the art of living. Drawing from Schiller's aesthetic vision, Rank's notion that art and play are foundational sources for healing is described in the author's own clinical work.     

Philosophical assumptions in Freud, Jung and Bion: questions of causality

The historical development of concepts of causality in philosophy is described. Since the Enlightenment and the growth of science, exponents of the two most important concepts, determinism and teleology, have been in conflict. At the inception of psychoanalysis at the end of the nineteenth century this conflict was particularly intense. It was the cause of the first major schism in psychoanalysis between Jung and Freud. Psychoanalytic theorists have continued to disagree over this issue. Post-modernist philosophy has abolished all metaphysics and therefore called into question concepts of psychic causality. Parallel to, but uninfluenced by this development, Bion has developed a psychoanalytic conceptualization which may be seen as transcending causality. The clinical and theoretical implications of these developments are described.     

The wisdom of nature in integrating science, ethics and the arts

This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in “deep sciences”. Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the “true”, the “right” and the “beautiful” with the aid of Nature’s wisdom is explained in more detail along with consequences. The author is a bioprocess engineer with a research interest in environmental issues.     

Contributors to this issue

Reid W. Anderson.
James Astor.
Coline Covington.
Michael Horne.
David Isenman.
Richard Kradin.
Joyce McDougall.
Owen Renik.
Ana Maria Andrade de Azevedo.
Angela Sowa.
Beverley D. Zabriskie.     

‘Are you a woman—or a flower?’: The capacity to experience beauty1

Being surprised by beauty, being drawn to and moved by it and surrendering to its sensory nature are all part of beauty's emotionally transformative power. And yet, psychoanalysis has had little to say about such an enriching dimension of psychological life. The author highlights how experiencing beauty is a capacity that is not isolated but is part of the lifelong experience of being changed by and changing the experience of the world we live in. She suggests that the capacity to experience beauty takes different forms at distinct points in development and in psychoanalytic treatments. The author describes two clinical occasions from a case where an analytic pair struggled to develop a greater capacity to experience beauty over time. She discusses how a theory of the aesthetic conflict was useful in helping to understand her patient's inner object world but was not sufficient when it came to understanding the experience of beauty. She shows how for both patient and analyst, experiencing beauty's full effect required responding to the call toward emotional life, surrendering to the surprise and the unknown, and letting go of the mind's struggle to find meaning and opening up to transforming and being transformed through sensory experience.