Why We Need a Theory of Art

Author(s): Annelies Monseré / Language(s): English Issue: 2/2016

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art– is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art.

J. Colin McQuillan, Early Modern Aesthetics (review)

Author(s): Botond Csuka / Language(s): English Issue: 2/2016

A review of J. Colin McQuillan´s Early Modern Aesthetics (London: Rowman & Littlefield, 2015, 204 pp. ISBN 978-1-78348-212-2).

Aesthetic Reasons and Aesthetic Obligations

Author(s): Fabian Dorsch / Language(s): English Issue: 1/2017

Responding to Aesthetic Reasons

Author(s): Andrew McGonigal / Language(s): English Issue: 1/2017

What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such reasons? In this paper, I offer a preliminary discussion of these topics. I argue that our account of aesthetic reasons should respect the fact that they play an important regulative role, over and above directly supporting aesthetic response. Such a role allows aesthetic reasons to moderate a wide range of practical and epistemic activities, but not by adding or substituting distinctively aesthetic ends or purposes for such activities. I then go on to argue against the view that skilled aesthetic achievement consists in correct recognition of and accord with aesthetic reasons, adapting a recent argument of Timothy Williamson’s.

Acting for Aesthetic Reasons

Author(s): Maria Alvarez,Aaron Ridley / Language(s): English Issue: 1/2017

It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by G. E. M. Anscombe’s Intention, specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their ends, and of the means to those ends, which artists have as they engage in their creative activity.

Obligations to Artworks as Duties of Love

Author(s): Anthony Cross / Language(s): English Issue: 1/2017

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.

Aesthetic Supererogation

Author(s): Alfred Archer,Lauren Ware / Language(s): English Issue: 1/2017

A number of moral philosophers have accepted the need to make room for acts of supererogation, those that go beyond the call of duty. In this paper, we argue that there is also good reason to make room for acts of aesthetic supererogation.

Not Music, but Musics

Author(s): Adrian Currie,Anton Killin / Language(s): English Issue: 2/2017

We argue for conceptual pluralism about music. In our view, there is no right answer to the question ‘What is music?’ divorced from some context or interest. Instead, there are several, non-equivalent music concepts suited to different interests – from within some tradition or practice, or by way of some research question or field of inquiry. We argue (1) that unitary definitions of music are problematic, (2) that the role music concepts play in various research questions should motivate conceptual pluralism about music, and (3) that taking music pluralism seriously grounds a fruitful research programme in aesthetics. We suspect that pluralism about music is a good test case for the utility of pluralism in aesthetics more generally, and we present it as such.

Aesthetic Experience, Aesthetic Value

Author(s): Jane Forsey / Language(s): English Issue: 2/2017

This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.

Aesthetics in Korea: Traditions and Perspectives

Author(s): Joosik Min / Language(s): English Issue: 1/2022

This paper aims to introduce the historical traditions of Korean aesthetics, focusing on the views of prominent thinkers, and further examine the contemporary tasks of Korean aesthetics. Thanks to 'chinoiserie' and 'japonism', Chinese and Japanese aesthetics were introduced to Europe relatively early, but Korean aesthetics has received little attention until recently. Korea has developed a great art culture with a long historical tradition and unique language in East Asian culture, and has accomplished its own specific achievements in aesthetics.

Yanagi, Ceramics and the Craft Values of Korean Aesthetics

Author(s): Rosa Fernandez Gómez / Language(s): English Issue: 1/2022

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony (chanoyu), has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings might have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft.

Appropriating Gugak and Negotiating K-Heritage

Author(s): Hee-sun Kim / Language(s): English Issue: 1/2022

This paper explores global K-pop's negotiation and reconstruction of Korean aesthetics via the dismantling, adoption, appropriation, and transfiguring of central elements of Korean traditional culture. Recently, K-pop groups have been incorporating traditional music and dance (gugak), traditional attire (hanbok), traditional houses (hanok), and old palaces (gogung) into music videos disseminated globally over digital platforms like YouTube. In their efforts to incorporate more 'Koreanness' into their musical productions and neutralize criticisms of their use of the 'K' prefix as inauthentic and unconnected to Korean aesthetics, groups like BTS and BLACKPINK are redefining 'K-heritage' for music consumers worldwide. Along with other globally consumed Hallyu productions like K-movies, K-dramas, and K-games, K-Pop is in the process of reconstructing Koreans' and the world's view of the meaning of Korean-ness.

Cho Jihoon’s Korean Aesthetics: the Concept of ‘Meot’

Author(s): Soohyun Kim / Language(s): English Issue: 1/2022

Cho Jihoon’s aesthetics is based on the Confucian literati’s spirit, choesado, and on the Buddhist idea of non-duality. He presented the theory of meot, meaning taste originally, as a Korean-specific aesthetic category in his Study of Meot, where he synthesized the previously discussed theories of other scholars into twelve elements. Discussing the formal characteristics of works that have the aesthetic quality of meot, he took unrefinedness as basic, and cited diversity, eurhythmy, and curvature as its subtraits. Discussing the compositional power or method of expression that provokes meot, he took hyperstandard as basic, and the subtraits include maturity, distortion, and playfulness. Furthermore, he discussed meot as an emotion or idea that Koreans live with, where the most basic one is otiosity (impracticality), and assimilation, moderation, and optimism are its subtraits. Finally, he identified meot as the ultimate aesthetic state with pungryu, a lifestyle in harmony with Nature, which is originated from the ancient Silla period.

No Extravagance in Poems

Author(s): Zheng-ying Ma,Heng-dong Xu / Language(s): English Issue: 1/2022

Experiences in the heart is one matter and literary writing is another: Toegye (1501-1570, a famous Korean Confucianist), however, would rather regard the two as a completely unified process, which amalgamates an immanent quality and a literary style, without isolation between them. Toegye stressed and valued the purity of the first experience, i.e., the filtered and the purified in the heart, which would flow into the second experience and purify it as well, ultimately cultivating it into a complete aesthetic experience. Poetry should be solely triggered by positive emotions, being aesthetically clear and pure, with no extravagance inside. A plain and ordinary style of literary writing is thereby formed and is regarded as a natural access of transcendence to a philosophical, ethical, and aesthetic connotation which is pure, rich, and profound, 'shaping to Sagehood' in Confucianism. Emotion plays the role of a cementing force that unifies all these factors and sections for life aestheticization.

The Spectrum of Aesthetic Issues in the Modern Development of the Joseon Literati Genre Gagok

Author(s): Mikyung Park / Language(s): English Issue: 1/2022

To Korean people by the end of the 19th century who had previously enjoyed only traditional music genres, the music introduced by the hands of the missionaries must have been very new and unfamiliar. One hundred and a few decades since the meagre beginning of the meeting between the two has now passed, Korea has transformed into a modernized society where all kinds of music are performed and enjoyed, among which Western classical and popular music exist with considerable weight. In the course of the development, there were constant exchanges between Korean traditional music and Western music. Korean traditional music has been subject at one end to defensive modification under the motto of transmission and at another end to aggressive destruction of some core aspects of the tradition under the motto of re-creation. This phenomenon creates important aesthetic issues in this study deals with the spectrum between the two ends drawn up by the traditional vocal genre, gagok.

A Study of Korean Aesthetic Consciousness in New - Media Art

Author(s): Yeonsook Park / Language(s): English Issue: 1/2022

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as evolved Naturalism with new media and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness.

Korean Aesthetic Consciousness and Colour Preference in Clothing Style

Author(s): Nakyung Shin / Language(s): English Issue: 1/2022

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements.

Súčasné perspektívy konceptu mysle Susanne K. Langerovej

Author(s): Agáta Košičanová / Language(s): Slovak Issue: 1/2022

The continual possibility of aesthetic experience throughout history has prompted philosophical reflections about its nature and meaning in human life. This article outlines some neuroscientific ways of understanding its functioning, focusing specifically on Susanne Langer’s contribution. Commonly subsumed under the heading ‘philosophy of mind’ – especially due to the trilogy Mind: An Essay on Human Feeling – Langer’s interests in the human mind developed already in the 1950s, as witnessed by the paper The Deepening Mind. A Half-Century of American Philosophy. Following these lines, the article discusses Langer’s philosophical approach from the perspective of a (neuro)aesthetic inquiry, emphasizing particularly the importance of the non-discursive realm of the mind. It also shows how Langer’s account might be seen as going beyond that of John Dewey, which is often referred to as an advancement in the historical development of neuroaesthetics.

Flâneur from South Moravia: An Appendix to ESPES 10(2)

Author(s): Lenka Lee / Language(s): English Issue: 1/2022

The following text is inspired by a special issue of the journal ESPES vol. 10, no. 2 (2021) entitled Everyday Aesthetics: European Perspectives and returns to the theme of flâneurie. It focuses on the Czech environment and, after a brief outline of the artistic flâneurism associated mainly with Prague, it moves on to the specific phenomenon of the Brno štatl and štatlaři, which are to some extent related to flâneurism. The štatl community followed the tradition of the plotna, a more closed group of socially weaker inhabitants of the city in the first half of the twentieth century, whose features included a special dialect – hantec. Štatlaři recruited more from the milieu of the educated people, bohemians, and artists, adopted, and transformed. The aim of the study is to show which characteristics flâneurism and “štatlař-ism” have in common and in what ways they differ. Furthermore, we will address the question of how knowledge of the phenomenon of štatlaři can influence the perception of flaneurs when they are walking around the city of Brno.

Highbrow Somaesthetics of Sex

Author(s): Max Ryynänen / Language(s): English Issue: 1/2022

Shusterman, R. (2021) Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press. ISBN 978-1107004764.