Philosophy: aesthetics Books

Book SynopsisPublic Art acknowledges the trend among contemporary museums to promote participatory and processual exhibition strategies meant to elicit subjective experience. At the same time it valorizes the object-oriented tradition that has long differentiated museums from other institutions similarly committed to public service and the perpetuation of cultural values. To blend and expand these aims, Hein draws upon a movement toward ephemerality and impermanence in public art. She proposes a new dynamic for the museum that is temporal and pluralistic, while retaining a grounding in material things. The museum is an agent, not a repository; and like public art, it interacts constructively with passing and transitory publics. As an actor with social clout, the museum has moral impact and responsibilities beyond those of the individuals that comprise its collective identity. The book should be read by museum workers and students, by arts and foundation administrators, critics, educators, aestheticians, institutional historians and theorists, and by anyone interested in the transmission of cultural concepts and values.Trade ReviewIn this wide-ranging study, Hilde Hein looks to the history of public art in order to propose a more dynamic future for the museum. She reveals the ways in which public art's emphasis on experience, process, and the ephemeral provides a deeper understanding of the changes—if not the paradigm shift—already underway in museums. -- Chon A. Noriega, Professor, UCLA Department of Film, Television, and Digital MediaHein's exploration of the museum world emphasizes experience and qualifies art as a process, not a thing, hence her concept of the museum as a performance in which objects and people participate. Six chapters discuss The Experiential Museum, Private, Nonprivate, and the Public, History and Meaning of Public Art, Innovation in Public Art, Old Museums and a New Paradigm, and Why a New Paradigm. Although her exposition is soundly based in philosophical arguments, Hein illuminates the discourse with examples like Christo's Gates project and the Baltimore Museum of Visionary Art. The reader finds discussions of contemporary developments like virtual visitors, the uses of electronic technology to extend the accessibility of collections beyondfixed walls. Motivated citizens can freely rearrange their downloaded treasure to create 'collections' of their own design. Nor does Hein (emer., College of the Holy Cross) neglect the significance of the museum site in its effect on the response to collections. Her writing is frequently poetic, as when she explains that objects can inspire the museal gaze which ignites the sense of presence. By emphasizing the impermanence of objects, she helps the reader focus on qualities of museums rarely consider * CHOICE *This eloquent book proposes a new paradigm for the museum, based on a deeply informed understanding of public art and museum practice. By comparing the museum to contemporary public art, Hilde Hein shows how the dynamic experimentalism of the latter can replace the static notion of museums as containers for timeless art. That is an invaluable lesson. -- Hafpór Yngvason, Director, Reykjavik Art MuseumHein's exploration of the museum world emphasizes experience and qualifies art as "a process, not a thing," hence her concept of "the museum as a performance in which objects and people participate." Six chapters discuss "The Experiential Museum," "Private, Nonprivate, and the Public," "History and Meaning of Public Art," "Innovation in Public Art," "Old Museums and a New Paradigm," and "Why a New Paradigm." Although her exposition is soundly based in philosophical arguments, Hein illuminates the discourse with examples like Christo's Gates project and the Baltimore Museum of Visionary Art. The reader finds discussions of contemporary developments like "virtual visitors," the uses of electronic technology to extend the accessibility of collections beyond fixed walls. Motivated citizens can "freely rearrange their downloaded treasure to create 'collections' of their own design." Nor does Hein (emer., College of the Holy Cross) neglect the significance of the museum site in its effect on the response to collections. Her writing is frequently poetic, as when she explains that objects can "inspire the museal gaze which ignites the sense of presence." By emphasizing the impermanence of objects, she helps the reader focus on qualities of museums rarely considered elsewhere. * CHOICE *Table of ContentsChapter 1 Introduction Chapter 2 1. The Experiential Museum Chapter 3 2. The Private, the Non-private, and the Public Chapter 4 3. Public Art: History and Meaning Chapter 5 4. Innovation in Public Art Chapter 6 5. Fitting Old Museums to a New Paradigm Chapter 7 6. Why a New Paradigm? Chapter 8 7. Conclusion

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Book SynopsisPublic Art acknowledges the trend among contemporary museums to promote participatory and processual exhibition strategies meant to elicit subjective experience. At the same time it valorizes the object-oriented tradition that has long differentiated museums from other institutions similarly committed to public service and the perpetuation of cultural values. To blend and expand these aims, Hein draws upon a movement toward ephemerality and impermanence in public art. She proposes a new dynamic for the museum that is temporal and pluralistic, while retaining a grounding in material things. The museum is an agent, not a repository; and like public art, it interacts constructively with passing and transitory publics. As an actor with social clout, the museum has moral impact and responsibilities beyond those of the individuals that comprise its collective identity. The book should be read by museum workers and students, by arts and foundation administrators, critics, educators, aestheticians, institutional historians and theorists, and by anyone interested in the transmission of cultural concepts and values.Trade ReviewIn this wide-ranging study, Hilde Hein looks to the history of public art in order to propose a more dynamic future for the museum. She reveals the ways in which public art's emphasis on experience, process, and the ephemeral provides a deeper understanding of the changes—if not the paradigm shift—already underway in museums. -- Chon A. Noriega, Professor, UCLA Department of Film, Television, and Digital MediaHein's exploration of the museum world emphasizes experience and qualifies art as a process, not a thing, hence her concept of the museum as a performance in which objects and people participate. Six chapters discuss The Experiential Museum, Private, Nonprivate, and the Public, History and Meaning of Public Art, Innovation in Public Art, Old Museums and a New Paradigm, and Why a New Paradigm. Although her exposition is soundly based in philosophical arguments, Hein illuminates the discourse with examples like Christo's Gates project and the Baltimore Museum of Visionary Art. The reader finds discussions of contemporary developments like virtual visitors, the uses of electronic technology to extend the accessibility of collections beyondfixed walls. Motivated citizens can freely rearrange their downloaded treasure to create 'collections' of their own design. Nor does Hein (emer., College of the Holy Cross) neglect the significance of the museum site in its effect on the response to collections. Her writing is frequently poetic, as when she explains that objects can inspire the museal gaze which ignites the sense of presence. By emphasizing the impermanence of objects, she helps the reader focus on qualities of museums rarely consider * CHOICE *This eloquent book proposes a new paradigm for the museum, based on a deeply informed understanding of public art and museum practice. By comparing the museum to contemporary public art, Hilde Hein shows how the dynamic experimentalism of the latter can replace the static notion of museums as containers for timeless art. That is an invaluable lesson. -- Hafpór Yngvason, Director, Reykjavik Art MuseumHein's exploration of the museum world emphasizes experience and qualifies art as "a process, not a thing," hence her concept of "the museum as a performance in which objects and people participate." Six chapters discuss "The Experiential Museum," "Private, Nonprivate, and the Public," "History and Meaning of Public Art," "Innovation in Public Art," "Old Museums and a New Paradigm," and "Why a New Paradigm." Although her exposition is soundly based in philosophical arguments, Hein illuminates the discourse with examples like Christo's Gates project and the Baltimore Museum of Visionary Art. The reader finds discussions of contemporary developments like "virtual visitors," the uses of electronic technology to extend the accessibility of collections beyond fixed walls. Motivated citizens can "freely rearrange their downloaded treasure to create 'collections' of their own design." Nor does Hein (emer., College of the Holy Cross) neglect the significance of the museum site in its effect on the response to collections. Her writing is frequently poetic, as when she explains that objects can "inspire the museal gaze which ignites the sense of presence." By emphasizing the impermanence of objects, she helps the reader focus on qualities of museums rarely considered elsewhere. * CHOICE *Table of ContentsChapter 1 Introduction Chapter 2 1. The Experiential Museum Chapter 3 2. The Private, the Non-private, and the Public Chapter 4 3. Public Art: History and Meaning Chapter 5 4. Innovation in Public Art Chapter 6 5. Fitting Old Museums to a New Paradigm Chapter 7 6. Why a New Paradigm? Chapter 8 7. Conclusion

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Book SynopsisTrade ReviewThis is a valuable project and the world will want to know what Gail and Barry think about the matters they touch; I can't think of authors whose practical wisdom is better suited to the task. -- Felipe Fernández-Armesto, William P. Reynolds Professor of History,University of Notre DameGiven the current devastation resulting from British Petroleum's catastrophic oil spill in the Gulf of Mexico, the book is quite timely in its elucidation of the world's fundamental shift to a post-coal oil-based/credit-based/knowledge economy, and our resulting awareness of and concern for ongoing environmental degradation. * Canadian Architect, July 2010 *At the heart of the book, the Lords provide a fascinating history of art patronage from the earliest tools to abstract art today….Perhaps the most valuable chapter to museum professionals is one near the end of the book that explores contemporary cultural change. The Lords apply their previous premises on art, culture and patronage to today's trends, and specifically to museums and municipalities. They examine how museums are experimenting with new ways to present their collections and, in turn, showcase culture and patronage and create more engaged citizens. * Diplo: Towards more inclusive and effective diplomacy, September-October 2010 *All involved in the visual and performing arts will be intrigued by the seven principles….They provide an interesting framework for understand cultural and artistic evolution. * Arts Professional, October 2010, Issue 226 *I find this an important book because of the clarity in which the Lords set out the terms. I don't think such a thing has been done before. It's going to be an enormous aid to anyone working in the culture sector—practitioners, teachers, historians, and theorists, too. -- Marta Braun, School of Image Arts, Ryerson University; author of Picturing Time: The Work of Etienne-Jules MareyThe book acts both as a retrospective and synthesis of over 30 years of thinking about and working with museums. As leaders of one of the world's largest firms specializing in the planning and management of cultural institutions, Lord & Lord propose a framework for understanding the dynamic of cultural change…. The book offers a valuable perspective from practitioners whose remarkable professional trajectory alone demonstrates their grasp of the phenomena. The book provides a framework to situate the intervention of the museum as a civil society institution that simultaneously respond and contribute to cultural change. It should be considered a reference book for both museum practitioners and students. * Muse *Table of ContentsChapter 1 Introduction Chapter 2 Chapter 1. What is Culture? Chapter 3 Chapter 2. Four Kinds of Culture Chapter 4 Chapter 3. The Meanings of Art Chapter 5 Chapter 4. All Art is Social Chapter 6 Chapter 5. Patronage in Action Chapter 7 Chapter 6. Primacy of the Artist Chapter 8 Chapter 7. Seven Principles of Cultural Change Chapter 9 Chapter 8. Cultural Change and the Environment Chapter 10 Chapter 9. Contemporary Cultural Change Chapter 11 For Further Reading

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Book SynopsisThe Aesthetic Sense of Life is a fast-moving book about how to see the world and get value from living every day with the everyday. Do the infinite number of sensations we''re surrounded with every day have intrinsic value? If not, what gives them value? Who appreciates the sunrise if we don''t? Is it enough for just us to appreciate it? Or do we have to share it? The Aesthetic Sense of Life considers and answers to questions such as these in clear, readable prose, offering a way of looking at life that makes clear its value and its meaning. The aesthetic sense of life is neither the viewpoint of the saintsfor whom the sensations of the world are mere murmuring and illusionnor the viewpoint of those completely fulfilled by their things, their gadgets, the particulars of their own lives. Most of us fall in the middle between these two extremes: we appreciate, say, a good cup of coffee, a power tool, a new set of towels, or a juicy steak, but don''t think the answer to the riddle of exiTrade ReviewBruce Fleming (Professor of English, U.S. Naval Academy, Annapolis, Maryland) focused upon how we should view the world around us and derive value from living fully in the present. Professor Fleming deftly considers basic answers to basic questions in an articulate and 'reader friendly' text making clear the value and meaning of becoming 'life aware' every minute of our waking day. The Aesthetic Sense of Life? is a cogent and persuasive argument that the meaning of our lives is to be found in the ordinary patterns and the multitude of small life experiences from which those patterns are derived. Indeed, that is our very awareness of the details of those patterns that create our aesthetic appreciation for the richness and meaning of the 'everyday.' -- . * Midwest Book Review, June 2008 *Table of ContentsPart 1 Preface Chapter 2 I: Individual and General Chapter 3 II: The Aesthetic Sense Inside Chapter 4 III: Public Rhythms Chapter 5 IV: The Aesthetic Sense Outside Chapter 6 V: Transitions Chapter 7 VI: Religion, Science, and the Aesthetic Sense Chapter 8 VII: Modernity and the Aesthetic Sense Chapter 9 VIII: Achieving Goals, Sort Of Part 10 Index Part 11 About the Author

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Book SynopsisIn Aesthetic Genesis, the author argues for a reversal of the most fundamental tenet of phenomenology-namely, that all consciousness is intentional (that is, directed toward an object). Mitscherling suggests, as a new Copernican hypothesis, that intentionality (i.e., directionality) gives rise to consciousness. This book describes not only the origin, or genesis, of human cognition in sensation, but also the genesis of sensation from intentional structures belonging to nature itself. A phenomenological examination of our experience leads to the conclusion that the two sorts of being generally recognized by contemporary science and philosophy-that is, material being and ideal being-prove ontologically inadequate to account for this experience. Mitscherling rehabilitates the pre-modern concepts of intentional being and formal causality and employs them in the construction of a comprehensive phenomenological analysis of embodiment, aesthetic experience, the interpretation of texts, moral Table of ContentsChapter 1 Preface and Acknowledgments Chapter 2 Chapter 1: Introduction Chapter 3 Chapter 2: The Negative Lexicon Chapter 4 Chapter 3: Intentionality Chapter 5 Chapter 4: Substance, Form, and Causality Chapter 6 Chapter 5: Mind and Cognition Chapter 7 Chapter 6: Habits, Behavior, Thought, and Language Chapter 8 Bibliography Chapter 9 Index Chapter 10 About the Author

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Book SynopsisComparing the Kantian sublime and Nietzschean Dionysian, Erman Kaplama introduces two new principles to philosophy of art: transition and motion. Drawing on the Heraclitean logos and phusis, he explores the notion of transition (Ãœbergang) in Kantâs Opus Postumum and revises the idea of nature as the principle of motion (phusis).Trade ReviewThis is a deeply impressive book. Well-researched and argued, it proposes nothing less than a principle of motion/transition that operates prior to the object/subject—or phenomena/noumena—split. . . . There are many highly original parts. . . . For myself, however, the excursus is the most exciting and compelling part of this work. I am very taken with the image of the spiral, and, indeed, with the reading of Van Gogh’s Starry Night. . . . Indeed, there are parts here that are beautifully written, poetic, and grand. -- Simon O’Sullivan, PhD, senior lecturer, Department of Visual Cultures, University of London’s Goldsmiths CollegeTable of ContentsAcknowledgments Introduction Chapter One: On “Transition” as one of the Founding Principles of Cosmological Aesthetics and its Applications in the Kantian Sublime and Nietzschean Dionysian Prelude: The Heraclitean Logos and the Principle of Transition On the Principle of Transition as the Foundation of Cosmological Aesthetics with Reference to Opus Postumum On the Human Faculty of Sense-Intuition (Anschauung) through which the Transition Takes Place On the Power of Judgment as the Faculty that Regulates and Determines the Transition The Principle of Transition and Cosmological Transcendentalism The Kantian Sublime as a Theory of Cosmological Aesthetics Representing the Transition The Nietzschean Dionysian as a Theory of Cosmological Aesthetics Representing the Transition On the Principle of Transition as Genius in Kantian and Nietzschean Aesthetics Conclusion Chapter Two: On “Motion” as one of the Founding Principles of Cosmological Aesthetics with Regards to the Heraclitean, Kantian and Nietzschean Cosmology Prelude: Heraclitean Phusis as the Principle of Motion Kant’s Principle of Motion and Metaphysics of Nature Nietzsche’s Principle of Motion and the Dionysian as a Cosmological Principle Conclusion Excursus: A Cosmological-Aesthetic Analysis Of Van Gogh’s Starry Night Conclusion Bibliography Index

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Book SynopsisThe Triadic Structure of the Mind provides a philosophical system that offers fresh solutions in the fields of ontology, knowledge, ethics, and politics. The second edition includes a more extensive treatment of the topics addressed in the first edition, the introduction of new concepts, and the inclusion of additional thinkers.Table of ContentsChapter 1—The Structure and Functioning of the Mind 1.1―The Triadic-Bidirectional Mind: An Overview 1.1.1―From Descartes’s “Cogito” to the Triadic Structure of the Mind 1.1.1.1―Further Considerations on the Cartesian “Cogito” 1.1.1.2―The Triadic Structure of the Mind as Understood by Reflections Other than the “Cogito” 1.1.1.3―Interrelation of the Three Mind Components, of Their Activities, and Their Products 1.1.1.4―The Bidirectional Activity of the Mind and the Origin of the Moral Values 1.1.1.5―Mind as an Evolving Entity, whose Evolution is the Moral Good 1.1.1.6―Defining the Triadic-Bidirectional Mind 1.1.1.7―Advantages of the Conception of the Unitary-Triadic Mind 1.1.1.8―Overview of the Judgment Criteria for the Various Mind Products 1.1.1.8.1―Judgment by “Specific Criteria” 1.1.1.8.2―Judgment by the “Value Criterion,” Valid for All Mind Products 1.1.1.9―The Triadic-Bidirectional Mind and the Rest of the World 1.1.1.10―A Note on Terminology 1.1.2―The Mind: Its Outward (or Selfish) Activities 1.1.2.1―Intellect: Its Outward or Selfish Activity 1.1.2.1.1―Ideas, Sentiments, and Actions as Objects of Intellect 1.1.2.1.2―Intellect as Support of Sensitiveness and Power: “Imaginary Ideas” and “Ideas-of-Projects” 1.1.2.1.3―The Branches of the Knowledge of Mind 1.1.2.2―Sensitiveness: Its Outward Activity 1.1.2.2.1―Sensitiveness and Its Outward Products: Sentiments 1.1.2.2.2―Sensitiveness as Support of Intellect and of Power 1.1.2.3―Power: Its Outward Activity and the Physical World 1.1.2.3.1―Power and Actions 1.1.2.3.2―The Physical World 1.1.2.3.3―Power as Support of Intellect and Sensitiveness 1.1.3―The Mind: Its Inward (or Moral) Activities and the Con-sciousness 1.2―The Conception of the Unitary-Triadic Mind Compared to the Main Theories of Mind 1.2.1―The Main “Dualistic” Theories of Mind 1.2.2―The Main “Non-Dualistic” and “Non-Monistic” Theories of Mind 1.2.3―The Main “Monistic” Theories of Mind 1.2.3.1―The “Triadic Monism” and Other Monistic Theories of Mind 1.2.3.2―The Uniqueness of the “Triadic-Bidirectional Mind”: Compari- son with Other Philosophical Doctrines 1.2.4―The Epistemological Implications of the Conception of the Unitary-Triadic Mind 1.2.5― Introspection and Self-Knowledge 1.2.5.1―General Concepts 1.2.5.2―Intellect and the Rational Awareness 1.2.5.3―Sensitiveness and the Emotional Awareness 1.2.5.4―Power and the Practical Awareness 1.2.5.5―Re-Interpretation of Some Views on Introspection and Self-Knowledge Chapter 2—A Comprehensive Ontological Conception: The Triadic Monism 2.1—The Triadic Monism 2.2―Comparison with Other Philosophical Conceptions 2.2.1―Comparison with Other Unitary Conceptions 2.2.2―Comparison with Other Conceptions Based on a “One and Trine” Entity 2.2.2.1―Comparison with Other Philosophical Systems 2.2.2.2―Comparison with Some Religious Conceptions Chapter 3—Intellect and Its Activity: Knowledge and Its Limits 3.1―The Knowledge of Power: The Physical World and the Actions of Man 3.1.1―The Knowledge of the Physical World 3.1.1.1―Objects and the Ideas-of-Object 3.1.1.1.1―Individual Objects of the Supra-Molecular World 3.1.1.1.2―Identical Particles of the Molecular-Atomic-Subatomic World 3.1.1.2―Objects of the Physical World 3.1.1.2.1―Similar and Yet Diverse Objects of the Supra-Molecular World 3.1.1.2.2―The Classes of Identical Particles of the Molecular-Atomic-Subatomic World 3.1.1.2.3―A Unifying Hypothesis of the Physical World: A World Made of Classes of Similar and Yet Diverse Objects 3.1.1.3―The Creation of “Classes” and “Sets” 3.1.1.3.1―Heterogeneous Classes Made of Similar but not Identical Objects 3.1.1.3.2―Homogeneous Classes Made of Identical Particles 3.1.1.3.3―A Unifying Hypothesis: Are All Classes Made of Similar and Yet Diverse Objects? 3.1.1.4―Objects, Properties, and Classes: Further Considerations 3.1.1.4.1―Physical versus Non-Physical Objects and Classes 3.1.1.4.2―More on Objects, and Properties 3.1.1.5―Classes and the Knowledge Process 3.1.1.6―Classes and Some Logical Paradoxes 3.1.1.7―Classes, Numbers, Mathematics and Geometry 3.1.1.8―Relations Between Objects and Classes 3.1.1.9―Relations in Static Conditions 3.1.1.9.1―Relation of the Object with Itself (Identification) 3.1.1.9.2―Relations Between Objects (or Inter-Objects Relations) 3.1.1.9.3―Object-Class Relations 3.1.1.9.4―Relations Class-to-Class (or Inter-Classes Relations) 3.1.1.10―Relations in Dynamic Conditions (Dynamic Relations): Events 3.1.1.10.1―Dynamic Relations of the Object with Itself (Events Affecting a Single Object) 3.1.1.10.2―Dynamic Relations Between Objects: (I) The Cause-Effect Relation 3.1.1.10.3―Dynamic Relations Between Objects: (II) Relations of Action 3.1.1.10.4―The Creation of Transformation Laws (Scientific Laws) 3.1.1.11―The Starting Point of Knowledge and Its Progressive Development 3.1.1.11.1―The Subject-Object Relation as the Starting Point of Knowledge 3.1.1.11.2―Subject-Object Relation and Quantum Mechanics 3.1.1.11.3―The Limits of Knowledge: The “Phenomenon” and the “Noumenon” 3.1.1.11.4―The Role of the Subconscious 3.1.1.12―Acquisition of New Knowledge of the Physical World by Inductive Reasoning: From Properties to Objects, Classes, Events, Laws and Theories 3.1.1.12.1―Assembling Properties into Objects and Observed Changes into Events 3.1.1.12.2―Grouping Objects into Classes 3.1.1.12.3―Grouping Events into Transformation Laws (Scientific Laws) and Theories 3.1.1.13―Utilization of Acquired Knowledge by Deductive Reasoning: Explanations, Previsions and Applications 3.1.1.13.1―Explanations 3.1.1.13.2―Previsions 3.1.1.13.3―Applications (Experiments and Inventions) 3.1.1.14―Methods of Reasoning for the Acquisition of New Knowledge 3.1.1.14.1―Propositions about Objects, Events, Classes and Laws 3.1.1.14.2―Particular Propositions about Objects and Events of the Supra-Molecular World 3.1.1.14.3―Propositions about Classes and Transformation Laws of the Supra-Molecular World 3.1.1.14.4―Propositions About Identical Particles (and Their Homo-genous Classes) and Regular Events (and Their General Laws) of the Molecular-Atomic-Subatomic World 3.1.1.15―Methods of Reasoning in the Utilization of Acquired Knowledge 3.1.1.15.1―Arguments about Objects and Classes of the Supra-Molecular World 3.1.1.15.2―Arguments about Objects (Particles) and Classes of the Molecular-Atomic-Subatomic World 3.1.1.15.3―Arguments about Events and Laws of the Supra-Molecular World 3.1.1.15.4―Arguments about Events and Laws of the Molecular-Atomic-Subatomic World 3.1.1.15.5―Comments to the Basic Logical Principles 3.1.1.15.6―More on Logical Principles 3.1.1.16—Terminology about Precision/Imprecision and Certainty/Uncertainty of Knowledge and Previsions 3.1.2―Knowledge of Power and Actions 3.2―Knowledge of Intellect and Ideas (Intellect and Ideas as an Object of Knowledge) 3.3―Knowledge of Sensitiveness and Sentiments 3.4―Language 3.4.1—General Concepts on Language. 3.4.1.1—What is Language? 3.4.1.2—Language as Speech Act 3.4.2—Analyzing Language 3.4.2.1―Language as Expression of Knowledge 3.4.2.1.1―Language as an Expression of Ideas and Moral Thoughts (Knowledge) about the Physical World and about Ideas and Moral Thoughts Themselves 3.4.2.1.2―Language as an Expression of the Knowledge of Sentiments and of Moral Feelings 3.4.2.2―Language as an Expression of Sentiments and Moral Feeling (Poetic Language, Command and Moral Language) Chapter 4—Sensitiveness and Its Activity 4.1―Sensitiveness as a Generator of Sentiments 4.1.1―Sentiments and Their Objects 4.1.2―Sentiments as Related to Ideas and Actions 4.1.3―Judgment of Sentiments 4.2―Expression of Sentiments and Works of Art 4.2.1―Expression of Sentiments by Language and the Literary Arts 4.2.1.1―Literary Arts 4.2.1.2―Autonomy of Art 4.2.1.3―Artistic versus Scientific Content 4.2.1.4―Art as Expression of Universal Sentiments 4.2.1.5―Art Critics and the Objectivity of the Value of Art 4.2.1.6―Art and Beauty 4.2.1.7 ―Representation, Expression and Understanding 4.2.1.8 ―The Problem of Fiction 4.2.1.9―Comment on the View of Art as Expression of Universal Sentiments 4.2.2―Expression of Sentiments by Sound 4.2.3―Expression of Sentiments by Imaging (Visual Arts) 4.2.3.1―Painting and Sculpture 4.2.3.2―Architecture 4.2.3.3―Expression of Sentiments by a Combined Use of Language, Sound and Imaging (Behavior, Theater, Cinema) 4.2.4―The Works of Art as Aesthetic Objects 4.2.5―Art and Morality 4.3―Comparison with Other Philosophical Conceptions of Art: Critique and Reinterpretation 4.3.1―The Main Aesthetic Theories: An Overview 4.3.1.1―Expressivism 4.3.1.2―Hedonism 4.3.1.3―Cognitivism 4.3.1.4―Institutionalism 4.3.1.5―Deconstruction 4.3.1.6―Structuralism 4.3.1.7―Representationalism 4.3.1.8―Normative Theory of Art 4.3.1.9―Post-Modern, Hermeneutic, and Existentialist Views on Art 4.3.1.10―Comment 4.3.2―The Conceptions of Art of Major Thinkers 4.3.2.1―Pre-Kantian Conceptions: Hume’s Aesthetics 4.3.2.2―Kantian Conception 4.3.2.2.1― Kant and the Aesthetic Judgment 4.3.2.2.2― The Genius 4.3.2.3―Schopenhauer on Art 4.3.2.4―Hegel on Art 4.3.2.5―Tolstoy on Art 4.3.2.6―The Aesthetics of Croce and Collingwood 4.3.2.6.1―Croce’s Aesthetics 4.3.2.6.2―Collingwood’s Aesthetics 4.3.2.7―Dewey’s Aesthetics 4.3.2.8―Art and Analytic Philosophy: Wittgenstein’s Aesthetics 4.3.2.9―Post-Modern and Hermeneutic Philosophy and the Art 4.3.2.9.1―Lyotard’s Aesthetics 4.3.2.9.2―Heidegger’s Aesthetics 4.3.2.9.3―Gadamer’s Aesthetics 4.3.2.9.4―Vattimo’s Aesthetics 4.3.2.9.5―Sartre’s Aesthetics 4.3.2.10―Other Views on Art and Aesthetics 4.3.3―The Definition of Art 4.3.4―The Effects of Arts on Society Chapter 5—Power and Its Activity: Man’s Action in Society and in the Physical World 5.1―Power as a Generator of Actions 5.2―Actions as Related to Ideas and Sentiments 5.3―Judgment of Actions 5.3.1―Judgment of Actions by the Strength Criterion 5.3.2―Judgment of Actions by the Value Criterion 5.3.2.1―Universal Actions and The Origin of Human Society 5.3.2.2―From the Particular Action of the Individual to the Universal Actions in Society 5.3.2.3―Political Philosophy and the Justification of Social Institutions 5.3.2.3.1―Correct-Rating of Actions Entails a “Power-Driven Society” 5.3.2.3.2―Wrong-Rating of Actions Entails a “Violence-Injured Society” 5.3.2.3.3―Spinoza’s Thought and the Justification of Power 5.3.2.3.4―The Conditions for a Meaningful Voting 5.3.2.3.5―Social Institutions and Their Nature 5.3.2.4―Philosophy of Law: Laws as Community-Shared Projects that Define Classes of Actions 5.3.2.4.1―The Finality of Laws (and of the Universal Actions that They Define) and Political Parties 5.3.2.4.2―The Nature of Laws 5.3.2.4.3― Constitution and Constitutional Norms 5.3.2.4.4―Adjudication Chapter 6—The Inward/Moral Activity of Mind: Morality (or Consciousness) 6.1―Consciousness as a Generator of Moral Events (Moral Thoughts, Moral Feelings, and Moral Acts) 6.1.1―Moral Events 6.1.2―Characteristics Peculiar to Moral Events 6.1.3—Mind Evolution as the Moral Good 6.1.3.1―Understanding the Moral Good and Morally-Good Acts 6.1.3.2―Moral Thoughts and Moral Principles versus Moral Feelings and Moral Values 6.1.3.3―Morally-Good and Morally-Bad States 6.1.3.4―Distinction and Relationship between the Moral and the Selfish Mind Products (and Their Judgment Criteria) 6.1.3.4.1―Distinction between the “Moral” and the “Selfish” Mind Activities and Products (and Their Judgment Criteria) 6.1.3.4.2―Relationship between the Moral and the Selfish Mind Activities and Products (and Their Judgment Criteria) 6.1.3.5―Outward versus Inward Mind Activities: Some Examples 6.1.3.6―A Very Short Meta-ethical Comment 6.1.4―Examples of Selfish/Personal Actions and Moral Acts 6.2―Comparison with Other Theories of Consciousness 6.2.1―Theories of Consciousness 6.2.2―Consciousness and the Brain 6.3―Judgment of Moral Events 6.3.1―Judgment by the Morality Criterion 6.3.1.1―The Morality Criterion 6.3.1.1.1―Judgment of Moral Thoughts and Conceptions 6.3.1.1.2―Judgment of Moral Feelings 6.3.1.1.3―Judgment of Moral Acts 6.3.1.2―Mention to Other Moral Conceptions 6.3.1.3―Mind Evolution versus Other Proposed Forces that Move Mind and the World 6.3.1.4―Demonstrative Examples: Dialogs between a “Good” Person and His Opponents 6.3.2―Judgment by the Value Criterion 6.3.2.1—Judging Moral Events by the Value Criterion 6.3.2.2—Particular versus Universal Mind Products: An Overview 6.3.3―Morality and Politics 6.3.4―Equality as Related to Morality and Politics 6.3.4.1―Equality between Individuals: The Right to Equal Treatment 6.3.4.2―Inequality between Individuals: The Right to Unequal (Individualized) Treatment 6.3.5―Supererogation, Moral Formalism, and Fanaticism 6.4―Moral Choices and Moral Motivations 6.4.1―Moral Choices and the Imprecision in Defining the Moral Good 6.4.1.1― General Aspects 6.4.1.2―Certainty and Uncertainty in Moral Choices 6.4.1.2.1―”Moral Choices” versus “Procedural Choices” 6.4.1.2.2―Ground “Morally-Certain” Moral Choices 6.4.1.2.3―“Morally-Certain/Cognitively-Imprecise” Moral Choices 6.4.1.2.4―“Cognitively-Imprecise/Predictively-Uncertain” Procedural Choices 6.4.1.3―Moral Choices in the Private and Public (Political) Life 6.4.1.4―Moral Motivation: A Multi-factorial Conception 6.4.1.4.1―The Internalist Position 6.4.1.4.2―The Externalist Position 6.4.1.4.3―Conclusion on Moral Motivation 6.4.2— On the Weakness of the Will 6.4.3―Defining Moral Responsibility 6.4.4―Terminology of Mind Products and the Disappearance of the “Will” 6.5―Free Will 6.5.1―Freedom of Selfish Decisions and Actions and of Moral Decisions and Acts 6.5.1.1―Freedom of Selfish/Personal Decisions and Actions 6.5.1.2―Freedom of Moral Decisions and Moral Acts (Free Will) 6.5.2―Choosing Between Moral Projects and Selfish/Personal Projects 6.5.3―Comparison with Other Conceptions of Freedom 6.5.3.1―Incompatibilist Theories 6.5.3.2―Critical Comment 6.5.4― Apparent Freedom Is Due to the Extreme Complexity of the Brain 6.6―Moral Responsibility Without Freedom 6.7―The Language of Morality (Moral Language) Chapter 7—Analytic and Continental Philosophy: Critique and Reinterpretation 7.1—Analytic Philosophy 7.1.1—Russell’s thought 7.1.2—Wittgenstein’s thought 7.1.3—Quine’s thought 7.2—Continental Philosophy: Post-Modernism, Hermeneutics, Existentialism 7.2.1—Post-Modern Philosophy 7.2.1.1—Nietzsche and Post-Modernism 7.2.1.2—Kuhn's Thought 7.2.1.3—Feyerabend's Thought 7.2.1.4—Rorty's Thought 7.2.1.5—Lyotard 7.2.1.6—Vattimo and Post-Modernism 7.2.1.7—A Short Comment of Post-Modernism 7.2.2—Hermeneutic and Existentialist Philosophy 7.2.2.1—My Hermeneutic Theory 7.2.2.2—Critical Reinterpretation of the Doctrines of the Main Hermeneutic Thinkers 7.2.2.2.1—Nietzsche and Hermeneutics 7.2.2.2.2—Peirce’s Thought 7.2.2.2.3—Heidegger’s Thought 7.2.2.2.4—Gadamer’s Thought 7.2.2.2.5—Habermas’s Thought 7.2.2.2.6—Vattimo and Hermeneutics 7.2.2.2.7—Taylor’s Thought 7.2.2.2.8—Other 7.2.2.3—Existentialism: Sartre’s Thought Chapter 8—Synopsis and Conclusions 8.1―Synopsis of the Mind’s Triadic Structure and Bi-directional Activity 8.2—Synopsis of the Activities of Intellect, Sensitiveness, and Power 8.2.1―Synopsis of the Activity of Intellect (see Fig. 8.2) 8.2.2―Synopsis of the Activity of Sensitiveness (see Fig. 8.3) 8.2.3―Synopsis of the Activity of Power (see Fig. 8.4) 8.3—A Conclusive Note References

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Book SynopsisEssays on Aesthetic Genesis is a collection of essays written on Jeff Mitscherling's work in realist phenomenology, Aesthetic Genesis: The Origin of Consciousness in the Intentional Being of Nature. The authors explicate, expand, contextualize and apply the concepts of intentional being, the New Copernican Hypothesis (a reversal of the fundamental tenet of phenomenology that all consciousness is intentionalintentionality, rather, gives rise to consciousness), the idea of intentional structures in nature, and the foundational concepts of Aesthetic Genesis as they appear in the work of Aristotle, Ingarden and Gadamer amongst others. This book takes as its focus Mitscherling's comprehensive phenomenological analysis of embodiment, aesthetic experience, the interpretation of texts, moral behavior, and cognition, and exemplifies subsequent work in the field of realist phenomenology being conducted by an international collection of active scholars influenced by Aesthetic Genesis.Trade ReviewThe collection’s twelve essays aim and succeed in providing valuable analyses and further developments of Mitscherling’s key arguments. Essays on Aesthetic Genesis will be of greatest interest to phenomenologists, but also makes noteworthy contributions to central debates in the history of philosophy, current considerations in the philosophy of mind, and to contemporary readings of Continental philosophers such as Husserl, Heidegger, and Gadamer.... It explores and develops with scholarly integrity ideas presented in Mitscherling’s earlier book that seem both commonplace and commonly denied. * The European Legacy – Toward New Paradigms *Table of ContentsForeword Introduction Charlene Elsby and Aaron Massecar Major Concepts 1. On the Concept of Aesthetic Genesis Charlene Elsby, Indiana University-Purdue University, Fort Wayne 2. The Copernican Turn of Intentional Being Charles Rodger, University of Alberta Historical Considerations 3. Cartesian Soul: Embodiment and Phenomenology in the Wake of Descartes Felix ÓMurchadha, National University of Ireland, Galway and Ane Faugstad Aarø, University of Bergen 4. The Intentional Being of Justice and the Foreseen Kimberly Baltzer-Jaray, Wilfrid Laurier University 5. Mitscherling’s Reading of Ingarden Robert Luzecky, Indiana University-Purdue University, Fort Wayne 6. Being that Can be Understood is (Not Just) Language: On Linguisticality and Intentionality Jason C. Robinson, Wilfrid Laurier University Contemporary Discussion 7. Overcoming Husserl’s Mind-World Split: Jeff Mitscherling’s Aesthetic Genesis and the Birth of Consciousness Through Intentionality Antonio Calcagno, King’s University College 8. Artistic Creation: On Mitscherling and Dylan Paul Fairfield, Queen’s University 9. Our Connection to Nature Siby K. George, Indian Institute of Technology, Bombay 10. Intentionality and the New Copernican Revolution: Realist Phenomenology and the Extended Mind Hypothesis Aaron Massecar, Independent Scholar 11. Perfect Empiricism: Mitscherling’s Aristotelian Phenomenology, the Logos, and The Problem of Ideal Objects Conrad Hamilton, Université Paris VIII Saint-Denis 12. A Relational Theory of Truth Joshua Boyce, University of Toronto Afterword The Problem with Being that Can be Understood Jeff Mitscherling, University of Guelph

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Book SynopsisIn this third edition of The Triadic Structure of the Mind, Belfiore expounds his basic ontological conception of the structure and functioning of the âœmindâ or âœspiritâ as an evolving, conscious triad composed of intellect, sensitiveness, and power, each exerting a selfish and a moral activity.Table of ContentsFigures Tables Preface to the First Edition Preface to the Second Edition Preface to the Third Edition Chapter 1—The Structure and Functioning of the Mind Chapter 2—A Comprehensive Ontological Conception: The Triadic Monism Chapter 3—Intellect and Its Activity: Knowledge and Its Limits Chapter 4—Sensitiveness and Its Activity Chapter 5—Power and Its Activity: Man’s Action in Society and in the Physical World Chapter 6—The Inward/Moral Activity of Mind: Morality (or Consciousness) Chapter 7—Analytic and Continental Philosophy: Critique and Reinterpretation Chapter 8—Synopsis and Conclusions References Index

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Book SynopsisThe current volume seeks to demonstrate, through myriad subject matter, the vital influence and role of aesthetics upon any collective attempt to stem the current environmental crisis. Recent writing in this area is making new inroads and this work aims to further that discussion.Table of ContentsIntroduction, Joshua Coleman Chapter 1: Seeing Nature Whole in Fragments, Frank Seeburger Chapter 2: The Noetics of Poverty in the Paintings of Vincent van Gogh, Joshua Coleman and J. Porter Chapter 3: The Standpoint of Transformativity: Re-envisioning Science, Nature and the Self, Mark Flory Chapter 4: Rethinking Animality, Divinity and Humanity, Donald Turner Chapter 5: “Seeing Nature Whole in Fragments” or “Whole in Nature Seeing Fragments”, Sharon Adams Chapter 6: Toward a Cathartic Ecology, J. Porter and Joshua Coleman

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Book SynopsisThis book is a collection of pragmatist inquiries into the epistemology of artistic creation and evaluation of artworks. It offers a new concept of aesthetics and beauty of artworks. Aesthetics is the mode of artistic representation of reality, and artworks are beautiful when proven aesthetic true representations of reality. Table of ContentsAcknowledgmentsIntroduction Chapter 1: The Beauty of Artwork Is in Its Aesthetic True Representation of Reality:Epistemology of Creation and Evaluation of ArtworkChapter 2: It is an Illusion that Artworks Are Fictitious Illusions as they are ActuallyAesthetic Modes of Representing RealityChapter 3: Epistemology of Aesthetic Experience: Criticizing and Reconstructing Kant’sAesthetic Theories of Genius Creativity and Judgment of BeautyChapter 4: Free Creation of Artwork is the Determinate Self-Control of Proving its TrueInterpretation and Representation of RealityChapter 5: How to Square (Normo, CP:2.7) Peirceanly the Kantian Circularity in theEpistemology of Aesthetics as a Normative Science of Creating and Evaluating the Beauty ofArtworksChapter 6: The Role of Productive Imagination in Creating Artworks and DiscoveringScientific HypothesesChapter 7: On Post-Modern Artworks: A New Aesthetic Genre or Rather a Pseudo Concept ofArt, and then “What, After All, Is a Work of Art?”Chapter 8: Epilog: Can we Theorize some Bizarre Aesthetic Domains – The Beauty of MusicAesthetics, Mathematics-Theoretic, and Human-Ethic?BibliographyIndexAbout the Author

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Book SynopsisThis book explores Collingwood's philosophical beliefs on art, taste, history, and others central ideas of his time.

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Book SynopsisTraces the making and influence of the film and the Burns brothers' continuing efforts to obtain a pardon, which never came. A truly unique volume, it exposes a shameful miscarriage of justice, while also covering the powerful Warner Bros. film, and its imitators that followed over the coming decades.

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Book SynopsisShows how lousy food, cheesy clothes, and dingy homes can ruin our lives.By exploring the connections between aesthetic sensitivity and moral character, this book connects them both to the larger cultural malaise. It locates the relationship between human nature and moral reasoning in what the author calls domestic aesthetic skill, bringing together moral and aesthetic judgment about little things that are close to home-food, clothing, and furniture. McCracken combines the study of modern moral theory with the study of modern economics, contemporary popular culture, advertising, and design, to help understand how heady theories become translated into everyday actions.

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Book SynopsisA specialist work for those studying or researching Aristotle and his philosophy. Husain proposes an approach to reading Poetics based on principles and criteria associated with Aristotle''s philosophy of being. This is not a translation, nor a commentary on the text itself, but a study of the distinctiveness of Poetics from Aristotle''s corpus.

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Book SynopsisRethinks the existing definitions of aesthetics and ethics and the relations between them.This forum of current discussions of ethics and aesthetics addresses a cross-section of disciplines including literary theory, philosophy, women''s studies, postcolonial theory, art history, Holocaust studies, theology, and others. Contributors, ranging from philosophers and literary critics to practicing artists and art curators, answer such questions as: In the age of the collapse of metaphysics, what is the relation between philosophical reflection and art? If we question the privilege accorded to the aesthetic, can ethics alone offer a solution to the crisis of representation? Is it possible and ethically viable to represent the other in speech and image? What happens at the conjunction of aesthetics and politics? Can one speak of aesthetic configurations of the space of community? Are the concepts of ethics and aesthetics gendered and repressive of sexual difference? Considering the many works that consider either ethics or aesthetics almost exclusively within the confines of particular disciplines, this collection crosses the boundaries and continues the debate outside the rigid parameters of specialized discourses.

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Book SynopsisExamines the construction of vision in the works of Heraclitus, Plato, Descartes, Heidegger, Merleau-Ponty, Foucault, Nancy, and Derrida.Although philosophy today has abandoned its former fascination with transcendent invisibles, it has left largely unexamined historical articulations of the divide between ''the visible'' and ''the invisible.'' Vision''s Invisibles argues that such a self-examination is necessary for the sensitization of philosophical sight, as well as for engagements with visuality in other domains. To this end, it investigates a range of challenging understandings of visuality in its relation to invisibles, as articulated in the texts of key historical thinkers-Heraclitus, Plato, and Descartes-and of twentieth-century philosophers, including Foucault, Merleau-Ponty, Nancy, Derrida, and Heidegger.

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Book SynopsisFeaturing the work of renowned scholars, this anthology provides an introduction to Chinese aesthetics and literature.This comprehensive introduction to Chinese aesthetics and literature includes the major modern genres of poetry, fiction, and drama. Featuring the work of renowned scholars in Chinese studies, the book provides an historical survey of Chinese literature and explains its philosophical and historical underpinnings in Daoist, Buddhist, and Confucian thought. The traditions of lyric poetry, fiction, and theater are presented as cultural practices. Modern responses to the political and social crises of twentieth-century China and on the avant-garde experimental literature of twenty-first century China are also examined.

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Book SynopsisWhat does it mean to love a landscape? Why do certain authors have a predilection for specific landscapes? Why might one be fascinated by a landscape in which one would never wish to live? How does the lay of the land fashion the form of the poem? How does the wind infuse the breath? In The Wind and the Source, Allen S. Weiss explores the role of a significant yet elusive feature of the French landscape in literature, philosophy, and art: the legendary, mysterious, monolithic Mont Ventoux. This is not a book about picturesque, touristic Provence, but about the manifestation of an extreme limit of the imagination that happens to have Provence as its site, as its fantasyland. Weiss is concerned with the vicissitudes of the desire to write about a landscape, the desire to write in a landscape, and perhaps most curiously, the desire to write against a landscape. This is a book about love of the landscape, and abstraction from it; it is an account of how a mountain became a myth, and how an aesthetic and literary study became a metaphysical quest.

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Book SynopsisExplores the theme of aesthetic agency and its potential for social and political progress.Unmaking Race, Remaking Soul explores innovative approaches to analyzing cultural productions through which women of color have challenged and undermined social and political forces that work to oppress them. Emphasizing art-making practices that emerge out of and reflect concrete lived experience, leading contributors to the fields of contemporary psychoanalytic literary analysis, Latin American studies, feminist theory, Native Women''s studies, Africana studies, philosophy, and art history examine the relationship between the aesthetic and the political.The focus of the book is on the idea of aesthetic agency through which one develops different modes of expression and creative practices that facilitate personal and social transformation. Aesthetic agency is liberating in a broad sense-it not only frees our creative capacities but also expands our capacity for joy and our abilities to know, to judge, and to act. Artists considered include Nadema Agard, Julia Alvarez, Ana Castillo, Daystar/Rosalie Jones, Coco Fusco, Diane Glancy, Martha Jackson-Jarvis, Toni Morrison, MeShell Ndegéocello, Marcie Rendon, Ntozake Shange, Lorna Simpson, Roxanne Swentzell, Regina Vater, Kay Walking Stick, and Carrie Mae Weems.

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