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1. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Jason J. Howard Schelling and the Revolution of Paleolithic Cave Painting: Unveiling the Power of the Aesthetic
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My paper utilizes the insights of F.W.J Schelling’s work on aesthetics to explain the unique appeal and power that aesthetic experience held for people of the Upper Paleolithic. This appeal is revealed most dramatically in the cave paintings of Chauvet and Lascaux. According to Schelling, genuine artistic activity expresses a fusion of the unconscious (der Bewußtlosen) and the symbolic (die Symbolik), which is irreducible to any other experience or product. This fusion creates a unique experience of self-transcendence and reintegration that affirms the continuity between consciousness and the natural world. Consequently, genuine aesthetic products never have any simple pragmatic or utilitarian motive, but result from reconciling the deepest contradictions of the human experience. I argue that it is this experience of continuity and re-integration that is captured in the cave paintings of Chauvet and Lascaux, and which confirms the irreducible power of the aesthetic.
2. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Božidar Kante Aesthetic Qualities as Iterated Response-dependent
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There is widespread view among numerous aestheticians that aesthetic and value properties are response-dependent. According to some philosophers the dependence has a rich and multilayered structure: value qualities (e.g. beauty) depend on our response to aesthetic properties (e.g. harmonious), which in turn depend on our response to a pattern of primary and secondary qualities (shapes and colors). Secondary qualities are themselves response-dependent. The basic dependence relation is thus iterated. The resulting structure is one of iterated response-dependence. The integral part of such a position is a relational view, best captured by the response-dispositional analysis: My states of being appeared to magnificently in front of a painting manifests the disposition of painting to induce such experience in the normal viewer.There are two main objections against the dispositional analysis: (1) argument from circularity and (2) argument from introducing two kinds of quality, one categorical, for experiential states, and one dispositional for objects. In this paper we will suggest the arguments against second objection.
3. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Margrethe Bruun Vaage Noël Carroll and the Role of Empathy in Fiction Film Engagement
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Carroll denies that the spectator of fiction film commonly has empathy with the characters. He argues that the spectator typically emotes to the events in the film from his position as observer, and that this context gives asymmetrical reactions in spectator and character. According to Carroll, empathy is unlikely to occur. Theproblem with this argument is that if the differences between spectator and character that Carroll points to exclude empathy, it would also exclude empathy in real life. Furthermore, Carroll merely shows that the spectator cannot only feel as the character feels. This does however not entail that empathy cannot be one part of the spectator’s response as observer. This paper thus argues that Carroll fails to show that empathy is an unlikely spectator response.
4. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Haewan Lee Characterizing Aesthetic Experience
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In this paper, I suggest what I think is an appropriate characterization of aesthetic experience. I do this by critically assessing Noel Carroll’s position and Gary Iseminger’s counterposition. Carroll claims that aesthetic experience should be understood only as an experience of the aesthetic content of an object. Although I accept many of Carroll’s points, I find his position unconvincing. I contend that, in addition to the content, positive value plays a significant role as a constituent of aesthetic experience. Unlike Carroll, Iseminger formulates a value centered view of aesthetic experience. However, I find Iseminger’s position even moreproblematic. Since having an aesthetic experience is such a general phenomenon, and does not seem to require an introspective response, neither a subject’s meta-belief, nor judgment concerning the value of her own experience, should be required. Also, I believe that intrinsic value is not necessary for aesthetic experience, because the value aesthetic experience has could be instrumental. I suggest that we can better characterize the aesthetic experience as anexperience of aesthetic contents combined with positive value. I reject the additional meta-belief requirement.
5. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Van Dan Nguyen Postmodernism, or an Abuse of Concepts
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There exist at present many conceptions of postmodern(ism). But there is a certain number of differences between the conceptions of postmodernism in the arts and the conceptions of postmodernism in various spheres of social activities. In arts, people pay much attention to the significant attributes of the concept, but in spheres of social life, the term is often used as a criterion to marking time in the periodization of history. That is, while in arts the significant attributes will make the criteria to define the postmodernism, in social life the concept of postmodern(ism) exists a priori and does not depend on social characteristics. That is for many people, the postmodern era is simply taken for granted as the period after the Second World War. At the same time, we have to recognize that thearbitrary and easy use of this term in the social life has spread contagiously to the artistic field. Many people simply attribute the label of “postmodern” to all creations outside the traditional realism in the second half of the 20th century, only because in their opinion, those creations appeared in the age that they called “postmodern era” for granted. Thus, in this way, “postmodern” may have too many different and indefinite meanings, but just thereby, it has also no meaning at all. This situation has brought ambiguity to defining the status of contemporary arts. I can only state that, in the field of arts, despite different conceptions of “postmodern(ism)” among many persons, we may conclude that it is more exactly to use this concept only to designate the summit or the “paroxysm” of modernism; and it still bears a temporal character to designating the second half of the 20th century. With the meaning of “paroxysm”, the term of “postmodern” can be entirely replaced with the term “modern”, or more precisely, with the term “meta-modern” or “ultra-modern”. Besides, we should be vigilant against the abuse of the concept “postmodern” which is being used fairly popularly in the current socio-political life, and most of these cases of abuse only want to make impressions of the “ultra-new” (or “ultra-modern”) character of the events. Just because of this abuse, the concept “postmodern” runs the risk of becoming platitudinous, leads to becoming meaningless because of bearing too many different and indefinite meanings, and thereby loses its effectiveness and usability. For my own part, I think that we should use the concept “postmodern(ism)” only for architecture and painting. As for other fields, especially for literature, we should not use it, and instead, we shall make use of the concept “modern(ism)” or at the most, we shall use the concept “ultra- or meta-modern(ism)” which will be precise and very appropriate. It is not necessary that, whenever to make impressions of the newest, one should have to recourse to the term “postmodern(ism)”, and then to be at a loss in making efforts to find the characteristics in order to ascribe them to the term to demonstrate its legitimate existence, but in fact, these characteristics are not of its own.
6. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Dai Xun Dewesternization and Resinicization: Issues and Methods of Chinese in the Global Era
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Since the 1990s, contemporary Chinese aesthetics has radually fallen into depressions and became silence after the two heated domestic debates in the 1950s and 1980s. Nowadays it is high time for Chinese scholars to make reflections on these setbacks and frustrations. Firstly we need to clarify what are the real problems that contemporary Chinese aesthetics encounters. To be short, that is, the arrival of globalization has caused a series of profound turns from aesthetics to arts. With the further expansion and penetration of globalization, theoretical aesthetic subjects and relevant problems are more salient, including the shift of contemporary aesthetic research paradigm, the basic method that we borrow western theories to interpret Chinese art works and aesthetic phenomena, the constant advancing interdisciplinary research, etc. The author’s main aim in this paper will be to explore some workable methods, which are significant to the development of the present Chinese aesthetics in this new century.
7. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Pigulevskiy Victor Aroma and the Problem of Harmony
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In nature scent is important for man primarily as a marker of food and sexual attractiveness, it polarizes as objects of life and decay, death. Scent, just like touch and taste exists till subject and object get opposed to each other, it is the sphere where body is included into material world, and flesh of the world is incrusted into the body. Aesthetics in its anthropologic meaning is limited by a body- perceptible dimension. Development of such categories as the sublime, tragic, comic are not possible here. Creation of compound aromas, including those which do not exist in nature, can not overstep the limits of the beautiful- -ugly opposition. There is no contradiction, nourishing the comic, the tragic or the sublime, in blending of body with the world by means of scent. The spectrum of the aesthetic in the sphere of aromas is expanded in the plane from the beautiful to the ugly: fragrant, heady, amber, garlic, carpic, putrid, hideous, stinking.
8. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Isabelle Sabau The Sacred in the Visual Arts
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The earliest preoccupations of human beings show close interconnections and parallel developments between the world of the sacred and the world of art. The sacred has been the important aspect of human life since the dawn of humanity, often seen as awesome and extraordinary, to be feared and revered at the sametime, while the evolution of artistic expression can be traced to its beginning in the spiritual world of the sacred. This paper proposes to discuss some of the prevailing theories that define the sacred and its representation in the visual arts.
9. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Montserrat Crespín Perales Nishida Kitarô's First Notion of Beauty
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Although we cannot find any Aesthetics system in the works of NISHIDA Kitarõ (1870-1945), the most significant and influential Japanese philosopher of the twentieth-century, one of his central themes is the role of art and aesthetics in relation with morality and religion. His aesthetics approaches are magnificent examples of his aim to overcome the innate dualism that sustains modern epistemology and a door, apparently hidden, to a better understanding of all his speculative scheme of philosophy. This paper attempts to throw light to the importance of the first aesthetic approximation developed by Nishida eleven years before the publication of Zen no Kenkyû [ 善 の 研究 ] (An Inquiry into the Good) (1911) and twenty-three years before the publication of the more accurate system of aesthetics that we read in Geijutsu to dôtoku [芸術 と 道徳] (Art and Morality) (1923). We will analyze the small essay entitled "Bi no Setsumei" [美 の 説明] ("An explanation of Beauty") (1900) and Nishida's first definition of beauty as muga [無我] (self-effacement or ecstasy).
10. Proceedings of the XXII World Congress of Philosophy: Volume > 1
Viorel Guliciuc Fractal Art as Genuine Art
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There is a whole discussion around the genuine/non genuine appurtenance of the Fractal Art to the Art (Ken Keller, Tad Boniecki, Noel Huntley a.o.). Fractal Art is a new way to manipulate shapes, colors and light. It is a subclass of the visual digital art that could describe as that art form produced using a computer (PC, Mac), fractal and graphical software and output devices (monitors, plotters, printers etc.) or using fractal rules and traditional painting techniques (example: Pollock) as essential tools in the creative process. It is crucial to understand that the use of a computer is not a sine qua non condition, even most of the fractal artworks were digitally realized. Fractal Art is an experimental art, engaging in a new way the relations between Creator and Work. Fractal Art has a genuine equilibrium between “pragmatic” and “theoretic”. It is rather about “discovering” than “manufacturing”, rather “evocation” than “mimesis”. The conclusion has to be: Fractal Art is a genuine art form.