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For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance now prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In On Photography (1977), she argues that a photograph of a person suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in Regarding the Pain of Others (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because they're often identified with the anti-aesthetic though their work is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the power of art.

Aesthetics --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics

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After more than ten years teaching ancient Greek history and philosophy at University College, Oxford, the British philosopher and political theorist Bernard Bosanquet resigned from his post to spend more time writing. He was particularly interested in contemporary social theory, but he was also concerned with philosophical questions about art and aesthetics. In this area, Bosanquet had been influenced by William Morris and John Ruskin, as well as the German philosopher Hegel, and their ideas underlie this book, published in 1892. Bosanquet considered aesthetic theory to be a branch of philosophy, and this work focuses on the evolution of theories about beauty. He begins by considering influential ancient Greek and Roman concepts before seeking out the aesthetic consciousness of the middle ages. The latter part of the book is concerned with theories from 18th- and 19th-century philosophers.

Aesthetics --- Aesthetics. --- History. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics

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Bruit --- Son --- Noise (Philosohy) --- Sound (Philosophy) --- Aesthetics. --- Philosophie. --- Aesthetics --- Noise (Philosophy) --- Philosophy --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics

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What Art Is Like is a comic, serious inquiry into the nature of art. It provides welcome relief from prevailing modes of explaining art that involve definitions, philosophical claims, and critical judgments put forth by third parties. Scrapping all such chatter, Miguel Tamen's aphoristic lark with aesthetic questions proceeds by taking its technical vocabulary only from Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass. According to Tamen, it would be ridiculous to think of poems or paintings or films or any variety of artistic production as distinct from other things in the world, including people. Talking about art should be contiguous with talking about many other relevant and important matters. Tamen offers a series of analogies and similes to help us imagine these connected experiences. One, taken from the analytical table of contents where the book is writ small, suggests that "understanding a poem is like understanding a cat; neither ever says anything back and you can't keep a conversation with them. All art is like this, but not only art is like this; nature, the past, numbers are also like this." Tamen takes up many central issues in aesthetics and the philosophy of art, including the connection between art and having fuzzy ideas about art, the mistake of imagining that art-decisions are put forth by art-courts where you are both judge and jury, and the notion that what happens with art also happens to you.

Art --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Philosophy. --- Analysis, interpretation, appreciation --- Carroll, Lewis, --- Alice --- Testoni, Giampaolo, --- Fairchild, Alice, --- Alicia --- Alice (Fictitious character : Carroll)

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Menschen haben eine Fülle von moralischen Überzeugungen. Wodurch sind diese Überzeugungen aber gerechtfertigt? In diesem Buch wird dafür argumentiert, dass verschiedene Arten von Gründen zur Rechtfertigung von moralischen Überzeugungen beitragen können: Gründe, die ihrerseits Überzeugungen sind, aber auch Gründe, die selbst keine Überzeugungen sind wie etwa Intuitionen, Emotionen und Wünsche. Die These lautet: Wenn derartige Gründe als Inputs in eine verlässliche Überzeugungsbildungsfähigkeit eingehen, sind die daraus resultierenden moralischen Überzeugungen gerechtfertigt.

Values. --- Aesthetics. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Axiology --- Worth --- Aesthetics --- Knowledge, Theory of --- Metaphysics --- Psychology --- Ethics --- Radio broadcasting Aesthetics