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Special Edition of the “Journal of Visual Art Practice” Susan Best, ‘Minimalism, Subjectivity, and Aesthetics: Rethinking the Anti-aesthetic Tradition in late-modern art’ Anna Dezeuze, ‘Everyday life, “Relational Aesthetics”, and" /> <meta name="twitter:image" content="https://0.academia-photos.com/21296050/10800040/31262253/s200_francis.halsall.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/9280836/_Aesthetics_and_its_Objects_Challenges_from_Art_and_Experience_" /> <meta property="og:title" content="“Aesthetics and its Objects – Challenges from Art and Experience”" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="Halsall et all eds. 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{"work":{"id":9280836,"created_at":"2014-11-12T19:43:33.188-08:00","from_world_paper_id":null,"updated_at":"2021-05-14T07:38:45.449-07:00","_data":{"abstract":"Halsall et all eds. Special Edition of the “Journal of Visual Art Practice”\nSusan Best, ‘Minimalism, Subjectivity, and Aesthetics: Rethinking the Anti-aesthetic Tradition in late-modern art’\nAnna Dezeuze, ‘Everyday life, “Relational Aesthetics”, and the “Transfiguration of the Common-Place”’\nRiikka Haapalainen, ‘Contemporary Art and the Role of Museum as Situational Media’\nAndy Hamilton, ‘Indeterminacy and Reciprocity: Contrasts and Connections between Natural and Artistic Beauty’\nJoanna Lowry, ‘Putting Painting in the Picture (Photographically)’\nToni Ross, ‘Aesthetic Autonomy and Interdisciplinarity: A Response to Nicolas Bourriaud’s “Relational Aesthetics”’\nWilliam P. Seeley, ‘Naturalizing Aesthetics: Art and the Cognitive Neuroscience of Vision’\nJeremy Spencer, ‘Body and Embodiment in Modernist Painting’\n"},"document_type":"other","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"“Aesthetics and its Objects – Challenges from Art and Experience”","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [174327,21296050]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":35544224,"attachmentType":"pdf"}"><img alt="First page of ““Aesthetics and its Objects – Challenges from Art and Experience””" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/35544224/mini_magick20190313-19847-1kxh8gs.png?1552529201" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">“Aesthetics and its Objects – Challenges from Art and Experience”</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="174327" href="https://griffith.academia.edu/SusanBest"><img alt="Profile image of Susan Best" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/174327/43512/135784962/s65_susan.best.jpg" />Susan Best</a><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="21296050" href="https://ncad.academia.edu/FrancisHalsall"><img alt="Profile image of Francis Halsall" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/21296050/10800040/31262253/s65_francis.halsall.jpg" />Francis Halsall</a></div><div class="ds-work-card--detail"><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">120 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 9280836; 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Special Edition of the “Journal of Visual Art Practice” Susan Best, ‘Minimalism, Subjectivity, and Aesthetics: Rethinking the Anti-aesthetic Tradition in late-modern art’ Anna Dezeuze, ‘Everyday life, “Relational Aesthetics”, and the “Transfiguration of the Common-Place”’ Riikka Haapalainen, ‘Contemporary Art and the Role of Museum as Situational Media’ Andy Hamilton, ‘Indeterminacy and Reciprocity: Contrasts and Connections between Natural and Artistic Beauty’ Joanna Lowry, ‘Putting Painting in the Picture (Photographically)’ Toni Ross, ‘Aesthetic Autonomy and Interdisciplinarity: A Response to Nicolas Bourriaud’s “Relational Aesthetics”’ William P. Seeley, ‘Naturalizing Aesthetics: Art and the Cognitive Neuroscience of Vision’ Jeremy Spencer, ‘Body and Embodiment in Modernist Painting’ </p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":35544224,"attachmentType":"pdf","workUrl":"https://www.academia.edu/9280836/_Aesthetics_and_its_Objects_Challenges_from_Art_and_Experience_"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":35544224,"attachmentType":"pdf","workUrl":"https://www.academia.edu/9280836/_Aesthetics_and_its_Objects_Challenges_from_Art_and_Experience_"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas" data-impression-entity-id="9280836" data-impression-entity-type="2" data-impression-source="signup-banner"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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In, Palmer, C. and Torevell, D. (Eds.) The turn to aesthetics. Liverpool Hope University Press, UK.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4131983" href="https://uclan.academia.edu/ClivePalmer">Clive Palmer (National Teaching Fellow)</a></div><p class="ds-related-work--abstract ds2-5-body-sm">It is a pleasure and honour to be invited to open this conference on The Turn to Aesthetics. The programme before us is immensely rich and exciting and the organisers are to be congratulated not only for assembling such a comprehensive array of topics and speakers but indeed for conceiving the conference in the first place. There could be no better or more auspicious time to reflect on the “turn to aesthetics”, what it is, what it means, why it’s happening.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Peter Lamarque (2008) Aesthetics and the practices of art (Chapter 1: pp. 5-16). In, Palmer, C. and Torevell, D. (Eds.) The turn to aesthetics. Liverpool Hope University Press, UK.","attachmentId":42172873,"attachmentType":"pdf","work_url":"https://www.academia.edu/21606977/Peter_Lamarque_2008_Aesthetics_and_the_practices_of_art_Chapter_1_pp_5_16_In_Palmer_C_and_Torevell_D_Eds_The_turn_to_aesthetics_Liverpool_Hope_University_Press_UK","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/21606977/Peter_Lamarque_2008_Aesthetics_and_the_practices_of_art_Chapter_1_pp_5_16_In_Palmer_C_and_Torevell_D_Eds_The_turn_to_aesthetics_Liverpool_Hope_University_Press_UK"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="4157646" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/4157646/Aesthetics_and_Contemporary_Art">Aesthetics and Contemporary Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4674573" href="https://manchester.academia.edu/LukeSkrebowski">Luke Skrebowski</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2011</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Aesthetics and Contemporary Art","attachmentId":58238698,"attachmentType":"pdf","work_url":"https://www.academia.edu/4157646/Aesthetics_and_Contemporary_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/4157646/Aesthetics_and_Contemporary_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="126845760" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/126845760/Towards_a_Politics_of_Relational_Aesthetics">Towards a Politics of (Relational) Aesthetics</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="75411937" href="https://bcu.academia.edu/anthonydowney">anthony downey</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Third text, 2007</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Towards a Politics of (Relational) Aesthetics","attachmentId":120663557,"attachmentType":"pdf","work_url":"https://www.academia.edu/126845760/Towards_a_Politics_of_Relational_Aesthetics","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/126845760/Towards_a_Politics_of_Relational_Aesthetics"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="87545888" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/87545888/Artistic_practice_and_human_experience">Artistic practice and human experience</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="167827780" href="https://uff.academia.edu/LucianoSim%C3%A3o">Luciano Simão</a></div><p class="ds-related-work--metadata ds2-5-body-xs">PORTO ARTE: Revista de Artes Visuais, 2017</p><p class="ds-related-work--abstract ds2-5-body-sm">In this article, I argue that the singularization of the artistic discourse in the 15 th century encouraged philosophers in the 18 th century to conceptualize on the aesthetic experience, taking it as a distinct kind of common experience. The description of this experience, as being one that is disinterested and lacks purpose, led to the progressive consolidation of an autonomous art, that is free from social contracts and takes refuge in museums. These have developed their physical space in accordance to this definitive presupposition. If, in contrast, we understand aesthetic experience as any complete experience, as Dewey sustains, our understanding of art and its institutions will be different.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Artistic practice and human experience","attachmentId":91724393,"attachmentType":"pdf","work_url":"https://www.academia.edu/87545888/Artistic_practice_and_human_experience","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/87545888/Artistic_practice_and_human_experience"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="76234037" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art">Anywhere or not at all: philosophy of contemporary art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="23114367" href="https://independent.academia.edu/peterosborne3">peter osborne</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Choice Reviews Online, 2014</p><p class="ds-related-work--abstract ds2-5-body-sm">In his joint biography of the French philosophers Gilles Deleuze and Félix Guattari, François Dosse tells the story of the meeting between Deleuze and the painter Francis Bacon, about whom Deleuze had recently written with much enthusiasm in his book Francis Bacon: Logic of Sensation. Bacon had apparently responded to the book with equal admiration: 'It's as if this guy were watching over my shoulder while I was painting.' 'What was supposed to be a great meeting', Dosse recounts, 'turned into a disaster.' Deleuze's editor, Joachim Vital, also a great admirer of Bacon, arranged the meeting. He described it as follows: The meal was awful, as awful as their discussion … They smiled at each other, complimented each other, and smiled again. We were flabbergasted by their platitudes. We tried to salvage the discussion, mentioning Egyptian art, Greek tragedy, Dogen, Shakespeare, Swinburne, Proust, Kafka, Turner, Goya, Manet, Van Gogh's letters to his brother Theo, Artaud, Beckett. Each one tried to take the ball and run with it alone, ignoring the other one. 1 This often happens when philosophy meets art. When philosophy meets contemporary art, the situation can be even worse. Contemporary art is badly known. To transform our distance from it into that 'unique appearance of a distance, however near it may be', 2 upon which experience of its art character depends, however -to use our ignorance as a spur to knowledge -is more difficult than is suggested by most of the writing that this situation provokes. To make contemporary art the object of some kind of reflective philosophical experience -in an affective engagement with the most fundamental claims made upon us by such art -seems, at times, almost impossible. This is ironic given the well-remarkedupon 'conceptual' character of so much contemporary art. Yet it is precisely this conceptual character that is most often the source of misunderstanding: the idea that such art requires no more than a conceptual interpretation, for example; or that such an understanding is purely or ideally linguistic, in the sense of being reducible to direct propositional expression. 'Straw conceptualism', as this might be called, is one means of sustaining ignorance about contemporary art (which does not mean that there are not some artists whose works are made of such straw). The alternative reduction of art to its aesthetic dimension -pure sensuous particularity -with which the projection of a straw conceptualism is often antithetically associated, is another. The idea that contemporary art is somehow exempt from historical judgement in the present, by virtue of its contemporaneity, is a third. Perhaps the greatest barrier to a critical knowledge of contemporary art, though, is the common-sense belief that the phrase 'contemporary art' has no critically meaningful referent; that it designates no more than the radically heterogeneous empirical totality of history of contemporary art -a genre dominated by second-generation October art historians -remains largely documentary and reconstructive in character. Its professional formation discourages art-critical judgement, although it often involves a documenting and reconstruction of critical positions held by artists and critics at the time: a kind of criticism by historical proxy. Studies in visual culture often appear closer to art-critical discourse than art-historical ones -indeed, they increasingly occupy institutional spaces of criticism -despite their even greater distance from questions of art judgement. However, this appearance covers over and hence helps to sustain the general absence of historically grounded criticism of contemporary art. The situation dates back to the failure of the project of a 'critical postmodernism' in the face of the problem of judgement, in the early 1980s. Hal Foster identified the problem early on, but made little headway with it theoretically. 6 Just how blocked it would become can be seen twenty years later in the October roundtable discussion, 'The Present Conditions of Art Criticism', in which the very idea of critical judgement caused consternation among the discussants, most of whom still associated it, exclusively, with a late Greenbergian notion of 'quality'. 7 Thierry de Duve attempted to break the impasse with his return to Kant after Duchamp, replacing the former's 'This is beautiful' with the latter's 'This is art', while insisting that the latter continue 'to be read as an aesthetic reflexive judgment with a claim to universality in the strictest Kantian sense', despite the accompanying claim that the term 'art' functions in the judgement as a 'proper name '. 8 Ultimately this foundered on philosophical confusions about both Kant and naming alike. Nonetheless it set a standard for the articulation of art-historical, art-critical and post-Kantian philosophical discourses to which little subsequent work has aspired. Meanwhile the general theories of representation, both epistemological and political, which predominate in studies of visual culture -usually, if unwittingly, semiotic culturalist variants of the liberal pluralism of US political science -have shown themselves to be singularly ill-suited to grasping the specific and deeply problematic character of the experience of contemporary art. The character and object-domain of the field remain plural and contested, their relations to art unresolved. But the situation is exacerbated, rather than mitigated, by the covert visual essentialism that has inadvertently but inevitably accompanied the formation of the new proto-discipline, in an ironic reprise of the terms of its original adversary, formalist modernism. 9 For the supplement of 'the visual' restores to cultural analysis an aesthetic idealism of vision at the very historical moment in which art's visuality, however pronounced, is its least distinguishing trait. Moreover, in so far as 'the visual' is the constituting focus of conceptual interest in visual culture, whether as a given or a construct, it is in principle indifferent to, and hence cuts across, the art/non-art distinction, which cannot be reduced to any particular visual regimes -notwithstanding Michael Fried's generalization of his optical reduction of Greenberg's medium-specific conception of modernist painting. 10 Fried's opticalism is currently enjoying a revival on the acknowledgement of inadequacy turned aggressively outwards into a judgement against its cause (namely, the claim of such artworks to the hallowed signifier 'art') and thereby ultimately against contemporaneity itself. Hence Danto's subsequent coinage of the term 'post-historical art'. Schaeffer returns this claim to its philosophical context when he argues that what he calls 'the speculative tradition' (which runs from Jena Romanticism to Heidegger) misunderstood art from the outset. In this respect, for Schaeffer, the legitimation crisis of contemporary art is the delayed effect of art's philosophical sacralization by Romanticism at the end of the eighteenth century. However, in so far as it derives from a claim for art's autonomy (by virtue of which it is able to usurp a certain philosophical function from philosophy itself), this sacralization is actually constitutive of 'art' in its modern sense. The aetiology, then, is broadly correct, yet the diagnosis and treatment Schaeffer proposes -a philosophical 'desacralization' of art, or what we might call metaphysical disinvestment -are precisely wrong. For, to the extent that there is a legitimation crisis of contemporary art (and one might be excused for believing it oversold, since the market provides sufficient legitimation of its own: 'creative industry'), it is actually a sign of the continuing, if problematic criticality of contemporary art -a sign of the fact that art's authority and critical function remain problems within contemporary culture, a problem for which art's continuing if uncertain critical and metaphysical dimensions are a conceptual condition. Danto and Schaeffer represent alternative variants of one primarily negative way in which late analytical philosophy has contributed to recent art-critical discourse. Each is a positivist of a different kind: an analytical-Hegelian positivist and a logical positivist, respectively. 18 However, far more significant has been the affirmative turn towards the conceptual resources of the post-Kantian European philosophical tradition, in the wake of the gradual diffusion of an interest in post-structuralism into Anglo-American art criticism. Heideggerian, Merleau-Pontean and a variety of post-phenomenological approachesassociated with Lyotard and Derrida, and more recently, Deleuze, Jacques Rancière and Alain Badiou -have all enjoyed sustained attention. This has revived interest in the place of art within the German idealist philosophies of the eighteenth and nineteenth centuries: Kant, Schiller, Hegel and the Romantics, but also Schelling, to a lesser degree Schopenhauer, and of course, Nietzsche. There is little doubt that this return to the post-Kantian European tradition has been, in part, a culturally conservative phenomenon, despite the radicalism associated with its more recent main French proponents. It is 'against Cultural Studies' (in its initial formation, at least) and against certain kinds of both 'difficult' and 'popular' contemporary art. But it has also performed a crucial critical function by raising theoretical issues associated with the idea of art in its distinction from other cultural forms of representation -issues that are literally dissolved by the semiotic reductionism and sociologism of most culturaltheoretical approaches. Furthermore, in its recent Rancièrean and (on occasion) Deleuzean of the 'aesthetic regime' of art, by which Rancière appears to believe art is still governed. 20 Badiou's 'inaesthetics', on the other hand, while apparently the opposite of aesthetics, is actually just a paradoxical, alternative...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Anywhere or not at all: philosophy of contemporary art","attachmentId":83975557,"attachmentType":"pdf","work_url":"https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="14994036" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/14994036/Art_Today_and_Philosophical_Aesthetics">Art Today and Philosophical Aesthetics</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="73789" href="https://wpunj.academia.edu/LauraTeresaDiSummaKnoop">Laura T. Di Summa</a></div><p class="ds-related-work--abstract ds2-5-body-sm">For those who have the fortune of being exposed to the swirling world of contemporary visual arts, with its global art fairs, gallery openings, and auction houses, the discovery of philosophical aesthetics and of the categories of art history might at times appear as the greatest misfortune. This is, obviously, a provocative statement, but a statement that, in its exaggerated tone, points to a real and tangible chasm between the tradition of philosophical aesthetics and the tumultuous, ever-morphing status of artistic production and fruition.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art Today and Philosophical Aesthetics","attachmentId":38499967,"attachmentType":"docx","work_url":"https://www.academia.edu/14994036/Art_Today_and_Philosophical_Aesthetics","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/14994036/Art_Today_and_Philosophical_Aesthetics"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="5339313" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/5339313/Learning_from_Aesthetics_Old_Masters_and_New_Lessons_1997_">Learning from Aesthetics: Old Masters and New Lessons (1997)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3363398" href="https://ucsd.academia.edu/GrantKester">Grant Kester</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Learning from Aesthetics: Old Masters and New Lessons (1997)","attachmentId":32495028,"attachmentType":"pdf","work_url":"https://www.academia.edu/5339313/Learning_from_Aesthetics_Old_Masters_and_New_Lessons_1997_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/5339313/Learning_from_Aesthetics_Old_Masters_and_New_Lessons_1997_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="110751691" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/110751691/Art_as_experience_of_the_living_body_Introduction">Art as experience of the living body, Introduction</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="501015" href="https://cyu-fr.academia.edu/ChristineVIALKAYSER">Christine VIAL KAYSER</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Art as experience of the living body, an East/West experience, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach. It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan. These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theoryphilosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general. Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l'art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l'imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l'Inde et le Japon. Selon la méthode husserlienne de « réduction », en écho à l'introspection pragmatiste, les textes témoignent que l'écoute des sensations corporelles-crampes, battements de coeur, mouvements pulsionnels, orientation des yeux-mises en jeu par l'oeuvre, permet de dénouer le fil de l'expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une oeuvre d'art, une rencontre comprise, à la manière de Dewey, comme un cas d'école de la vie en général. Christine Vial Kayser (PhD, HDR) is an art historian and museum curator (emeritus). She is an Associate researcher with Héritages (CYU) and a member of the Doctoral School 628-AHSS. Her research relates to the capacity of art to transform representations within an individual and in the collective mind, through embodied, mnemonic, and affective processes, in a global, comparative (East/west context). She works at the crossroads of art theory, anthropology, and neuroaesthetics. Christine Vial Kayser (PhD, HDR) est historienne de l'art et conservatrice de musée (émérite). Elle est chercheur associé à Héritages (CYU) et membre de l'ED 628-AHSS. Ses recherches portent sur la capacité de l'art à transformer les représentations au sein d'un individu et dans le cadre collectif, à travers des processus incarnés, mémoriels et affectifs, dans un contexte global et comparatif (Est/Ouest). Elle travaille au croisement de la théorie de l'art, de l'anthropologie et de la neuroesthétique.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art as experience of the living body, Introduction","attachmentId":108471799,"attachmentType":"pdf","work_url":"https://www.academia.edu/110751691/Art_as_experience_of_the_living_body_Introduction","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110751691/Art_as_experience_of_the_living_body_Introduction"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="37522568" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/37522568/Contemporary_Anthropologies_of_Art_Durham_University_9_Sep_2015">Contemporary Anthropologies of Art | Durham University | 9 Sep 2015</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="741106" href="https://ucla.academia.edu/AlexUngprateebFlynn">Alex Ungprateeb Flynn</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="142267" href="https://uni-saarland.academia.edu/JonasTinius">Jonas Tinius</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2015</p><p class="ds-related-work--abstract ds2-5-body-sm">Building on such established anthropological approaches to art as those of Alfred Gell or Pierre Bourdieu, this workshop seeks to map out contemporary anthropological approaches to art. Furthermore, by asking what distinct views on artistic practices are offered by such new theoretical perspectives as ethnographic conceptualism (Ssorin-Chaikov 2013) or relational aesthetics (Sansi 2014), we hope to propose new pathways of anthropological inquiry. A key proposition behind this workshop is the idea that contemporary art theory and practice are increasingly in dialogue with theories of sociality – how we relate to other people to create meaning – and therefore connected to core anthropological interests. The objective of this workshop is therefore not just to apply existing anthropological theory to potentially new ethnographic situations characterized by the production of art, but to develop anthropological theory through an engagement with the conceptual approaches that underpin the contemporary production of art today. The premise we wish to interrogate with this workshop is thus that there is something distinct about contemporary artistic practices. If this is so, what would a contemporary anthropology of art – or rather – contemporary anthropologies of art look like? As the inaugural research event of the Anthropologies of Art [A/A] network, we wish to propose this digital platform as a space to map, link, and interrogate answers to these two questions. Some possible lines of thought addressed by papers may be: • How can we productively theorize the porous boundaries between artistic practice and every life activities? • Has the body been overlooked as a site of artistic production? For example, can we consider the performance of gender as an aesthetics of becoming? • What contribution can anthropology make to understandings of models of postfordist creative labour? • What are the (dis)connections between artivism, protest, and public art? • Can we consider the relationship between aesthetics and politics without a consideration of the state? • How can we provide a better analysis of the porous boundaries of the art world and the market? • What are the potentials of contemporary art for anthropological research? For example, how does the mode of artistic installation challenge and provoke alternative strategies of research?</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Contemporary Anthropologies of Art | Durham University | 9 Sep 2015","attachmentId":57495729,"attachmentType":"pdf","work_url":"https://www.academia.edu/37522568/Contemporary_Anthropologies_of_Art_Durham_University_9_Sep_2015","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/37522568/Contemporary_Anthropologies_of_Art_Durham_University_9_Sep_2015"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="40531958" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40531958/The_Problem_of_Aesthetics_Experience_in_Contemporary_Art">The Problem of Aesthetics Experience in Contemporary Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="129590799" href="https://trunipdf.academia.edu/Katar%C3%ADnaIhringov%C3%A1">Katarína Ihringová</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Espes Journal of Society for Aesthetics in Slovakia, 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">Experiencing aesthetics and aesthetic experience has, for a long time, been perceived as the purpose and goal of art. The aesthetic features of a work of art have been the only criteria used in its evaluation. However, these modernist aspects cannot be applied to the conceptual and neo-avant-garde art of the 2nd half of the 20th century that has not only brought a radical change in the artistic form, but, especially, the ontological nature of the work itself. Modernist theories of art and normative rules which apply to perceptual art are no longer able to reflect the changes brought by the art of mind. The traditional history of aesthetics oriented towards the definition of art should, therefore, overlap with, for example, the history of ideas. In the text, I will thus focus on the crucial moments which stood on the border between the old, modernist traditions, and the new, which has brought radical changes into the study of aesthetics as well as the theory of art. The text is focused on three issues: ontological issues of art, the criticism of aestheticism and tautology as a possible problem in interpretation, which will be dealt with from the comparative viewpoint of the art of sense and art of mind.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Problem of Aesthetics Experience in Contemporary Art","attachmentId":60806395,"attachmentType":"pdf","work_url":"https://www.academia.edu/40531958/The_Problem_of_Aesthetics_Experience_in_Contemporary_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40531958/The_Problem_of_Aesthetics_Experience_in_Contemporary_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":35544224,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":35544224,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_35544224" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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