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Added by: Rossen VentzislavovSummary: Korsmeyer's account of disgust and the role it plays in art appreciation starts with a treatment of what she calls the "paradox of aversion" - the apparent incompatibility between humans' disposition to seek pleasure and their frequent voluntary exposure to unpleasant and even painful art-related experiences. Korsmeyer's provisional solution to the paradox is based on the realization that pleasure is not an emotion but rather "an intense absorption in an object that induces us to continue rather than halt an experience." This opens the possibility that the pleasure we take from a work of art retains a cognitive element such that we gain unique insight from what would, outside of the art context, have given us pain. Korsmeyer speaks of an "aesthetic conversion" whereby disgust and fear are transfigured into vehicles of absorption, and thus become aesthetically pleasurable. Since disgust and its magnetic force are of material interest to performance artists and their critics, Korsmeyer's treatment of the paradox of aversion helps re-contextualize an important art historical issue.
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Added by: Erich Hatala MatthesSummary: Korsmeyer argues that although genuineness (or authenticity) is not a perceptual property, it is still an aesthetically relevant property for cultural artifacts, an argument that she locates in the relationship between age and the sense of touch. She thus offers a potential explanation for a common ntuition about the nature and value of authenticity in the Western tradition.
Comment: This is the most recent in a series of articles by Korsmeyer on the aesthetics of age and genuineness. It builds on the previous work and focuses on cultural artifacts in particular, but instructors interested in, for instance, the moral significance of authentic artifacts associated with historical injusitces might prefer some of the earlier articles in this series (such as her "Staying in Touch"). Her account also raises questions about how attributions of authenticity might affect aesthetic experience, with potential implications for discussion of authenticity in appropriation debates, though these are not explicitly explored in the article.
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Added by: Simon FoktPublisher's note: Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most important topics within feminist aesthetics:
- Why were there so few women painters?
- Art, pleasure and beauty
- Music, literature and painting
- The role of gender in taste and food
- What is art and who is an artist?
- Disgust and the sublime.
Comment: Chapter 5 is particularly useful in teaching on art theories. It offers an interesting review of art theories from a feminist perspective, noting the gendered character of existing definitions. It may be good to teach it alongside Brand's ‘Glaring Omissions in Traditional Theories of Art’ to best bring out these issues. Secondly, it inspires the question: given the problematic exclusionary character of art history and theory, would it not be better if we did not have a definition of art which we can use to exclude? The value of the feminist art discussed in the chapter lies largely in its ability to expose the biases present in the artworld and expressed in theories of art. Thus the fact that artists tend to create works which challenge existing theories might be in fact desirable.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirPublisher's Note: Taste, perhaps the most intimate of the five senses, has traditionally been considered beneath the concern of philosophy, too bound to the body, too personal and idiosyncratic. Yet, in addition to providing physical pleasure, eating and drinking bear symbolic and aesthetic value in human experience, and they continually inspire writers and artists.In Making Sense of Taste, Carolyn Korsmeyer explains how taste came to occupy so low a place in the hierarchy of senses and why it is deserving of greater philosophical respect and attention. Korsmeyer begins with the Greek thinkers who classified taste as an inferior, bodily sense; she then traces the parallels between notions of aesthetic and gustatory taste that were explored in the formation of modern aesthetic theories. She presents scientific views of how taste actually works and identifies multiple components of taste experiences. Turning to taste's objects?food and drink?she looks at the different meanings they convey in art and literature as well as in ordinary human life and proposes an approach to the aesthetic value of taste that recognizes the representational and expressive roles of food. Korsmeyer's consideration of art encompasses works that employ food in contexts sacred and profane, that seek to whet the appetite and to keep it at bay; her selection of literary vignettes ranges from narratives of macabre devouring to stories of communities forged by shared eating.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: For some time my own interests in aesthetics and in feminism appeared to run parallel yet mutually exclusive courses, but it seems to me now that philosophical aesthetics and feminist views of culture have begun to dovetail and to share certain concerns and orientations. Philo sophical aesthetics is not by and large taking note of this, however, and in the first section of this essay I argue that feminist perspectives pro vide a vantage from which the appearance of breakdown in unified theorizing can be seen to have an underlying order and pattern.2 Thus at first I shall emphasize a potential harmony be tween feminist critiques and recent directions in aesthetics. Then in the second section I shall focus on one of the subjects that has all but dropped from view in the reshuffling of the oretic concerns: aesthetic appreciation or plea sure. I argue that this concept is urgently in need of reexamination, a need that is especially evi dent when we consider feminist alternatives to the traditional idea of aesthetic pleasure.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Philosophers occasionally take note of the degree to which their theories make use of metaphoric language. Plato may have been the first to call attention to the heuristic use of sensory images to illuminate the world of abstractions, but twentieth-century thinkers have been particulalry reflective on the subject. Metaphors, remarks Iris Murdoch, are "fundamental forms of our awareness of our condition: metaphors of space, metaphors of movement, metaphors of vision." Philosophical systems, she believes, can often be understood as explorations of centrally important images. Indeed, it seems to her "impossible to discuss certain kinds of concepts without resort to metaphor, since the concepts are themselves deeply metaphorical, and cannot be analyzed into non-metaphorical components without a loss of substance." Mark Johnson agrees and obeserves that recent discoveries in cognitive science provide empirical evidence for claims about metaphor that previously were largely intuitive, namely, that "metaphor is not merely a linguistic phenomenon, but more fundamentallly, a conceptual and experiential process that structures our world.
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Added by: Berta GrimauSummary: This article provides the basics of a typical logic, sometimes called 'classical elementary logic' or 'classical first-order logic', in a rigorous yet accessible manner. Section 2 develops a formal language, with a syntax and grammar. Section 3 sets up a deductive system for the language, in the spirit of natural deduction. Section 4 provides a model-theoretic semantics. Section 5 turns to the relationships between the deductive system and the semantics, and in particular, the relationship between derivability and validity. The authors show that an argument is derivable only if it is valid (soundness). Then they establish a converse: that an argument is valid only if it is derivable (completeness). They also briefly indicate other features of the logic, some of which are corollaries to soundness and completeness. The final section, Section 6, is devoted to a brief examination of the philosophical position that classical logic is 'the one right logic'.
Comment: This article introduces all the necessary tools in order to understand both the proof-theoretic and the model-theoretic aspects of first-order classical logical consequence. As such it can be used as a main reading in an introductory logic course covering classical first-order logic (assuming the students will have already looked at classical propositional logic). Moreover, the article covers some metatheoretic results (soundness, completeness, compactness, upward and downward Löwenheim-Skolem), which makes it suitable as a reading for a slightly more advanced course in logic. Finally, the article includes a brief incursion into the topic of logical pluralism. This makes it suitable to be used in a course on non-classical logics with an introduction module on classical logic.
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Added by: Franci MangravitiAbstract:
This paper presents a new view of logical pluralism. This pluralism takes into account how the logical connectives shift, depending on the context in which they occur. Using the Question-Under-Discussion Framework as formulated by Craige Roberts, I identify the contextual factor that is responsible for this shift. I then provide an account of the meanings of the logical connectives which can accommodate this factor. Finally, I suggest that this new pluralism has a certain Carnapian flavour. Questions about the meanings of the connectives or the best logic outside of a specified context are not legitimate questions.
Comment: Can serve as an example of logical pluralism in any philosophy of logic course. Familiarity with the pluralisms of Shapiro and Carnap is helpful for comparison, but is not technically required.
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Added by: Franci MangravitiAbstract:
Logical pluralism is the view that there is more than one right logic. A particular version of the view, what is sometimes called domain-specific logical pluralism, has it that the right logic and connectives depend somehow on the domain of use, or context of use, or the linguistic framework. This type of view has a problem with cross-framework communication, though: it seems that all such communication turns into merely verbal disputes. If two people approach the same domain with different logics as their guide, then they may be using different connectives, and hence talking past each other. In this situation, if we think we are having a conversation about “ ¬ A”, but are using different “ ¬ ”s, then we are not really talking about the same thing. The communication problem prevents legitimate disagreements about logic, which is a bad result. In this paper I articulate a possible solution to this problem, without giving up pluralism, which requires adopting a notion of metalinguistic negotiation, and allows people to communicate and disagree across domains/contexts/frameworks.
Comment: Fit for any philosophy of logic course touching on either logical disagreement or logical pluralism. Given the short length, it may be naturally paired with a paper attacking logical pluralism as a mere verbal dispute. There are no particular prerequisites, although familiarity with at least one kind of domain-specific pluralism is helpful for context.
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Added by: Simon Fokt, Contributed by: Emma GordonAbstract: This article will examine how the notion of emotional authenticity is intertwined with the notions of naturalness and artificiality in the context of the recent debates about ‘neuro-enhancement- and ‘neuro-psychopharmacology.- In the philosophy of mind, the concept of authenticity plays a key role in the discussion of the emotions. There is a widely held intuition that an artificial means will always lead to an inauthentic result. This article, however, proposes that artificial substances do not necessarily result in inauthentic emotions. The literature provided by the philosophy of mind on this subject usually resorts to thought experiments. On the other hand, the recent literature in applied ethics on ‘enhancement- provides good reasons to include real world examples. Such case studies reveal that some psychotropic drugs such as antidepressants actually cause people to undergo experiences of authenticity, making them feel ‘like themselves- for the first time in their lives. Beginning with these accounts, this article suggests three non-naturalist standards for emotions: the authenticity standard, the rationality standard, and the coherence standard. It argues that the authenticity standard is not always the only valid one, but that the other two ways of assessing emotions are also valid, and that they can even have repercussions on the felt authenticity of emotions. In conclusion, it sketches some of the normative implications if not ethical intricacies that accompany the enhancement of emotions.
Comment: Discusses how the idea of authenticity relates to debates on enhancement. Best read after literature exploring different types of cognitive and emotional enhancement.
Comment: Interesting to teach following classes on the paradox of horror, and perhaps even alongside (some of) Noel Carroll's writings on horror.