Journal of Aesthetics and Phenomenology最新文献

{"title":"The Ghost of Remembrance","authors":"Dror Pimentel","doi":"10.1080/20539320.2022.2052615","DOIUrl":"https://doi.org/10.1080/20539320.2022.2052615","url":null,"abstract":"ABSTRACT In a quest after the essence of memory, a crucial distinction is made between the notions of memory and remembrance, following Plato’s distinction between mneme (memory) and hypomnesis (archive). The article’s main argument is that memory has to do with the technical aspect of life, while remembrance has to do with what we live for. This is because the unwilled event of remembrance, which un-joins time, is always remembrance of one thing alone, i.e. the Thing. The notion of the Thing—addressed both by Heidegger and Freud—is analyzed in its psychoanalytic, theological and historical sense, as located in un-archiveable time, and as appearing in a spectral, violent fashion in our daily lives. Discussion is accompanied with examples taken from Proust’s novel In Search of Lost Time and François Ozon’s film “Frantz.”","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"8 1","pages":"71 - 79"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43004726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Representing and Embodying a Peripheral City’s Place in the World","authors":"Tea Lobo","doi":"10.1080/20539320.2022.2052617","DOIUrl":"https://doi.org/10.1080/20539320.2022.2052617","url":null,"abstract":"ABSTRACT In an increasingly globalizing world, the aesthetics of Dubai have become potentially available even for impoverished, peripheral cities such as Belgrade. With the explicit rhetoric of finally achieving a “global profile” for the city, the Serbian government has hired an Emirati company to build a “world city” in a centrally located district of Belgrade. The rationale for the development is explicitly aesthetic, and the high-rises planned articulate the globally recognizable aesthetic vocabulary of superlatives and (generic) modernity. The tall buildings suggest economic growth while forming a façade against which Belgraders play the role of extras. This paper builds on Maurice Merleau-Ponty’s notion of the body schema as well as James J. Gibson’s notion of affordances and recent contributions to architectural aesthetics that grew from it, to outline an alternative, embodied ideal of urban aesthetics. The paper presupposes that the common world is to be understood as a task to be achieved. The city, understood in its material form, as urbs, as well as in terms of social relations, as civitas, is the place where the common world can potentially be tangibly experienced. Its architecture narrates, but also affords and prohibits social change, and reversely social and political relations influence the making of the material city. The paper argues that a city’s place in the world is not a matter of gaining access to a supposedly pre-existing reality by displaying the right look, but of engaging actively in the making of the common world.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"8 1","pages":"55 - 69"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49443478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: Francois Jullien’s Living off Landscape, or the Unthought of in Reason","authors":"Ralf Müller","doi":"10.1080/20539320.2020.1885181","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885181","url":null,"abstract":"François Jullien’s Living off Landscape, or the Unthought of in Reason, (Vivre de paysage ou L’impensé de la Raison [2014] 2018. trans. Pedro Rodriguez), is another outstanding work in a series of original and challenging studies of Chinese history and culture. A review in a special edition on Landscape East and West is easily justifiable, despite the work not engaging directly with Chinese mountain-and-water-paintings, nor with European landscape painting and its commonly associated concepts such as the beautiful or the sublime, which otherwise stand at the center of Western discourse in art history and aesthetics. The main connection Jullien elaborates regarding landscape is his observation that the general Western concept of “landscape” emerges hand-in-hand with the emergence of landscape painting: “’Landscape’ was first named (thought through) with respect to painting.”(2) Hence, Jullien’s approach is to draw on a similar relation regarding China. Given his overall critical enterprise, he thus explores the resources of Chinese landscape art for a better understanding of what landscape really is all about in that tradition, yet still missing in its Western conception. In short, this book does not directly thematize topics relating to Asian arts and aesthetics instead, the topic of landscape East and West serves as an opportunity for Jullien to evolve his own philosophical project of developing an ecological meditation on the habitable world (in the Greek sense of οἰκουμένη γῆ) in a global perspective. Thus, Chinese landscape painting serves as a prism to deflect and reflect philosophical conceptions.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"176 - 182"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45917978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Thinking Landscape in the Light of Tsujimura Kōichi’s Notion of the Circumspective","authors":"Raquel Bouso","doi":"10.1080/20539320.2020.1885170","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885170","url":null,"abstract":"ABSTRACT This paper looks into Tsujimura Kōichi’s notion of the “circumspective,” which not only indicates a type of composition in traditional Chinese landscape painting but also a way of seeing and relating to the world: human beings must not only see and think about the surrounding world starting from themselves but think and see themselves starting from the surrounding world. In so doing, this article seeks to problematize the relationship between human and nature as it has been conceived in certain artistic practices and philosophical works in Asia and the West. In particular, the issue of culturally-mediated nature and the historicity of landscape will be addressed through literary and pictorial examples from Japan.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"91 - 112"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44713804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Eroticism of Landscape in Contemporary Contemplative Cinema","authors":"Rosine Bénard O’Kelly","doi":"10.1080/20539320.2020.1885174","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885174","url":null,"abstract":"ABSTRACT This article questions how contemplative contemporary cinema “sexualize” the landscapes. Through the filmography of four directors, Abbas Kiarostami, Apichatpong Weerasethakul, Lars von Trier and Bruno Dumont, the relationships between nature and human body are highlighted. Furthermore, based on the “eroticism” notion developed by Georges Bataille, our study tries to emphasize how these relationships turn out to be synonymous with bliss but at the same time with terror.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"159 - 171"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42693772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: John Sallis’ Songs of Nature, on Paintings","authors":"Rudi Capra","doi":"10.1080/20539320.2020.1885180","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885180","url":null,"abstract":"expressionism played in the artists’ development, particularly through the works of Wassily Kandinsky. In Western history, the period of the avant-garde provoked a conscious rupture with the traditional canons of art, erecting a partition where artists could work beyond the imperative of objective representation. Sallis expounds on the influence and the affinity of Cao Jun’s paintings with Western artists such as Kandinsky, Klee, Cézanne, and Monet, noting how the atmospheric spread of light and the constant hovering between abstraction and figuration allows the observer’s imagination to wander throughout the painting. Sallis focuses specifically on the artist’s Sea of the Sky, which, in his view, affords an intriguing comparison with Kandinsky’s series of Compositions. The free flow of colours, the sharp contrasts of volumes and shapes and the overall sense of rhythm and dynamism seem to corroborate Cao Jun’s own statement that, in his paintings, “Eastern imagism and Western abstraction are fused.” In the context, Cao Jun paints, and Sallis interprets, the talent of an artist does not consist in an act of creation, but rather in the attunement with the inner vitality of the cosmos, bringing about the spontaneous emergence of scenes that would otherwise remain invisible. These scenes are not meant to represent a specific place or event, but to offer a contingent, tangible form to the ceaseless process of transformation animating nature. The second chapter is dedicated to Spaces. In Cao Jun’s paintings, shapes often appear without a discernible order. Shapelessness and shiny surfaces create a dreamy expanse that can be interpreted as the creative manifestation of unconscious thought: “Even though translating the latent content or dream-thoughts from their hidden depth, the space of the dream itself, of its manifest content, is replete with shining images.”(p.35) Nonetheless, the indeterminate nature of the dream space is always counterbalanced by a determinate figure that accentuates the sharp contrast between being and becoming. At times, this figure corresponds to a lion, a tiger or another wild animal, which may be equated with the brave and solitary work of the artist or, more generally, to a visionary depiction of the beauty of wilderness, such as in National Spirit and The Return of the King. Sallis also notes the increasing attentiveness to nature, influenced by the study of Dutch landscape painting. The necessity of obscuring specific elements and areas of the landscape in order to evoke distance and depth evokes a direct connection with traditional Chinese painting techniques. Color-splashing works as an additional means to structure spacing and perspective in Cao Jun’s paintings, as in Misted Mountain and Trees, where the diagonal color-splashed area “counters somewhat the pure verticality of the scene and is complemented by the reduction in the prominence of the master mountain.” In the adoption of this fresh 174 BOOK REVIEWS","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"173 - 175"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49207816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Turner as a Daoist Sage","authors":"Jason Dockstader","doi":"10.1080/20539320.2020.1885171","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885171","url":null,"abstract":"ABSTRACT In this paper, I provide a cross-cultural comparison between the life and work of the English land- and seascape painter, J.M.W. Turner, and the conception of aesthetic experience and artisanship found in classical Chinese Daoism. I argue that Turner exhibits certain key features of the Daoist sage. By developing some recent interpretations of his life and work, I claim that Turner, especially in his later seascapes, exhibited an approach to aesthetic experience that involves the artist’s total absorption into and identification with the natural process with which he is concerned. Next, I show how the Daoist approach to aesthetics and artisanship similarly focuses on the artist’s capacity to identify with the power and source of the world they aim to aesthetically experience. The central motif in both certain of Turner’s later work and the Daoist approach to aesthetic creativity is the figure of the vortex. By becoming the center of a natural vortex, and even the vortex that is nature itself, the Turnerian and Daoist artist experiences and embodies the wisdom of accessing and identifying with nature’s omnipotence. Such wisdom is thus expressed in the artwork by emphasizing the fundamental dynamism and vagueness of all things. I conclude by claiming that if one reads Turner as a Daoist sage, then a novel model for the aesthetic experience and appreciation of nature can be offered. I call this “the identification model” and recommend it being slotted into our taxonomy of contemporary options within environmental aesthetics.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"113 - 127"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2020.1885171","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42469005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Images of Life: Merging into Landscape","authors":"M. Ghilardi","doi":"10.1080/20539320.2020.1885172","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885172","url":null,"abstract":"ABSTRACT The article deals with Chinese ink painting and some aesthetic notions, in particular those of xiang 象 (literally, “image/phenomenon”) and shanshui 山水 (literally: “mountains-waters”, i.e. landscape). Any dichotomy or tension arising from the opposition of the physical and the intelligible world, the domain of appearance and that of essence is avoided, so a new understanding of the role and meaning of the art of painting can be developed. Focusing on Shitao’s Treatise on Painting (early 18th century), as a clear example and apex of the Chinese rumination on painting and calligraphy in early modernity, the implications and the relationship between landscape, art, and the ethical dimension of human experience are investigated and analyzed.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"129 - 138"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43489085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Negativity in the Heart of Nature: A Study of Art of Vincent Van Gogh through Hegel, Nietzsche, and Heidegger","authors":"M. Marren","doi":"10.1080/20539320.2020.1885173","DOIUrl":"https://doi.org/10.1080/20539320.2020.1885173","url":null,"abstract":"ABSTRACT The focus of this essay is the art of Vincent van Gogh and the way in which van Gogh’s understanding of nature informs his landscape painting. Van Gogh’s descriptions of the relationship between nature and his art betray certain humanist views that invest nature with anthropomorphic elements. Van Gogh seeks to subdue nature in order to uncover its essence and divulge its inner truth. I do not defend van Gogh on these points as it is not my position that there is some hidden truth that must be revealed about nature. I also do not hold that, at bottom, nature and human beings are one. In fact, I argue that these views, precisely, pave the way to the tragedy of van Gogh’s life, because they make him blind to the fact that, in his attempts at wresting truth from nature, he works to uproot himself. My interest in this paper lies along the lines of answering the question that van Gogh’s articulation of his artistic process allows us to ask. This question is: What is the role of aesthetic feeling in the artist’s ability to understand nature and make it intelligible to his audience? The correlate of this question is: How and at what cost does van Gogh’s landscape painting accomplish this transformation of aisthesis into art? In my analyses of van Gogh’s art, nature, and the relationship between feeling and intelligibility, I rely on Nietzsche’s, Heidegger’s, and Hegel’s articulations of these subjects.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"139 - 157"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48356002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Automating Art: Gilbert Simondon and the Possibility of Independently Creative Machines","authors":"Michael Haworth","doi":"10.1080/20539320.2020.1780784","DOIUrl":"https://doi.org/10.1080/20539320.2020.1780784","url":null,"abstract":"The modern concept of creativity as an attribute of human beings has, since its very beginnings in the 18 Century, routinely been defined in opposition to that of the programme. In Edward Young’s famous letter “Conjectures on Original Composition” from 1759, the original creativity of the genius is radically distinguished from anything that can be accomplished through the execution of a plan. “An original,” he writes, “may be said to be of a vegetable nature; it rises spontaneously from the vital root of genius; it grows, it is not made.” The conviction that true creativity is a spontaneous and intuitive process, which cannot be attained through following a set of predetermined rules and procedures still endures in the popular imagination today. It is the principle underlying most of the common objections to the idea that machines might one day be considered independently creative. For if a computer can only follow a sequence of operations that it has been programmed to perform, so the argument goes, then creative invention must – by definition – be beyond their capabilities. Ada Lovelace is often credited with being the first to formulate this objection as long ago as 1843. As she famously wrote, with respect to Charles Babbage’s theoretical computer the Analytical Engine, “[the machine] has no pretensions whatever to originate anything. It can do only whatever we know how to order it to perform.” Those arguing against this prevailing doxa and in favour of the possibility of fully autonomous, independently creative machines typically advance a cognitivist view of creative behaviour that is more functional and less romantic than that invoked by Edward Young. The standard claim is that once we have expunged all mystificatory remnants of innate talent, divine inspiration, or individual genius, what we are left with is a psychological process that can be described in formal computational terms and – theoretically at least – implemented in a real machine. This debate recurs frequently, most recently as a result of a series of high-profile machine learning projects aimed at recognising and reproducing human creative processes in the arts. Notable examples of this trend include Google’s major Magenta project launched in 2016 to “explore the role of machine learning in the processes of creating art and music,” and the research team at the University of Tübingen who trained a neural network to recreate photographic images in the signature style of canonical artists such as Van Gogh or Edvard Munch. Possibly the most well-known single example was the exhibition in 2016 of a “new” Rembrandt painting at the Cannes Lions International Festival of Creativity. The painting was the striking result of an ambitious digital venture entitled “The Next Rembrandt,” devised by the Dutch","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"7 1","pages":"17 - 32"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20539320.2020.1780784","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45529661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}