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This major collection of essays examines issues surrounding aesthetics and ethics.
The author's purpose in this volume is to present the relevance of the ideas of Wittgenstein to those interested in aesthetics and the philosophy of art. He focuses on both the earlier work centred around the "Tractatus" and the later work of the "Philosophical Investigations".
Aesthetic and moral value are often seen to go hand in hand. They do so not only practically, such as in our everyday assessments of artworks that raise moral questions, but also theoretically, such as in Kant's theory that beauty is the symbol of morality. Some philosophers have argued that it is in the relation between aesthetic and moral value that the key to an adequate understanding of either notion lies. But difficult questions abound. Must a work of art be morally admirable in order to be aesthetically valuable? How, if at all, do our moral values shape our aesthetic judgements - and vice versa? Aesthetics and Morality is a stimulating and insightful inquiry into precisely this set of questions. Elisabeth Schellekens explores the main ideas and debates at the intersection of aesthetics and moral philosophy. She invites readers to reflect on the nature of beauty, art and morality, and provides the philosophical knowledge to render such reflection more rigorous. This original, inspiring and entertaining book sheds valuable new light on a notably complex and challenging area of thought.
Ludwig Wittgenstein famously said, “Ethics is aesthetics.” It is unclear what such a claim might mean and whether it is true. This book explores contentious issues arising at the interface of ethics and aesthetics. The contributions reflect on the status of aesthetic en ethical judgments, the relation of aesthetic beauty and ethical goodness and art and character development. The book further considers the potential role art could play in ethical analysis and in the classroom and explores in what respects aesthetics and ethics might be intertwined and even mutually supportive.
The Meeting of Aesthetics and Ethics in the Academy provides a deep understanding of the nuances of ethics in the creative environment and contributes to the critical exploration of the nature of research ethics in higher education. Written by world-renown academics with a wealth of experience in this field, this volume explores ethical challenges and responses across a range of creative practices and disciplines including design, documentary film making, journalism, socially engaged arts and the visual arts. It addresses the complex negotiations that creative practice researchers in higher education undertake to ensure that the ethical compliance required does not undermine the research integrity and artistic aspirations. By presenting carefully considered challenges to accepted models of research, this book illustrates critical analysis through a variety of case studies and anecdotal examples that provide an insight into improved ethics practices and policies in higher education. This book is perfect for academics, ethics administrators, higher degree research candidates and supervisors looking to engage further in creative practice research and wanting to explore and understand its ethical oversight.
The essays in The Hand and the Soul explore the question of how ethical ideas guiding the design process--a concern for the environment or for social justice--relate to the beauty of our buildings, cities, and artworks. The book presents a range of viewpoints and does not ignore the perils of an easy association of ethics and aesthetics. Yet the majority of contributors, among them historians, theorists, as well practicing designers and artists, argue passionately in defense of the idea that the good and the beautiful can and should be able to find a common ground in the design disciplines. The book begins with an exploration of recent difficulties in pairing ethics and aesthetics. Can one effect a philosophical convergence of these elements, or is it dangerous to conflate moral and aesthetic terms? The discussion continues with considerations of the overlap that occurs between the fine arts and the design disciplines, the intersection of aesthetic theory and practice with sustainability and environmental science, and the concept of "open works"--projects whose design processes are flexible, nonhierarchical, and attuned to the unique features of a particular place or cultural situation. The book concludes with a look at several contrasting ideas developed in the essays and examines ethics as a desire for community, as well as a sense of responsibility, an obligation to contemplate not only what buildings offer us but also what they may take away. In juxtaposing the work of historians and theorists with that of practicing designers and artists, The Hand and the Soul, whose title is drawn from an essay by American artist Philip Guston, seeks to bridge the divide between theory and practice, between abstract ethical or aesthetic concepts and practical ways of making tangible artifacts. In a field dominated by esoteric studies and, at the other extreme, primarily illustrated works, The Hand and the Soul offers a vital discussion that is at once theoretically rigorous and grounded in the practice of art, architecture, landscape architecture, and urbanism. Contributors Richard Shusterman * Joan Ockman * Howard Singerman * Robin Dripps * Nathaniel Coleman * Thomas Berding * Steven A. Moore * William Sherman * Timothy Beatley * Elissa Rosenberg * Phoebe Crisman * Sanda Iliescu * W. G. Clark
How are aesthetics and ethics related to the practical realities of the global fashion industry? Both have played an important role in academic fashion studies to this point, but they are most often discussed in the context of abstract phenomena such as modernity and capitalism, or identity issues such as sexuality, class and gender. The essays in this volume strive instead to show how the realities of the global fashion industry have important and pertinent aesthetic and ethical consequences. This collection provides critical and philosophical analysis of the interplay of aesthetics and ethics within the global fashion industry. Characterized by an increasingly fast spinning production, the industry is highly exploitative in terms of environment and labor force: underpaid textile workers, retailers working under brutal competition from the mass-merchandise discounters, young designers, seamstresses and curators often working for free, and a vast body of aspiring models. In addition, fashion-related aesthetic ideals are becoming more influential than ever in directing consumers in their social and personal identification processes and bodily practices with sometimes fatal consequences. Covering a wide range of subjects such as fashion's highly problematic production and consumption practices, the possibility of producing and consuming fashion ethically, fashion's intimate connection with nature and technology, Fashion Aesthetics and Ethics highlights the powerful aesthetical presence of fashion in relation to its ethical premises and often problematic outcomes.
Rethinks the existing definitions of aesthetics and ethics and the relations between them.
In a first, theoretical part, this study analyzes what role "otherness" plays in the most influential moral-philosophical approaches to date - from Aristotle and the Neo-Aristotelians (Alasdair MacIntyre, Martha Nussbaum) via Kantianism and its deconstructors (Jean-Francois Lyotard, J. Hillis Miller) to the works of Paul Ricoeur and Emmanuel Levinas - and sheds light on its highly problematic status in Western notions of justice and aesthetics. Starting from a revised notion of the sublime, the second part uses the different theoretical approaches to interpret four American novels (Harriet Beecher Stowe's 'Uncle Tom's Cabin', Herman Melville's 'Billy Budd, Sailor', Richard Wright's 'Native Son', and N. Scott Momaday's 'House Made of Dawn'), and examines how far the respective moral-philosophical systems carry in elucidating these texts, as well as what role literary-historical and generic strategies play in dramatizing the encounter with "otherness".
This book explores Levinas’ phenomenology of ethical motivation. Levinas is grounded in “radical alterity”, the knowledge that ethics exists only when we are fully separate from someone else, allowing us to experience connection with one another. In this book, the author locates this ethics in embodiment, emotions, and imaginations and explores the intersection of aesthetics and education.