Aesthetic judgements that are formed on the basis of testimony are commonly held to be defective, illegitimate, or otherwise problematic. This book assesses the debate surrounding aesthetic testimony and argues for the surprising conclusion that this widespread view is mistaken. Aesthetic testimony is in no way inferior as a source of judgement when compared to either first-hand aesthetic judgement or testimony concerning non-aesthetic matters. Alongside establishing this position (an extreme form of 'optimism' concerning aesthetic testimony), Jon Robson also responds to the most prominent arguments for the opposing view ('pessimism' concerning aesthetic testimony). Along the way, it also re-examines our understanding of the norms which govern both judgement and assertion in aesthetics.
"“After Testimony is the first larger collective project that specifically and self-consciously employs narrative theory in its analysis of texts about the Holocaust, an undertaking that, in my opinion, is woefully overdue, especially given the ubiquity of narratological approaches in literary and cultural studies in general. For that reason alone, I think this volume will be of immense importance to the field of Holocaust Studies.” -Erin McGlothlin, associate professor of German and Jewish Studies, Washington University in St. Louis.
A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century.
Engaging undergraduate students and instigating debate within philosophy seminars is one of the greatest challenges faced by instructors on a daily basis. How to Get Philosophy Students Talking: An Instructor’s Toolkit is an innovative and original resource designed for use by academics looking to help students of all abilities get the most out of their time spent in group discussions. Each chapter features thought experiments, discussion questions and further readings on topics within the following core areas of philosophy: Metaphysics Epistemology Philosophy of Mind Philosophy of Language Philosophy of Religion Philosophy of Science Political Philosophy Normative Ethics Applied Ethics Metaethics Aesthetics Group discussions and debates are a key part of undergraduate study and one of the best ways for students to learn and understand often complex philosophical theories and concepts. This book is an essential toolkit for instructors looking to get the most out of their philosophy students.
Epistemology, the philosophy of knowledge, is at the core of many of the central debates and issues in philosophy, interrogating the notions of truth, objectivity, trust, belief and perception. The Routledge Companion to Epistemology provides a comprehensive and the up-to-date survey of epistemology, charting its history, providing a thorough account of its key thinkers and movements, and addressing enduring questions and contemporary research in the field. Organized thematically, the Companion is divided into ten sections: Foundational Issues, The Analysis of Knowledge, The Structure of Knowledge, Kinds of Knowledge, Skepticism, Responses to Skepticism, Knowledge and Knowledge Attributions, Formal Epistemology, The History of Epistemology, and Metaepistemological Issues. Seventy-eight chapters, each between 5000 and 7000 words and written by the world’s leading epistemologists, provide students with an outstanding and accessible guide to the field. Designed to fit the most comprehensive syllabus in the discipline, this text will be an indispensible resource for anyone interested in this central area of philosophy. The Routledge Companion to Epistemology is essential reading for students of philosophy.
"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--
Deaf Walls Speak presents an insider’s view of artmaking in Guantánamo, the world’s most notorious prison, as self-expression and protest, and to stage a fundamental human rights claim that has been denied by law and politics: the right to be recognized as human. The book juxtaposes detainee artist Moath al-Alwi’s testimony and artwork with essays that situate his work within legal, political, aesthetic, and material contexts to demonstrate that artwork at Guantánamo constitutes important forms of material witnessing to human rights abuses perpetrated and denied by the U.S. government.
This volume brings together recent work by leading and up-and-coming philosophers on the topic of virtue epistemology. The prospects of virtue-theoretic analyses of knowledge depend crucially on our ability to give some independent account of what epistemic virtues are and what they are for. The contributions here ask how epistemic virtues matter apart from any narrow concern with defining knowledge; they show how epistemic virtues figure in accounts of various aspects of our lives, with a special emphasis on our practical lives. In essence, the essays here put epistemic virtues to work.
The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book’s first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.
