ESPES. The Slovak Journal of Aesthetics
https://espes.ff.unipo.sk/index.php/ESPES
<p><span id="docs-internal-guid-311082f6-7fff-ac89-6fe6-cdfc9dcf8b57"><span><em>Espes. The Slovak Journal of Aesthetics</em> </span><span>is an international interdisciplinary peer-reviewed open-access journal of aesthetics.</span></span></p>University of Presov, Slovakiaen-USESPES. The Slovak Journal of Aesthetics1339-1119<p><img src="/public/site/images/kvokacka/ccby.png" alt="" />This work is licensed under a <a href="https://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International (CC BY 4.0)</a>. Authors of articles published remain the copyright holders and grant third parties the right to use, reproduce, and share the article according to the Creative Commons license agreement.</p><p>You are free to:<br />Share — copy and redistribute the material in any medium or format<br />Adapt — remix, transform, and build upon the material<br />for any purpose, even commercially.</p><p>Under the following terms:<br />Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.</p><p>No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.</p>On the Indeterminacy of the Concept of Beauty and the Reasons for its Use
https://espes.ff.unipo.sk/index.php/ESPES/article/view/283
<p><span id="docs-internal-guid-9eec16e2-7fff-0122-c049-2a0925dec7e3"><span>The study explores the etymological and semantic challenges associated with the term beauty. The authors highlight that beauty is among the most vague and multifaceted concepts. As a result, its users often grasp completely different aspects/dimensions of it. After addressing etymological differences and conducting a conceptual analysis of its synonyms, the authors present empirical findings and a model outlining the semantic space of the term beauty. In the second part of the study, the authors shed light on the reasons behind the use of this ambiguous term, particularly focusing on its evolutionary and existential significance. The conclusion of the study draws attention to the fact that, despite the vagueness of the concept, beauty continues to play a key role in our lives, reflecting our need to share it, and portraying the human being as homo aestheticus. </span></span></p>Andrej DémuthSlávka Démuthová
Copyright (c) 2024 Andrej Démuth, Slávka Démuthová
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2023-12-312023-12-31122284410.5281/zenodo.10479732The Ambit of Aesthetic Validity
https://espes.ff.unipo.sk/index.php/ESPES/article/view/320
<span id="docs-internal-guid-09ea3680-7fff-1d44-641d-99c6ee9df017"><span>Book review of Șerban, O. (2022) After Thomas Kuhn: The structure of Aesthetic Revolutions. Berlin, Boston: De Gruyter 2022. ISBN: 9783110774696.</span></span>Andrea Miškocová
Copyright (c) 2024 Andrea Miškocová
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2023-12-312023-12-3112217017310.5281/zenodo.10514457Reframing Beauty: Body, Environment, Art – An Introduction
https://espes.ff.unipo.sk/index.php/ESPES/article/view/316
Introduction for Reframing Beauty: Body, Environment, Art, the thematic issue of ESPES. The Slovak Journal of Aesthetics.Andrej DémuthLukáš Makky
Copyright (c) 2024 Andrej Démuth, Lukáš Makky
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2023-12-312023-12-3112251210.5281/zenodo.10473720Another Look at Jared S. Moore’s Comprehensive View of Beauty
https://espes.ff.unipo.sk/index.php/ESPES/article/view/309
<span id="docs-internal-guid-3e4262cc-7fff-807f-c734-f563926605eb"><span>According to what is known as the classic theory, beauty can be defined as unity or formal harmony. To overcome some of the criticisms that it encountered, the American philosopher Jared S. Moore proposed, in his paper from 1942, a modernisation of such theory, by distinguishing various types and subtypes of harmony which, taken together, are intended to cover both the objective and the subjective sides of beauty. Our goal is to look closer to some of the main principles that emerge within Moore’s intricate taxonomy of harmony – most notably, the principles of organic unity, fittingness, and empathy – which in his article are only sketched or implicitly suggested. Employing such supplementations, we hope to make J.S. Moore’s comprehensive view of beauty even more complete from a theoretical standpoint and suitable to face the challenge posed by the modernist and postmodern artistic practices, which seemingly undermined the notions of beauty and formal harmony.</span></span>Filippo FocosiPier Francesco Corvino
Copyright (c) 2024 Filippo Focosi, Pier Francesco Corvino
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2023-12-312023-12-31122455910.5281/zenodo.10489478To What Does the Word 'Beauty' Refer?
https://espes.ff.unipo.sk/index.php/ESPES/article/view/303
<p><span id="docs-internal-guid-74ed8a13-7fff-f21f-13d0-e38e656da711"><span>Beauty is a particular kind of aesthetic experience. Aesthetic experience can be divided into various categories according to the kind of aesthetic property (beautiful, sublime, elegant, cool, profound, etc.) that is attributed to the object. The phenomenal bases of these different properties are the objective qualities shared by the objects to which the category is attributed. That is, objects that are, for example, perceived as sublime can be shown to have certain objective qualities in common. This holds true of all nameable aesthetic properties except for beauty. Even within the same class of objects, there are no discoverable common objective qualities that are necessarily present in every attribution of beauty. This lack of content to beauty has led to the word being used informally as a blanket term for aesthetic value. However, where this use has entered aesthetics (as the philosophy of art), obfuscation has resulted. </span></span></p>James Kirwan
Copyright (c) 2024 James Kirwan
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2023-12-312023-12-31122132710.5281/zenodo.10491689Beauty between Space, Place, and Landscape: Recovering the Substantive and Normative Character of Beauty
https://espes.ff.unipo.sk/index.php/ESPES/article/view/312
<p dir="ltr"><span>Notions of space and place are often used interchangeably in everyday speech, but they are distinguished both conceptually and historically. When put in relation to space and place, beauty</span></p><p dir="ltr"><span>reveals all its vitality and ties to socio-political issues, like: why do we consider a place beautiful and another place ugly? How do taste judgments about places influence planning, tourism, heritage policies, urban, and landscape architecture? I will develop my argument in four points. First, I will shortly pin down the main tenets of a concept of beauty that is inherently spatial, by rephrasing Roger Scruton’s insights on the beautiful and Ed Casey’s notion of ‘implacement’. Second, I will address the interconnection between the modern emergence of a quantitative and objectivist concept of space and a non-relational idea of beauty. Third, I will expose the relationship between the concept of place, idiographic and qualitative, and the emergence of a site-specific, phenomenologically based concept of beauty. In conclusion, I will show how non-relational conceptions of beauty risk to colonize aesthetic experience and I will take a stand for a relational conception of beauty against the risk of standardization of both landscape appreciation and planning. </span></p><div><span><br /></span></div>Paolo Furia
Copyright (c) 2024 Paolo Furia
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2023-12-312023-12-31122607410.5281/zenodo.10496140Hiroshima’s Bag Lady: Increasing the Parameters of the Real
https://espes.ff.unipo.sk/index.php/ESPES/article/view/302
<span id="docs-internal-guid-8170dfea-7fff-30e6-298e-d44ed783c38d"><span>What is considered ugly, grotesque or unpleasant by the fashion world? The first collection presented by Rei Kawakubo in Paris was classified as offensive to Western aesthetic standards, for it questioned the French ideal of beauty and elegance. Through silhouettes covered in frayed, perforated and monochromatic fabrics, Kawakubo disrupted the established notion of the beautiful body, stripping it of the clichés of femininity, explicit sexuality and glamour. Under the lens of Vilém Flusser’s philosophy, the Japanese fashion designer created the new, the beautiful, that which is capable of expanding the parameters of the real. </span></span>Luciana Nunes Nacif
Copyright (c) 2024 Luciana Nunes Nacif
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2023-12-312023-12-3112211712310.5281/zenodo.10501361The Loss of Sky-Blue: Changes in the Sky-Environment
https://espes.ff.unipo.sk/index.php/ESPES/article/view/284
<p><span id="docs-internal-guid-0e42cc51-7fff-a4d2-47c9-7dab70be0a89"><span>The main thesis to be explored is the undiscussed change in the sky-environment and the loss of sky-blue from our aesthetic reach. The concept of ‘living blue-beauty’ allows to introduce the dynamic sky-environment as a scientific subject and to use the findings to open an inter- and transdisciplinary dialogue on anthropogenic sensory pollution. The observation of increasing changes up to the possible absence of this beauty also enables to address aesthetic and atmospheric (in-)sensibility and (co-)affection for fundamental environmental changes. In the context of an unprecedented epoch of the Anthropocene, concepts such as ‘everyday’ and ‘familiarity’ are being challenged. Furthermore, the sky-environment becomes revealed as vulnerable in its natural variability. On top of that, its threatened beauty justifies the pursuit of preventing its loss for the future. </span></span></p>Brit Kolditz
Copyright (c) 2024 Brit Kolditz
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2023-12-312023-12-31122758710.5281/zenodo.10498500Varnishing Facades, Erasing Memory: Reading Urban Beautification with Critical Whiteness Studies
https://espes.ff.unipo.sk/index.php/ESPES/article/view/310
<p><span id="docs-internal-guid-dd9336cb-7fff-7b51-7cfe-0a5d3f8f741e"><span>The paper addresses the contemporary features of aesthetic capitalism (Böhme, 2001; 2017) in the city, connecting beauty studies with established analyses of ‘territorial stigmatization’ (Wacquant, 2007) in the framework of critical whiteness studies. My argument is that beautification practices in marginal public spaces can be regarded as an attitude of aesthetic neocolonialism. The text investigates the role that art plays in establishing spaces of difference, focusing on the analysis of the idea of beauty exhibited and used in processes of urban transformation. This beautifying operation could mask the intent of domesticating the ‘urban exotic’, representing the aesthetics of the ‘urban other’, overlapping processes of hypervisibilization and invisibilization within the production of normative white visual domains. The resulting transformation is viewed as a new field of value extraction from the urban space while at the same time being a new arena for privilege and inequality production. </span></span> </p>Laura Raccanelli
Copyright (c) 2024 Laura Raccanelli
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2023-12-312023-12-311228810210.5281/zenodo.10498887The Beauty of the Human Face in Contemporary Interdisciplinary Discourse
https://espes.ff.unipo.sk/index.php/ESPES/article/view/285
<p><span id="docs-internal-guid-bd85cfa3-7fff-34fc-825d-0f4efccd9ffd"><span>The face serves as a fascinating focal point for exploring different perspectives and attitudes on human nature, including their identity, boundaries, culture, roles, the function of looks, beauty, religion, imagination, memory and more. In this paper, I will explore the analysis of facial beauty in the framework of contemporary interdisciplinary research, particularly the realms of contemporary cognitive science, neuropsychology, and evolutionary biology. Why do we prefer some faces and not others? What mechanisms underlie the evaluation of some faces as more attractive than others? What is the role of evolution in our perception of facial beauty?</span></span></p>Renáta Kišoňová
Copyright (c) 2024 Renáta Kišoňová
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2023-12-312023-12-3112210311610.5281/zenodo.10500937Utopia, Sound, and Matter in Ernst Bloch
https://espes.ff.unipo.sk/index.php/ESPES/article/view/203
<span id="docs-internal-guid-511e503b-7fff-3a69-4a0f-6ce321472a89"><span>Bloch’s philosophy of music is one of the most interesting of the twentieth century, particularly in the context of Marxist aesthetics. This article focuses on the various peculiarities of this thought, which seldom are highlighted. Firstly, through a new analysis of the musical sections of Spirit of Utopia and The Principle of Hope, the relation between utopia and music will be discussed in Sections 2 and 3 in order to show the originality of Bloch’s refusal of the Marxist base-superstructure model in the field of aesthetics. In contrast to the other philosophies of music, the study of music inspires theoretical speculation in Bloch’s thought and not vice versa. In order to demonstrate this connection, in Sections 4 and 5, the idea of the sound in Spirit of Utopia will be examined and compared to the conception of the matter as it is presented in The Principle of Hope, The Materialism Problem, its History and Substance, and other works. These paragraphs aim to highlight how the early conception of sound was the model for the later conception of matter. </span></span>Federico Rampinini
Copyright (c) 2024 Federico Rampinini
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2023-12-312023-12-3112212514010.5281/zenodo.10511154Transfiguration, Art, Pathicity. Somaesthetics Reconsidered
https://espes.ff.unipo.sk/index.php/ESPES/article/view/318
<span id="docs-internal-guid-bffb95e6-7fff-9af9-d8c3-3e7e2377bb13"><span>In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reflections around three main themes, which intersect the theme of several of the essays of the volume: I will first of all consider the concept of transfiguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man in Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body. </span></span>Alessandro Nannini
Copyright (c) 2024 Alessandro Nannini
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2023-12-312023-12-3112215115810.5281/zenodo.10513111Somaesthetics and Embodied/ Enactive Philosophies of Mind
https://espes.ff.unipo.sk/index.php/ESPES/article/view/317
<span id="docs-internal-guid-9a170189-7fff-70bf-9c45-5a99a9ec9ce8"><span>In this article I focus on Jerold J. Abrams’ recently edited volume on Richard Shusterman’s somaesthetics and I assume as a starting point the concept itself of soma, widely cited and examined in various contributions collected in Abrams’ book. Then, I specifically concentrate my attention on one of the essays, the one authored by Stefán Snævarr, which connects in an interesting, original and sometimes also challenging way Shusterman’s thinking to some questions that have characterized the current debates in the field of the philosophy of mind. On this basis, in the final part of my short essay I try to offer some provisional remarks on the potential and mutually enriching dialogue between Shusterman’s somaesthetics and embodied, extended and enactive approaches to perception and mind, such as those, for example, of contemporary theorists like Andy Clark, Shaun Gallagher and Alva Noë. </span></span>Stefano Marino
Copyright (c) 2024 Stefano Marino
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2023-12-312023-12-31122142150When Life is Art and Philosophy: The Case of Richard Shusterman
https://espes.ff.unipo.sk/index.php/ESPES/article/view/319
<span id="docs-internal-guid-c03a24f7-7fff-b75d-bbc3-62337cb27f83"><span>This article is motivated by a reading of J.J. Abrams’ proceedings Shusterman’s Somaesthetics: From Hip Hop Philosophy to Politics and Performance Art. Of the diverse range of essays in the proceedings, I concentrate my attention primarily on those aspects of the texts that highlight Richard Shusterman’s practical somaesthetics, and in which their authors focus on the more personal aspects of Shusterman’s philosophical-artistic experimentation, as captured in The Adventures of the Man in Gold: Paths Between Art and Life, A Philosophical Tale. Through references to Foucault’s notion of care of the self and the aesthetics of existence, the article demonstrates that the individual level of Shusterman’s practical somaesthetics is not separable from the social-ethical level. This is matched by the conclusion of the text, which points out that Shusterman’s practical somaesthetics overcomes the dichotomy of private and public in Richard Rorty’s pragmatism. </span></span>Lukáš Arthur Švihura
Copyright (c) 2024 Lukáš Arthur Švihura
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2023-12-312023-12-3112215916810.5281/zenodo.10513469Aesthetics and the Ethics of Care: Some Critical Remarks
https://espes.ff.unipo.sk/index.php/ESPES/article/view/268
<span id="docs-internal-guid-649d89ba-7fff-4f27-3fb8-bc0ac22c7775"><span>This discussion piece raises some worries in the view Yuriko Saito develops in her Aesthetics of Care: Practice in Everyday Life (2022), on the role of aesthetics in fostering a way of life, which is infused by a particular kind of care towards the world. My claim is that Saito’s theory is haunted by problems similar to those Gregory Currie has recently addressed towards philosophical views on the cognitive value of literature. Like such approaches in Currie’s view, Saito’s claim that an appropriate kind of aesthetic appreciation nurtures care ethics, too, would benefit from a more empirically grounded inquiry. Moreover, I believe that Currie’s sceptical points on the idea of literature as a vehicle for expanding our emphatic capacities are also relevant to Saito’s account of the relation between aesthetics and care ethics. I close by sketching a different way of relating aesthetics and ethics from Saito’s in terms of the notion of exemplification.</span></span>Kalle Puolakka
Copyright (c) 2023 Kalle Puolakka
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2023-07-072023-07-0712213013610.5281/zenodo.8117798A Rhythmic Process of Harmonization: Whitehead’s Concept of Aesthetic Experience
https://espes.ff.unipo.sk/index.php/ESPES/article/view/294
<span id="docs-internal-guid-22162e02-7fff-5a66-3ea7-6e819db60788"><span>Book review of Dadejík, O., Kaplický, M., Ševčík, M., and Zuska, V. (2021) Process and Aesthetics: An Outline of Whiteheadian Aesthetics and Beyond. Prague: Karolinum Press. ISBN 978-80-246-4726-5.</span></span>Botond Csuka
Copyright (c) 2023 Botond Csuka
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2023-07-072023-07-0712213814110.5281/zenodo.8119718The functions and place of Aesthetics compendia in the development of aesthetics thinking in Slovakia
https://espes.ff.unipo.sk/index.php/ESPES/article/view/295
<p dir="ltr"><span>Book review of KOPČÁKOVÁ, Slávka, (Ed.) – ORIŇÁKOVÁ, Slávka – ZUBAL, Pavol (2021) Tobias Gottfried Schröer (1791-1850). Estetika ako vízia lepšieho človeka. [Tobias Gottfried Schroer (1791-1850). Aesthetics as a vision of a better person.] Prešov: University of Prešov, Faculty of Arts. 321 p. ISBN 978-80-555-2767-3.</span></p><div><span><br /></span></div>Zuzana Slušná
Copyright (c) 2023 Zuzana Slušná
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2023-07-072023-07-0712214214510.5281/zenodo.8119783Fundamental concepts of Maldiney’s thought
https://espes.ff.unipo.sk/index.php/ESPES/article/view/296
<span id="docs-internal-guid-672b7305-7fff-4af9-bd42-140f3241ea12"><span>Book review of Sucharek, P. (2020) Udalosť, prázdno, otvorenie: Henri Maldiney a fenomenológia umenia. Prešov: Filozofická fakulta. ISBN 978-80-555-2612-6.</span></span>Damián Michalco
Copyright (c) 2023 Damián Michalco
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2023-07-072023-07-0712214614910.5281/zenodo.8119795Aesthetic Judging as Interface: Getting to Know What You Experience
https://espes.ff.unipo.sk/index.php/ESPES/article/view/277
One of the aims of Aesthetics is to understand aesthetic experience, that of our own and that of others. Yet, the underlying question of how<em> </em>we can get information about other people’s aesthetic experience has not been granted enough attention. This article contributes to bridging this gap. The main argument is that by resorting to aesthetic judging, we can get information about other people’s aesthetic experience without sharing it. This article outlines how aesthetic judging works as an interface to aesthetic experience. Aesthetic judging allows us to access aesthetic experience indirectly: with it, we can get some information about aesthetic experience. Aesthetic judging thus positions us in relation to someone else’s aesthetic experience. In a nutshell, learning about aesthetic experience happens via aesthetic judging in at least three ways proposed and analyzed here: “aesthetic participation”, “affective appropriation”, and “distanced aesthetic empathy”.Onerva KiianlinnaJoonas Kurjenmiekka
Copyright (c) 2023 Onerva Kiianlinna, Joonas Kurjenmiekka
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2023-07-072023-07-07122108128Preface
https://espes.ff.unipo.sk/index.php/ESPES/article/view/287
<span id="docs-internal-guid-8887505d-7fff-dc5b-57a8-753a2b03d4d0"><span>Preface of the ESPES.The Slovak Journal of Aesthetics symposium on Aesthetics and Ageing.</span></span>Valery Vinogradovs
Copyright (c) 2023 Valery Vinogradovs
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2023-07-072023-07-0712251510.5281/zenodo.8108358Ancients on Old Age
https://espes.ff.unipo.sk/index.php/ESPES/article/view/288
<span id="docs-internal-guid-6e28888c-7fff-c79b-ac25-c10138f5778d"><span>Greek and Roman literature has bequeathed us a variety of perspectives on old age. Old age, in ancient times before there were palliatives for pain and devices to compensate for failing sense, such as eyeglasses and hearing aids, could be painful and humiliating. At the same time, old age commanded a certain respect, for the wisdom that time and experience brought, and it afforded pleasures of its own, such as memories of former goods. If erotic passion and attractiveness were diminished, this might be considered a benefit rather than a loss. An aged person might still be able to manage personal affairs, and if death was closer, it was not something to be feared, if one had lived a full life. Old age was a stage in life, the final one, but not less valuable for that.</span></span>David Konstan
Copyright (c) 2023 David Konstan
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2023-07-072023-07-07122162310.5281/zenodo.8108412Living the Ageing
https://espes.ff.unipo.sk/index.php/ESPES/article/view/289
<span id="docs-internal-guid-ba8350a2-7fff-323b-4d1d-1c604835c70b"><span>Ageing is basically a natural or physical phenomenon. For a human being, it belongs to the body. When this fact is noticed, a drama of oldness and life/death begins: ageing is a problem of experience. There are losses and gains in this experience. Indeed, a particular respect was paid to a rhapsodist/bard and a hermit because of their memory power and deep wisdom respectively. Since we recognize in these cases accumulation and maturation, the core subject in the experience of ageing is memory and the time structure. Vis-à-vis the hard memories such as stone monuments and IC memory, the live memory is characterised by a creativity, which vivifies our past time. I pay a particular attention to friendship, because one of the most painful experiences of ageing consists in the loss of dear friends. Recollecting creatively the time shared with them, we can vivify our past, i.e. our being: that is the appropriation of ourselves.</span></span>Ken-ichi Sasaki
Copyright (c) 2023 Ken-ichi Sasaki
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2023-07-072023-07-071222432Ageing: A Dialogue
https://espes.ff.unipo.sk/index.php/ESPES/article/view/290
<span id="docs-internal-guid-909b0293-7fff-44b2-9296-991fa1c249e0"><span>In April 2021, longing to learn first-hand about ageing philosophically, Valery Vino reached out to the legendary Arnold Berleant (who was 89 at the time of writing), to see whether he might be interested in recording a dialogue to this theme, with a companion of his choice. Berleant selected his ideal collaborator Michael Alpert, book designer and collector, poet, senior, and treasured friend. Over the following six months, a rich tapestry of leisurely reading, contemplation and discussion unfolded, culminating in an unrehearsed, free-flowing conversation about ageing, which has been recorded, lightly edited and offered here for readers to share. </span></span>Arnold BerleantMichael AlpertValery Vino
Copyright (c) 2023 Arnold Berleant, Michael Alpert, Valery Vino
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2023-07-072023-07-07122334110.5281/zenodo.8108418Growing Old Together: A Shared Achievement
https://espes.ff.unipo.sk/index.php/ESPES/article/view/291
<span id="docs-internal-guid-cd2479c3-7fff-061e-33a4-4e5f7bb23f00"><span>In this essay, I account for what we mean by old, what it means to grow old, and what we might mean by a shared achievement in the case of growing old together. I turn to the phenomenology of Alfred Schutz for some early insights on the shared time embodied in growing older together and how a ‘werelationship’ shored up by this temporal structure is the foundation for constituting the social world. I follow Schutz’s attempt to use this temporality to describe the case of making music together and conclude that what Schutz calls growing older together is not the same as growing old together which is necessarily embodied in a way his account of making music together is not. I give an embodied, enactivist account of making music together as a performance and, drawing on recent work by Shaun Gallagher, offer an aesthetics of growing old together as a performance enacted by individuals whose intimate engagements in that performance accomplish the shared achievement of growing old together.</span></span>John Carvalho
Copyright (c) 2023 John Carvalho
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2023-07-072023-07-07122425510.5281/zenodo.8108424Ageing, Aura, and Vanitas in Art: Greek Laughter and Death
https://espes.ff.unipo.sk/index.php/ESPES/article/view/292
<span id="docs-internal-guid-33be8214-7fff-3301-8201-4d3d44c873b8"><span>Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne.</span></span>Babette Babich
Copyright (c) 2023 Babette Babich
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2023-07-072023-07-07122568610.5281/zenodo.8114694The Original in the Digital Age
https://espes.ff.unipo.sk/index.php/ESPES/article/view/293
<span id="docs-internal-guid-426cb7c3-7fff-e7ff-ec01-36e5bf9adf89"><span>In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today.</span></span>Doron AvitalKarolina Dolanska
Copyright (c) 2023 Doron Avital, Karolina Dolanska
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2023-07-072023-07-071228810710.5281/zenodo.8117946Introduction. Dwelling Aesthetics: New Paradigms and Perspectives
https://espes.ff.unipo.sk/index.php/ESPES/article/view/269
<p>Introduction to the thematic issue Dwelling Aesthetics: New Paradigms and Perspectives. ESPES. The Slovak Journal of Aesthetics, Vol. 11, No. 2, 2022.</p>Aurosa Alison
Copyright (c) 2023 Aurosa Alison
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2023-01-102023-01-101225710.5281/zenodo.7495271Osmospheric Dwelling. Smell, Food, Gender and Atmospheres
https://espes.ff.unipo.sk/index.php/ESPES/article/view/255
<p>Understanding the tight connections between human dwelling and the sense of smell seems nowadays urgent. Since human being-in-the-world finds its very prerequisite in being-in-the-air, an inquiry on air design, today particularly intrusive, is a philosophical necessity. The aim of this contribution is to sketch an exploratory investigation on the aesthetic relationships between space, smell and gendered atmospheres through the case of food, specifically through its osmosphere: its flavour as its affective aura. Firstly, I discuss analogies between atmospheres and smells. Secondly, I proceed by presenting olfactory devices whose aim is conveying gendered food-related and emotional atmospheres, scrutinising the phenomenological intertwining between food, cooking, gender, ‘sense of home’ and the olfactory imaginary of the matter. Finally, I put forward some observations which weave together aerial dwelling and ecological thought.</p>Elena Mancioppi
Copyright (c) 2023 Elena Mancioppi
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2023-01-102023-01-10122385310.5281/zenodo.7489494The First Day of the Remaining Life of Art
https://espes.ff.unipo.sk/index.php/ESPES/article/view/272
<p>Danto, Arthur Coleman, 2021. Po konci umění: Současné umění a oblast mimo dějiny. Prel. Šárka Lojdová. Praha: Academia.</p>Lenka Lee
Copyright (c) 2023 Lenka Lee
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2023-01-102023-01-101229295Feeling at Home. Reflection on a Theme in Human Existence
https://espes.ff.unipo.sk/index.php/ESPES/article/view/254
<p>This essay is about the significance of the body for dwelling. Considering the body implies considering a concrete body, i.e. asking for the experiences embedded in it. Consequently, the body in consideration is, for example, gendered. The topic of dwelling takes Martin Heidegger’s work on the hand as the point of departure and uses philosophical anthropology and Jacques Derrida’s comments on Heidegger as inspiration to suggest that the relationship between the hand and thinking implies asking whose hands build places of dwelling. When dwelling is related to the body, we must also consider what concrete body is involved in building and dwelling. </p>Carsten Friberg
Copyright (c) 2023 Carsten Friberg
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2023-01-102023-01-10122202710.5281/zenodo.7487297