Aesthetics and Its Applications: From Plato to Rancière

A special issue of Philosophies (ISSN 2409-9287).

Deadline for manuscript submissions: closed (15 June 2024) | Viewed by 1885

Special Issue Editor


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Guest Editor
School of Humanities,Tallinn University, Narva rd 25, 10120 Tallinn, Estonia
Interests: 20th century continental philosophy; contemporary French philosophy (foucault, derrrida, deleuze, badiou and other); poststructuralism and postmodernism; theories of aesthetics (from Plato to Rancière); political philosophy (Plato, T. Hobbes, J.-J. Rousseau and others); theories of subjectivity; Nietzsche and his influences on 20th century

Special Issue Information

Dear Colleagues,

Traditionally and retrospectively, aesthetics has been mainly understood as a matter of idealized beauty and forms of art. Aesthetics has often been a question of power relations and the establishing of norms that aim at eternal certainties. But beyond this dominant conception of the history of aesthetics, various lines of escape have been drawn that extend from Plato to Rancière and beyond, and that have remained in the shadow and have not been fully recognized. Behind the established tradition that has focused on ideal and universalized rules, one can discover another path that is less straightforward but often more fascinating and full of unexpected curves and hide-outs. This path, which is more contingent and fragmentary, conceals a variety of pursuits and applications of aesthetics that have been ignored by the tradition as allegedly unproductive and even perilous. From the ancient aestheticizing of the body to the contemporary aestheticizing of the everyday, the door has been open from the very beginning to divergent intuitions. It is time to take a fresh look at the history of aesthetics and explore these ignored paths in order to establish a more diverse picture of the aesthetic tradition that extends from Plato to the present day. Revisiting thinkers and texts from the history of aesthetics serves to show that the tradition of Western aesthetics is rich in intuitions and developments that extend beyond the wide highway of idealized beauty and institutionalized art.

Through this present call for papers, we encourage studies that take a fresh look at the tradition of aesthetics and strive to discover how this tradition has also produced applications of aesthetics that serve to enrich our aesthetic lives from various angles. For example, this may imply moving closer to the ebb and flow of the everyday life or finding similarities between our aesthetic experience of the world and that of other species. In general, articles that look into various applications and outcomes of aesthetics are welcome.

Dr. Margus Vihalem
Guest Editor

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Published Papers (1 paper)

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16 pages, 235 KiB  
Article
The Politics of Film Aesthetics: Filmososphy, Post-Theory, and Rancière
by Konstantinos Koutras
Philosophies 2024, 9(2), 50; https://doi.org/10.3390/philosophies9020050 - 12 Apr 2024
Viewed by 1467
Abstract
The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the [...] Read more.
The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this article, I will offer an alternative account of film aesthetics that draws on Jacques Rancière’s theory concerning the mutually determining relationship between aesthetics and politics. In particular, I will consider the relevance of Rancière’s thesis concerning what he calls the distribution of sensible to current accounts, as well as taking up his novel consideration of aesthetic distance and the “emancipated” spectator. With respect to film phenomenology, I will examine how its film-theoretical program rests on the flawed concept of a de-politicized spectator enchained by the film image. With respect to post-theory, I will examine how its appropriation from cognitive science of the rational agent model of meaning making inappropriately limits the political potential of film aesthetics. Full article
(This article belongs to the Special Issue Aesthetics and Its Applications: From Plato to Rancière)
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