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12

Humans and other animals need to recognize favorable conditions and partners distinct from immediate prospects for obtaining a reward. It is likely that a sense of beauty is what accomplishes this. Although there are many cases of nonfunctional beauty, as long as they don't distract us too heavily, we will end up with partners who are less likely to be ...


10

You seem to throw together two interesting, but distinct topics: The question about the existence of social facts. The question about what kind of semantics one should adopt when understanding how everyday concepts work (or the more narrow question about which semantics works best in the case of social facts). 1) The existence of social facts If you ...


9

I generally take characters on shows to be a different instance of the same person, that is, the name doesn't matter, but in the context of the show the actor is that same actor but in the context of the parallel universe developed for the show. Let's use object orientated because that is freakishly easy notation for this problem. (Consensus Reality).(Wil ...


8

You are asking a question with a bit of subtlety here. How much of mathematics consists of mathematical writing — that is, general attempts by the author to convey an idea (if only to themselves in the future)? And of course, what do you mean by art? Can Newtons Principia, for example, be considered an art object; or Einsteins papers? Undoubtedly ...


8

More often than not artists do not give arguments about using the golden ratio, they are sufficiently motivated by the long tradition of singling it out as "golden", which accumulated since Pythagoreans and the ancient Greek sculptor/architect Phidias. The perceived presence of golden ratios in his Parthenon now appears to be spurious, but the letter φ often ...


7

There is no universal agreed upon answer, but personally I would be a little Aristotelian about it: art has a purpose, and the degree that it is fit to that purpose is the degree that it is great art. Some would say that the purpose of art is to make our surrounding more pleasant. It is to make us feel good, so we may judge whether lots of people "like" ...


7

This remains an open question in philosophy. It might be possible to objectively evaluate art, but it's difficult to claim that any given attempt to do so has proven definitive. There are hundreds of different aesthetic theories, and most of them are incompatible with each other to the point of disagreeing even on what counts as art. A random selection of ...


6

So does the degree to which something "is" art or not depend on the degree to which it instantiates some largely vague set of properties? Yes. And the same is true of almost every noun you can think of. How do you decide what is or is not a tree?


6

First I just want to gather together some of what we had discussed in comments: Your question seems to me to be basically one about Aristotle's idea of catharsis; note that this theory itself is responding to Plato's "indictment" of poetry and drama as dangerous influences on people's minds, because they inspire empathy with often violent and/or criminal ...


6

You may be aware of Schmidhuber's Beauty Postulate: Among several patterns classified as "comparable" by some subjective observer, the subjectively most beautiful is the one with the simplest (shortest) description, given the observer's particular method for encoding and memorizing it. His home page has links to papers written about this, with reference ...


6

The connection between mathematics and art goes back thousands of years. Mathematics has been used in the design of Gothic cathedrals, Rose windows, oriental rugs, mosaics and tilings. Geometric forms were fundamental to the cubists and many abstract expressionists, and award-winning sculptors have used topology as the basis for their pieces. Dutch artist M....


6

The answer is going to greatly depend on what you think creativity means. If creativity is taken to mean "able to create something we find pleasant to experience", then the answer is clearly yes. If creativity is taken to mean "able to engage in a creative process" that yields a novel creation, then much will hinge on what we think such a process is. ...


6

There are a few areas where "meta-mathematics" can take on political overtones: Political word problems. See Radical Math as an example of an organization that promotes this sort of thing. (Personally, I'm skeptical that this is a good idea.) Acceptance into the Mathematics profession. See this paper for one take. Women such as Sophie Germain are a rarity ...


6

How should we evaluate artworks? This question has been a controversial question, and a number of approaches to this question have evolved. The approaches are borrowed from hermeneutical theory in general and literary criticism in particular. The Romantic Approach: evaluation of an artwork should be done by extracting the artist's intentions - the ...


6

There are, as @Chris Sunami has noted, many philosophical and critical forays in this direction. In addition to those mentioned, I might add the various "sociobiological" attempts to ground an aesthetic universal, such as E. O. Wilson's "biophilia." These are perhaps closest to a materialist redescription of Kant. In fact, Kant himself preferred to look at ...


6

Aristotle, Poetics, 1451b : The real difference is this, that one tells what happened and the other what might happen. For this reason poetry is something more scientific and serious than history, because poetry tends to give general truths while history gives particular facts.


6

What makes you think that Adorno is suggesting any solution to the problem? I've not read his entire works, but what I have read provides me with no indication that Adorno saw himself in any way responsible for solving or providing solutions to the problems he laments. His definition of the role of the culture industry in controlling our emotional and ...


5

Two recent articles on this topic are: Alan J. Cain, Deus ex Machina and the Aesthetics of Proof, Mathematical Intelligencer, 32, no. 3 (Sept. 2010), pp. 7–11. Viktor Blåsjö, A Definition of Mathematical Beauty and Its History, Journal of Humanistic Mathematics, 2(2), 2012, pp. 93–108.


5

The argument fails on Proposition #1. "The language of physics is mathematics" is true only in the sense that mathematics is the language used by physicists to model the empirically observed effects measured in the physical world. This does not mean that all physical systems can necessarily be modeled mathematically, or that any set of mathematical ...


5

Mathematics isn't art. Only art is primarily focused on emotional expression or evocation. All other things that might evoke strong emotions and feelings as a secondary objective or byproduct (an algorithm, a hand made musical instrument, a mathematical solution) aren't art. Even though we might call them "works of art" that's a superlative and ...


5

Aristotle in his Poetics examines three kinds of poetry - comedy, the epic & tragedy; he says Since the objects of imitation (mimesis) are men in action, and these men must be either of a higher or a lower type (for moral character mainly answers to these divisions, goodness and badness being the distinguishing marks of moral differences), it follows ...


5

Work that is sometimes called "speculative realism" or "object oriented ontology" might interest you. Most (if not all) of it is directly in dialogue with Kant. Timothy Morton in particular deals with aesthetics. There is quite a bit of work on aesthetics since Kant. Aside from the above, Adorno's "Aesthetic Theory" comes to mind and more recently a good ...


5

It seems to me that playing yourself and being yourself are two very different things. Even in real life we often portray some version of our selves that are neither wholly distinguishable from the selves we really are, nor wholly capable of being identified with those true selves. Clearly this requires a conception of identity that might be characterized ...


5

Aristotle, in The Poetics, comes to mind. Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts [beginning middle and end?], but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be ...


5

Providing the quote for context So, let us have a look into the text proper. I will provide a full quote of the important part of section 14 (translation and non-academy pagination from the Cambridge edition, 2000, trans. by Paul Guyer and Eric Matthews). Even what one calls ornaments (parerga), i.e., that which is not internal to the entire ...


5

Beethoven is reported to have said (my emphases) When I open my eyes I must sigh, for what I see is contrary to my religion, and I must despise the world which does not know that music is a higher revelation than all wisdom and philosophy, the wine which inspires one to new generative processes, and I am the Bacchus who presses out this glorious wine for ...


4

I think these are two different questions. Whether something has aesthetic value is somewhat different than the question of whether it is art. A sunset is beautiful, but it isn't commonly considered art. The appreciation of nature and natural beauty is in the realm of aesthetics. Sports would fall under the category of culture, certainly, and the ...


4

Deictics are also called demonstratives and in a broader sense also sometimes taken to comprise both indexicals and demonstratives. Indexicals are expressions that need to be interpreted by taking into account the utterance situation and deictic center I, here, now. Demonstratives additionally need to be interpreted with respect to an accompanying point ...


4

The answer is simpler than you think. "Fashion" is the effect, not the cause. Combine two separate concepts: First, that pleasure resulting from a certain aesthetic fades over time. So yes to your first question, it is the aesthetic value that changes. You can only eat ice cream so long until you get tired of eating it, even though nothing changed about ...


4

What is Nietzsche's opinion on ethical criticism of art? Is an artwork a subject of moral judgement? Can "immoral" details of a piece of art diminish its aesthetic value? To Nietzsche justification of existence was all but impossible if one approached life in the perspective of morality, “because life is [. . .] essentially amoral” (The Birth of Tragedy,...


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