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Books > Humanities > Philosophy > Topics in philosophy > Philosophy of mind
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Aesthetics as Philosophy of Perception (Paperback)
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Aesthetics as Philosophy of Perception (Paperback)
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Aesthetics is about some special and unusual ways of experiencing
the world. Not just artworks, but also nature and ordinary objects.
But then if we apply the remarkably elaborate and sophisticated
conceptual apparatus of philosophy of perception to questions in
aesthetics, we can make real progress. The aim of this book is to
bring the discussion of aesthetics and perception together. Bence
Nanay explores how many influential debates in aesthetics look very
different, and may beAesthetics is about some special and unusual
ways of experiencing the world. Not just artworks, but also nature
and ordinary objects. But then if we apply the remarkably elaborate
and sophisticated conceptual apparatus of philosophy of perception
to questions in aesthetics, we can make real progress. The aim of
this book is to bring the discussion of aesthetics and perception
together. Bence Nanay explores how many influential debates in
aesthetics look very different, and may be easier to tackle, if we
clarify the assumptions they make about perception and about
experiences in general. The focus of Aesthetics as Philosophy of
Perception is the concept of attention and the ways in which this
concept and especially the distinction between distributed and
focused attention can help us re-evaluate various key concepts and
debates in aesthetics. Sometimes our attention is distributed in an
unusual way: we are attending to one perceptual object but our
attention is distributed across its various properties. This way of
experiencing the world is special and it plays an important role in
characterizing a number of phenomena associated with aesthetics.
Some of these that the book talks about include picture perception
and depiction, aesthetic experiences, formalism, the importance of
uniqueness in aesthetics, and the history of vision debate. But
sometimes, in some aesthetic contexts, our attention is not at all
distributed, but very much focused. Nanay closes his argument with
an analysis of some paradigmatic aesthetic phenomena where our
attention is focused: identification and engagement with fictional
characters. And the conflict and interplay between distributed and
focused attention is an important feature of many artworks.
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