Aesthetic Investigations
type: channel
description: The aim of Aesthetic Investigations is to develop contemporary debates in the philosophy of aesthetics, and initiate new ones—and to do this from any available angle. We are open to any contributions, but to generate new discussions we also issue specific calls. Please check our calls for Articles, Fresh papers, comments on Art & Artists, and reviews.
publisher: Dutch Association of Aesthetics
language: en
publication name: Aesthetic Investigations
issn: 2352-2704
copyright: Authors who publish with this journal agree to the following terms: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Note: up to volume 4 issue 1, an incorrect copyright line appears in the PDFs of the articles. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
items: A note from the editor
items: Courage Conquers Death – and Even Love
items: I Shall Feint: Arts of Deception in Sport
items: Review of Jon Stone, Dual Wield: The Interplay of Poetry and Video Games (2022), Berlin: De Gruyter
items: Experiencing your art and eating it too
items: Part of the people or apart from the people?
items: Introduction to the special issue
items: What (if any) aesthetics of everyday experience should we have?
items: Review of Vid Simoniti, Artists Remake the World: A Contemporary Manifesto (2023), New Haven: Yale University Press
items: A Modal Ontology of Imagination
items: From mistake to event
items: A Production-Oriented Counterexample to Ethicism
items: Private Vocabulary, Public Resonance
items: Thomas Crow, The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (2023)
items: Streaking in the Museum
items: Introduction to the Special Issue
items: Constructing and Using the Portrait Sitting as an Art-Historical Research Object
items: Review of Gualeni and Fassone’s Fictional Games: A Philosophy of Worldbuilding and Imaginary Play (2022), London: Bloomsbury Publishing
items: Why It Matters Who Poses
items: From Model to Sitter
items: Naked, Fat, and Fabulous
items: Barbie is not Born, but Rather Becomes, Barbie
items: ‘Used and Amused’
items: Corrigendum
items: Empowered Amateur Posers
items: Haunted houses
items: Architecture is Not Public Art
items: Surplus of Form
items: Introduction to the Special Issue on Philosophy and Architecture
items: Oana Șerban, After Thomas Kuhn: The Structure of Aesthetic Revolutions (2023)

A note from the editor
type: item
subject: From the Editor
  topic: section
subject: publication
  topic: keywords
subject: editorial
  topic: keywords
subject: introduction
  topic: keywords
creator: Nathan Wildman
rights: Copyright (c) 2026 Nathan Wildman https://creativecommons.org/licenses/by/4.0
date: 2026-05-06
publication date: 2026-05-06
starting page: i
ending page: iii
doi: 10.58519/ec6v0c51

Courage Conquers Death – and Even Love
type: item
description: In the 1990s, Laurie Shrage critiqued dominant semiotic and psychoanalytic approaches to film, advocating instead for a contextual analysis attentive to audience reception. Drawing on Christopher Strong (Arzner, 1933), Shrage highlighted its capacity to “disturb patriarchal sensibilities,” particularly in its portrayal of women and marriage. This paper revisits Shrage’s thesis to explore how the film addresses issues that remain relevant today, including female agency within and beyond the institution of marriage. I argue that while the film has been recognized for its narrative and dialogue, its engagement with themes such as women’s employment, motherhood, and caregiving remains critically underexplored. Through a close reading that incorporates cinematic elements, such as costume design, I examine how these themes shape the protagonist’s sense of autonomy and complicate traditional narratives of romantic drama. By situating the film within both its historical and contemporary contexts, I aim to demonstrate its enduring relevance and the significance of returning to questions of spectatorship—what we are meant to see and what we might learn to see anew through a critical, feminist lens.
subject: Articles
  topic: section
subject: film
  topic: keywords
subject: film costumes
  topic: keywords
subject: dorothy arzner
  topic: keywords
subject: feminist aesthetics
  topic: keywords
creator: Laura Teresa Di Summa
rights: Copyright (c) 2026 Laura Teresa Di Summa https://creativecommons.org/licenses/by/4.0
date: 2026-05-06
publication date: 2026-05-06
starting page: 1
ending page: 15
doi: 10.58519/mge98j55

I Shall Feint: Arts of Deception in Sport
type: item
description: The potential influence of deception on the aesthetic value of sport often depends on its ethical profile. Immoral deception (e.g., cheating) diminishes the aesthetic value of sport. Questionable forms (e.g., gamesmanship), undermine aesthetic value in some ways but heighten it in others. By contrast, morally permissible deceptions (e.g., feints) enhance sport’s aesthetic value. This holds especially when effective deception is particularly difficult or notably creative. Cases of individual style shining through in sport are plausible examples of artistic self-expression. This result, as in art, is owing less to the content than the form such expression.
subject: Fresh
  topic: section
subject: deception
  topic: keywords
subject: sport
  topic: keywords
subject: feinting
  topic: keywords
subject: cheating
  topic: keywords
creator: Jason Holt
rights: Copyright (c) 2026 Jason Holt https://creativecommons.org/licenses/by/4.0
date: 2026-05-06
publication date: 2026-05-06
starting page: 16
ending page: 23
doi: 10.58519/5s9jys16

Review of Jon Stone, Dual Wield: The Interplay of Poetry and Video Games (2022), Berlin: De Gruyter
type: item
subject: Reviews
  topic: section
subject: video games
  topic: keywords
subject: ludokinetic poetry
  topic: keywords
subject: poetry
  topic: keywords
creator: Agata Waszkiewicz
rights: Copyright (c) 2026 Agata Waszkiewicz https://creativecommons.org/licenses/by/4.0
date: 2026-05-06
publication date: 2026-05-06
starting page: 34
ending page: 38
doi: 10.58519/yd641e67

Experiencing your art and eating it too
type: item
subject: From the Editor
  topic: section
subject: feminism
  topic: keywords
subject: everyday aesthetics
  topic: keywords
subject: political art
  topic: keywords
subject: cinema
  topic: keywords
creator: Sue Spaid
creator: clinton peter verdonschot
rights: Copyright (c) 2024 Sue Spaid, clinton peter verdonschot https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: i
ending page: v
doi: 10.58519/czt2fy35

Part of the people or apart from the people?
type: item
description: Barbie (2023) is both a feminist and a metaphysical film. It is a story of ideas regarding girls and their fantasies and the relation of the two vis-à-vis each other. This critical note draws attention to a way in which the film's metaphysics gets in the way of its feminism. I will argue that the film's conception of Barbie Land and the Real World, as discrete planes of existence, is itself a symptom of the alienated state of existence that Barbie aims to overcome. Consequently, Barbie's escape from this alienated state is doomed to fail from the start.
subject: Arts & Artists
  topic: section
subject: Barbie
  topic: keywords
subject: liberal feminism
  topic: keywords
subject: Lukacs
  topic: keywords
subject: Greta Gerwig
  topic: keywords
subject: Marxist aesthetics
  topic: keywords
subject: feminist aesthetics
  topic: keywords
creator: clinton peter verdonschot
rights: Copyright (c) 2024 clinton peter verdonschot https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 74
ending page: 83
doi: 10.58519/ntj68y62

Introduction to the special issue
type: item
subject: The aesthetic significance of the everyday
  topic: section
subject: Aesthetics
  topic: keywords
subject: art
  topic: keywords
subject: the everyday
  topic: keywords
creator: Mateusz Salwa
rights: Copyright (c) 2024 Mateusz Salwa https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 1
ending page: 7
doi: 10.58519/n16jh153

What (if any) aesthetics of everyday experience should we have?
type: item
description: In this paper, I will show that an aesthetics of everyday experience independent of our analyses of art is absolutely essential. While the aims of discourse about art may be normative, the aims of discourse about everyday aesthetic experience are very different --- such discourse has, in part, epistemic goals, and, to the extent that it has a normative goal, such a goal is not agreement about the judgments of such experiences but about how disparate judgments can both find place in the shared aesthetic space. In other words, discourse about quotidian aesthetic experience is meta-aesthetic in character.
subject: The aesthetic significance of the everyday
  topic: section
subject: aesthetic appreciation
  topic: keywords
subject: everyday aesthetics
  topic: keywords
subject: aesthetic experience
  topic: keywords
creator: Angela Black
rights: Copyright (c) 2024 Angela Black https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 28
ending page: 45
doi: 10.58519/c2yyvx35

Review of Vid Simoniti, Artists Remake the World: A Contemporary Manifesto (2023), New Haven: Yale University Press
type: item
description: With Artists Remake the World: A Contemporary Manifesto (2023), Vid Simoniti surveys recent exhibition-based contemporary art (most since 2016) that ‘glimpse possibilities for repairing the world’. By deferring to institutional definitions of art, Simoniti avoids having to defend whether exhibited objects are art, yet this approach ignores the fact that not all exhibited objects begin/endure as art, let alone begin/endure as political art. Early on, he admits of a paradox regarding exhibition-based political art, that is, it can feel ‘forbiddingly abstruse, experimental, hard to access, inward looking, even elitist’. Simoniti’s introduction describes his aim to demonstrate how ‘through art, we momentarily remake the world as we know it’. He develops this argument over seven chapters beginning with ‘when and how art contemporary art became political’, then ‘Realism for our time: on art and truth’, ‘unity and utopia: on socially engaged art’, ‘worldmaking: on the role of aesthetics in political art’, ‘spectacle and surveillance: on art in the internet age’, ‘creativity in the face of extinction: on art and climate change’, and finally ‘remaking the world’s hinges’.
subject: Reviews
  topic: section
subject: contemporary art
  topic: keywords
subject: political art
  topic: keywords
subject: worldmaking
  topic: keywords
subject: socially-engaged practices
  topic: keywords
subject: discourse
  topic: keywords
subject: activist art
  topic: keywords
creator: Sue Spaid
rights: Copyright (c) 2024 Sue Spaid https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 89
ending page: 95
doi: 10.58519/00e4sg86

A Modal Ontology of Imagination
type: item
description: Everyday aesthetics has been accused of being ontologically and systematically juvenile for a variety of reasons, such as the rejection of some major claims of Kantian aesthetics, its relative newness, its disparate methodologies, and the theoretical and ethical difficulties of outlining a systematic apparatus without reimposing rationalist and colonial perspectives. While it is untrue that everyday aesthetics as a new sub-discipline lacks systematic rigour, another ontology of the everyday will be introduced here. Calvin Seerveld’s aesthetic theory will be outlined and then offered as a resource for understanding the constitutive role imagination plays in analytical and other kinds of thinking. His notion of ‘allusivity’ as the common quality of all aesthetic expression suggests that art, craft, design, and everyday aesthetic appreciation all emerge from the same subjective function of imaginative ‘nuance’. Additionally, his thought comes from within an established tradition of modal ontology begun by 20th century Dutch Continental philosopher Herman Dooyeweerd.
subject: The aesthetic significance of the everyday
  topic: section
subject: allusivity
  topic: keywords
subject: everyday aesthetics
  topic: keywords
subject: aesthetic ontology
  topic: keywords
subject: imagination
  topic: keywords
subject: phenomenology
  topic: keywords
creator: Julia de Boer
rights: Copyright (c) 2024 Julia de Boer https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 8
ending page: 27
doi: 10.58519/et0jby17

From mistake to event
type: item
description: This Arts & Artists contribution addresses the concept of `poor image', coined by the German artist Hito Steyerl. I intend to link it with the development of artistic practices based on the use of ordinary materials and images, which are not created with the pretensions of becoming artworks but as a result of a social context. For this, I will delve into the ability to speculate with alternative scenarios in the work of authors such as Jon Mikel Euba or Erlea Maneros Zabala, but I will also review my own activity as an artist. In fact, more than simply describing the use of poor images, I propose to relate them to a situation of displacement: my own, living in Sweden but researching the minoritization of Galician culture in Spain.
subject: Arts & Artists
  topic: section
subject: reality
  topic: keywords
subject: poor image
  topic: keywords
subject: landscape
  topic: keywords
subject: Everydayness
  topic: keywords
subject: no budget
  topic: keywords
creator: Breogán Torres Gutiérrez
rights: Copyright (c) 2024 Breogán Torres Gutiérrez https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 46
ending page: 57
doi: 10.58519/2h4z8y57

A Production-Oriented Counterexample to Ethicism
type: item
description: The extent to which moral judgements are appropriate with respect to creative works has long been the subject of critical debate. More recently, attention has turned to whether or not moral defects found in a given work also count as aesthetic defects. Ethicism claims that all moral defects are always aesthetic defects and characteristics that are morally praiseworthy are always aesthetically praiseworthy. I suggest a production-oriented counterexample, which seeks to undermine Ethicism.
subject: Fresh
  topic: section
subject: Ethicism
  topic: keywords
subject: Ethical Criticism
  topic: keywords
subject: Immoralism
  topic: keywords
subject: Graffiti
  topic: keywords
creator: Frederick Hulbert
rights: Copyright (c) 2026 Frederick Hulbert https://creativecommons.org/licenses/by/4.0
date: 2026-05-06
publication date: 2026-05-06
starting page: 24
ending page: 33
doi: 10.58519/f65mdc94

Private Vocabulary, Public Resonance
type: item
description: The latest film by Hiyao Miyazaki, The Boy and the Heron, unfolds in unexpected and occasionally baffling ways. The film’s second half, especially, takes place in a world that appears to abide by a distinct narrative logic than that which viewers are familiar with. I discuss this as an instance of Miyazaki creating and working within a private, authentic vocabulary, as has been described in Existentialist and Pragmatist traditions. Specifically, I analyze its filmic language as an alloy of the memories, imagined possibilities, and losses of two of its characters, and why this depiction is so affecting.
subject: Arts & Artists
  topic: section
subject: Pragmatism
  topic: keywords
subject: Existentialism
  topic: keywords
subject: Miyazaki
  topic: keywords
subject: Narrative Logic
  topic: keywords
creator: Gabriel Thomas Tugendste
rights: Copyright (c) 2024 Gabriel Thomas Tugendstein https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 58
ending page: 65
doi: 10.58519/gwg0a370

Thomas Crow, The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (2023)
type: item
description: Thomas Crow’s book The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge reappraises West Coast art as enmeshed in the counterculture. The first five of its twelve chapters discuss Bruce Conner’s development as a multimedia artist in San Franscisco and Los Angeles producing assemblages, films, drawings, magazine illustrations, and light shows for rock concerts. The next five chapters expand Crow’s argument by appraising anti-war manifestations, Black and Latino protest work, Land Art, and West Coast conceptual practices as aspects of the counterculture. Moving forward to the late 1970s, the final two chapters review first Conner’s reemergence as a photographer documenting California punk bands and then Mike Kelley’s transplanting of Detroit’s alternative rock idealism to fuel the development of his own radical art practices.
subject: Reviews
  topic: section
subject: Bruce Conner
  topic: keywords
subject: Mike Kelley
  topic: keywords
subject: Harald Szeemann
  topic: keywords
subject: the counterculture
  topic: keywords
subject: political art
  topic: keywords
subject: experimental film
  topic: keywords
creator: Mark Harris
rights: Copyright (c) 2023 Mark Harris https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 221
ending page: 226
doi: 10.58519/aesthinv.v6i2.18527

Streaking in the Museum
type: item
subject: From the Editor
  topic: section
subject: streaking
  topic: keywords
subject: Guerrilla Girls
  topic: keywords
subject: feminist aesthetics
  topic: keywords
subject: male gaze
  topic: keywords
subject: disinterestedness
  topic: keywords
subject: objectification
  topic: keywords
creator: Sue Spaid
creator: Clinton Peter Verdonschot
rights: Copyright (c) 2023 Sue Spaid; Clinton Peter Verdonschot https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: i
ending page: vi
doi: 10.58519/aesthinv.v6i2.18523

Introduction to the Special Issue
type: item
description: n/a
subject: Models and Sitters: the Art and Aesthetics of Posing
  topic: section
subject: model
  topic: keywords
subject: posing
  topic: keywords
subject: poses
  topic: keywords
subject: portraiture
  topic: keywords
subject: special issue
  topic: keywords
subject: art model
  topic: keywords
creator: Aurélie Debaene
rights: Copyright (c) 2023 Aurélie J. Debaene https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 105
ending page: 109
doi: 10.58519/aesthinv.v6i2.18519

Constructing and Using the Portrait Sitting as an Art-Historical Research Object
type: item
description: Portraiture is said to have evolved from a collaborative social practice to an artist-centric one. I challenge this view by focusing on the portrait sitting. I develop a portrait-sitting ontology, and a portrait-sitting database. I do so with reference to works in London's National Portrait Gallery, because the gallery features noteworthy sitters, leading to rich interpersonal exchanges during sittings. An approach from my portrait-sitting database shows the contributions of sitters to portrait production, calls attention to shared social and cultural ideas behind particular types of portrait production, and supports new interpretations of portraits and new periodisations of portraiture.
subject: Models and Sitters: the Art and Aesthetics of Posing
  topic: section
subject: portraiture
  topic: keywords
subject: portrait sitting
  topic: keywords
subject: twentieth century
  topic: keywords
subject: National Portrait Gallery
  topic: keywords
subject: modelling
  topic: keywords
subject: ontology engineering
  topic: keywords
subject: database
  topic: keywords
creator: Dawn Kanter
rights: Copyright (c) 2023 Dawn Kanter https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 110
ending page: 127
doi: 10.58519/aesthinv.v6i2.16887

Review of Gualeni and Fassone’s Fictional Games: A Philosophy of Worldbuilding and Imaginary Play (2022), London: Bloomsbury Publishing
type: item
subject: Reviews
  topic: section
subject: Games Studies
  topic: keywords
subject: Fiction Studies
  topic: keywords
subject: Ideological Critique
  topic: keywords
subject: Science Fiction
  topic: keywords
subject: Gestalt Psychology
  topic: keywords
subject: Science and Technology Studies
  topic: keywords
subject: Narrative Devices
  topic: keywords
subject: Completeness and Incompleteness
  topic: keywords
creator: Benjamin Micallef
rights: Copyright (c) 2024 Benjamin Micallef https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 84
ending page: 88
doi: 10.58519/jwthk408

Why It Matters Who Poses
type: item
description: I make the case for modelling as a collection of creative practices that work with various art forms as a promising area of work. I achieve this by exploring three questions. First, are models not merely a prop employed by the artist? Using phenomenological considerations informed by my work as a life model, I argue that models often work to vague briefs and are moreover employed precisely because of their unique poses. Second, how do models impact artworks? Overlooking a model's contribution can drastically alter our aesthetic understanding of an artwork. I argue that models contribute creatively and maintain 'model reasons', a formal interest in posing as body-experts. Third, what is the value of research into models and their poses? Deepening our knowledge can constitute a restorative act. Further scholarship will also need to reckon with the realities of changing technologies and working practices. It is especially important, then, to tease out and understand the existing practices of modelling and their interrelations with other artists, artistic media, and technologies.
subject: Models and Sitters: the Art and Aesthetics of Posing
  topic: section
subject: aesthetics
  topic: keywords
subject: model
  topic: keywords
subject: pose
  topic: keywords
subject: phenomenology
  topic: keywords
subject: technology
  topic: keywords
subject: ethics
  topic: keywords
subject: visual arts
  topic: keywords
subject: photography
  topic: keywords
subject: media
  topic: keywords
subject: body
  topic: keywords
subject: diversity
  topic: keywords
creator: Aurélie Debaene
rights: Copyright (c) 2023 Aurélie Debaene https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 128
ending page: 140
doi: 10.58519/aesthinv.v6i2.16890

From Model to Sitter
type: item
description: This paper focuses on historic anthropological photographs, meant to depict Indigenous individuals as generic models of colonial stereotypes, and examines their later reclamation as portraits. Applying an intention-based account of portraiture, we discuss the historical context and contemporary examples of the utilisation of these images in order to address several questions. What happens when the depicted persons in colonial imagery are treated and presented as sitters, rather than model specimens? Does this change the nature of the image? If a photograph was not originally intended as a portrait, can it come to function as such at a later stage? Regardless of whether they fulfill all the requirements necessary for portraiture, these colonial photographs represent a vital resource for the reclamation of Indigenous cultural heritage. As such, this paper serves as an introductory discussion into the complex issues surrounding the recategorisation, repatriation, and restitution of colonial photographic archives.
subject: Models and Sitters: the Art and Aesthetics of Posing
  topic: section
subject: portraiture
  topic: keywords
subject: colonial photography
  topic: keywords
subject: portrait
  topic: keywords
creator: Michelle Green
creator: Hans Maes
rights: Copyright (c) 2023 Michelle Green, Hans Maes https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 158
ending page: 173
doi: 10.58519/aesthinv.v6i2.16888

Naked, Fat, and Fabulous
type: item
description: This paper attempts to bring together two lines of thought that might seem unrelated. The first is the idea that the life class should be a safe space that respects and nurtures the creative autonomy of life models. The second is the idea that it is morally, socially, and aesthetically permissible to be fat and that fat persons are entitled to the same dignity, respect, and celebration to which straight-sized persons are entitled. Putting these two thoughts together, I explore the idea that the life class can be a space for the aesthetic exploration and appreciation of fat bodies and hence an important space for combatting fat oppression. I would like to issue a warning about content that may be upsetting or triggering for my readers. In section II, I briefly discuss sexual harassment and sexual assault. In section III, I give quite a few examples of the kinds of harassment and hostility that fat persons face.
subject: Models and Sitters: the Art and Aesthetics of Posing
  topic: section
subject: Life Drawing
  topic: keywords
subject: Fat Studies
  topic: keywords
creator: A.W. Eaton
rights: Copyright (c) 2023 A.W. Eaton https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 174
ending page: 192
doi: 10.58519/aesthinv.v6i2.16942

Barbie is not Born, but Rather Becomes, Barbie
type: item
description: I begin this paper by identifying several criticisms of the film Barbie (2023), several of which have been proposed as reasons to deny its feminist content. I then circle back to what I consider the film's most coherent theme, which exemplifies Simone de Beauvoir's best-known quote, `One is not born, but rather becomes, woman.' This claim emphasises that what it is to be a woman is not biological, but social. That is, who we become is influenced by external factors such as family upbringing, available role models, class expectations, and our freedom to navigate our choices. A post-script relates the theme of this film to the current political situation in the U.S., after the re-election of Donald Trump.
subject: Arts & Artists
  topic: section
subject: existentialism
  topic: keywords
subject: feminism
  topic: keywords
subject: film
  topic: keywords
subject: freedom
  topic: keywords
subject: choice
  topic: keywords
subject: ideal
  topic: keywords
subject: childhood
  topic: keywords
subject: adulthood
  topic: keywords
creator: Sue Spaid
rights: Copyright (c) 2024 Sue Spaid https://creativecommons.org/licenses/by/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 66
ending page: 73
doi: 10.58519/vaknze21

‘Used and Amused’
type: item
description: On the occasion of this special issue focused on Models and Sitters, I am presenting what Dawn Kanter (in this issue) terms a 'textual account of the sitter'. With this in mind, I revisit a particular era in my life (primarily 1993-1999) when I regularly served as a model, muse, performer, poseur, and sitter. In fact, there was sufficient material to organise 'Used and Amused' (2000), an exhibition focused on ten collaborations, for which I typically self-improvised. Rather than simply detail these events, I've woven various ideas developed by each of this special issue's contributors into this article, so that my narrative here augments their papers.
subject: Arts & Artists
  topic: section
subject: model
  topic: keywords
subject: muse
  topic: keywords
subject: sitter
  topic: keywords
subject: performer
  topic: keywords
subject: poseur
  topic: keywords
subject: textual account of the sitter
  topic: keywords
subject: presentation painting
  topic: keywords
subject: portrait
  topic: keywords
creator: Sue Spaid
rights: Copyright (c) 2023 Sue Spaid https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 208
ending page: 220
doi: 10.58519/aesthinv.v6i2.17414

Corrigendum
type: item
subject: From the Editor
  topic: section
subject: corrigendum
  topic: keywords
subject: feminism
  topic: keywords
subject: feminist art
  topic: keywords
subject: performance art
  topic: keywords
subject: pedagogic concepts
  topic: keywords
subject: Mexican art
  topic: keywords
creator: Clinton Peter Verdonschot
rights: Copyright (c) 2023 Clinton Peter Verdonschot https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: xvi
ending page: xvi
doi: 10.58519/aesthinv.v6i1.17335

Empowered Amateur Posers
type: item
description: Aurélie Debaene cites a lack of aesthetics research on the professional art model, concluding that the artistic enterprise of collaboration or 'partnering' between model and artist can lead viewers to under-appreciate their conjoined creativity and skill. I argue for a collaborative model that extends the notion of art model beyond the professional to the amateur art model/poser/performer. On this model, an artist can achieve success in an artwork by: (1) posing their self in a self-portrait and/or (2) inviting viewers to pose in artworks designed to 'partner' together in creating an aesthetic experience of shared creativity, skill, and pleasure.
subject: Arts & Artists
  topic: section
subject: self-portraiture
  topic: keywords
subject: portraiture
  topic: keywords
subject: modeling
  topic: keywords
subject: poser
  topic: keywords
subject: professional model
  topic: keywords
subject: amateur model
  topic: keywords
subject: empowerment
  topic: keywords
creator: Peg Brand Weiser
rights: Copyright (c) 2023 Peg Brand Weiser https://creativecommons.org/licenses/by/4.0
date: 2023-12-31
publication date: 2023-12-31
starting page: 193
ending page: 207
doi: 10.58519/aesthinv.v6i2.17144

Haunted houses
type: item
subject: From the Editor
  topic: section
subject: architecture
  topic: keywords
subject: Rilke
  topic: keywords
subject: Adorno
  topic: keywords
subject: homelessness
  topic: keywords
subject: spirituality
  topic: keywords
creator: Clinton Peter Verdonschot
rights: Copyright (c) 2023 Clinton Peter Verdonschot https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: ix
ending page: xv
doi: 10.58519/aesthinv.v6i1.17083

Architecture is Not Public Art
type: item
description: In this ‘Editor’s column’, I question whether architecture is what we have come to call Public Art. It seems nonsense to say that architecture is not an art, when it is obviously something that people make for audiences, i.e. for other people who admire it. Moreover, architecture steers and influences people. Evidently, all of culture is by and for people and influences people. But when is culture art? Is design an art – is architecture?
subject: From the Editor
  topic: section
subject: architecture
  topic: keywords
subject: Public Art
  topic: keywords
subject: phenomenological fit
  topic: keywords
subject: narrative fit
  topic: keywords
creator: Rob van Gerwen
rights: Copyright (c) 2023 Rob van Gerwen https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: i
ending page: viii
doi: 10.58519/aesthinv.v6i1.17077

Surplus of Form
type: item
description: Excess of matter in form designates the principle that underlies architecture. The surplus of form contains not only a constructive principle, but also an aesthetic principle that enables sensual experience. In the coupling of construction and sensual experience, the basic prerequisites for the aesthetics of architecture are thus named, but at the same time also the difficulties with which architecture is confronted within philosophical aesthetics. For Kant, it was precisely the object character that stood in the way of an architectural aesthetics as part of a general aesthetics. For him, only the architectural drawing, because detached from matter, construction, and function, could meet the criteria of the beautiful, and that only as a façade view and not as a ground plan or sectional drawing. With reference to Aristotle, Kant and Schopenhauer and an outlook on contemporary architecture, the essay outlines the principles of an aesthetics of architecture as it is to be developed out of the specific material conditions of architecture and has its starting point in the surplus of form.
subject: The Problem of the Building (Philosophy of Architecture)
  topic: section
subject: Architecture
  topic: keywords
subject: Aristotle
  topic: keywords
subject: Schopenhauer
  topic: keywords
subject: Kant
  topic: keywords
subject: Hylemorphism
  topic: keywords
subject: Semper
  topic: keywords
subject: Surplus of form
  topic: keywords
creator: Joerg Gleiter
rights: Copyright (c) 2023 Joerg Gleiter https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: 33
ending page: 51
doi: 10.58519/aesthinv.v6i1.14002

Introduction to the Special Issue on Philosophy and Architecture
type: item
description: (This is the Guest Editor's introduction)
subject: The Problem of the Building (Philosophy of Architecture)
  topic: section
subject: philosophy
  topic: keywords
subject: architecture
  topic: keywords
creator: Paul Guyer
rights: Copyright (c) 2023 Paul Guyer https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: 1
ending page: 4
doi: 10.58519/aesthinv.v6i1.15315

Oana Șerban, After Thomas Kuhn: The Structure of Aesthetic Revolutions (2023)
type: item
description: N/A
subject: Reviews
  topic: section
subject: avant-gardes
  topic: keywords
subject: aesthetic revolution
  topic: keywords
subject: artistic revolution
  topic: keywords
subject: revolutionary science
  topic: keywords
subject: style
  topic: keywords
subject: paradigm
  topic: keywords
creator: Sue Spaid
rights: Copyright (c) 2023 Sue Spaid https://creativecommons.org/licenses/by/4.0
date: 2023-08-30
publication date: 2023-08-30
starting page: 100
ending page: 104
doi: 10.58519/aesthinv.v6i1.15314