Aesthetic Investigations <p>The aim of the journal <em>Aesthetic Investigations</em> 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.</p> Dutch Association of Aesthetics en-US Aesthetic Investigations 2352-2704 <p>Authors who publish with this journal agree to the following terms:</p> <p>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a&nbsp;<a title="Creative Commons License" href="" target="_blank" rel="noopener">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. <strong>Note: </strong>up to volume 4 issue 1, an incorrect copyright line appears in the PDFs of the articles.</p> <p>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.</p> <p>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&nbsp;<a href="" target="_new">The Effect of Open Access</a>).</p> Art and Human Interaction <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>In this Editor’s column I discuss certain fruits and limits of applying the notion of ‘performance’ to works of art. Art works can be viewed as perfor- mances, the public furnishing of works’ final form. Concerts can be viewed as performances of a work scored by someone else, the composer, but not all arts are double in this sense. Moreover, art can be viewed as mirroring the psychological, phenomenological and rhetorical aspects of human interaction, which exemplify the way people scrutinise moral situations. Not all performances are artistic, let alone art.</p> </div> </div> </div> </div> Rob van Gerwen Copyright (c) 2021 Rob van Gerwen 2021-12-31 2021-12-31 5 1 i vi 10.5281/zenodo.5816620 “Isn’t All Art Performed?” <p>Introduction</p> Sue Spaid Rossen Ventzislavov Copyright (c) 2021 Sue Spaid, Rossen Ventzislavov 2021-12-30 2021-12-30 5 1 1 6 10.5281/zenodo.5816649 The Art Model as Performer <p>In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts.</p> Aurélie Debaene Copyright (c) 2021 Aurélie Debaene 2021-12-30 2021-12-30 5 1 7 27 10.5281/zenodo.5816692 Architecture as performance <p>Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as <em>products </em>made by generative performances, but rather as the <em>performances </em>themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists.</p> Ken Wilder Copyright (c) 2021 Ken Wilder 2021-12-30 2021-12-30 5 1 28 50 10.5281/zenodo.5816772 What Is a Stand Up Special? <p>The stand-up special is growing cultural significance just as it is maturing and becoming more distinct as an art form.&nbsp; Philosophical treatments of the special are therefore neither frivolous nor redundant.&nbsp; I argue here that such inquiry can be aided by a definitional account of “special” and that an essential definition – if one is available- would serve us best.&nbsp; I then offer a candidate definition of this kind and reply to some likely objections to it.</p> Frank Boardman Copyright (c) 2021 Frank Boardman 2021-12-30 2021-12-30 5 1 51 63 10.5281/zenodo.5816817 Enacting Gifts: Performances on Par with Art Experiences <p>Given the coterie of philosophers focused on everyday aesthetics, it's fascinating that gift reception has heretofore managed to escape their scrutiny. To enact a gift, recipients begin by imagining its use. On this level, gifts serve as a litmus test. In luring us, we're taken out of our normal ways of being to experience a different side of ourselves. Enacting a gift is thus a kind of <em>performance</em>, whose value depends on the donee’s interpretation, just as exhibitions, concerts, staged plays or books are performances of visual art, scores, scripts or texts, whose interpretations demonstrate their aesthetic value. To develop the relationship between enacting gifts and performing artworks, I begin by surveying junctures along the gift-event’s arc: reply, imagination, trust, recognition, transformation and memory. Transformations arising from agonistic gifts strike me as significant because they characterise the way gifts challenge our beliefs, eventually altering our values. That we grow to love gifts, which we originally rejected out of hand, casts doubt on self-knowledge. Enacted gifts handily challenge self-knowledge’s twin features: authority and transparency. As this paper indicates, gift reception helps both to understand ourselves better and to remove the obstacles to what Quassim Cassim calls Substantive Self-Knowledge.&nbsp;</p> Sue Spaid Copyright (c) 2021 Sue Spaid 2021-12-30 2021-12-30 5 1 64 81 10.5281/zenodo.5817385 Everything Loose <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>The work of artist Ron Athey has long befuddled the art historical establishment and has mostly remained under the philosophical radar. In this review of Athey’s <em>Acephalous Monster</em>, performed on August 28, 2021, at the Roy and Edna Disney/CalArts Theater in Los Angeles, I propose a philosophical frame- work for Athey’s radical reinvention of ethical categories like agency, mutuality and communion. I describe the performance and its critical context in order to tease out the aesthetic dimension of this reinvention and the subversive power of reconstituting personhood along lines of collective artistic jubilation and creative survival.</p> </div> </div> </div> </div> Rossen Ventzislavov Copyright (c) 2021 Rossen Ventzislavov 2021-12-30 2021-12-30 5 1 82 90 10.5281/zenodo.5817413 Ethicizing Catastrophe: The Survivalist’s Case <p class="p1">The film <em>The Survivalist</em> portrays a dystopic world, wherein the most valuable asset is seeds. The 'seeds' metaphor applies both in the context of agriculture and in that of fecundity. The Survivalist's hostile hospitality toward a pair of nomads -- a mother and her daughter -- results in the pregnancy of the latter. In the last raid on his compound, the Survivalist allows the daughter to escape at the expense of his own life. This sacrifice manifests a severe critique against the preference given today to the well-being of the individual at the expense of the survival of the species.<span class="Apple-converted-space">&nbsp;</span></p> Dror Pimentel Copyright (c) 2021 Dror Pimentel 2021-12-31 2021-12-31 5 1 91 98 10.5281/zenodo.5817471 Feminist Pedagogical/ Conversational Performance Art <p>This paper shows how the early feminist pedagogical performance artworks of the Mexican artist Mónica Mayer are example of Connective Aesthetics and Conversational Art.</p> Gemma Argüello Manresa Copyright (c) 2021 Gemma DEL CARMEN ARGUELLO Argüello Manresa 2021-12-31 2021-12-31 5 1 99 110 10.5281/zenodo.5830032