The relationship between aesthetic value and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aesthetic value of a work of art. In this article, I explore instead how aesthetic properties or merits could play a role in explaining moral and cognitive properties. To do so, I first offer some examples that I think may reasonably exemplify the phenomenon we are considering. Second, I argue that a proper account of interactionism should meet at least two constraints: the relevance constraint and the autonomy constraint. Finally, I try to clarify how it is possible that aesthetic properties substantially contribute to other values by appealing to the notions of expression and the affective character of aesthetic properties.
Emotional response to artworks as a source of moral training or experimentation has long been disputed in the history of aesthetics. In this article I address the matter by focusing upon a kind of specimen that may by especially troublesome for an advocate of art's capacity to educate our sentiments. The cases I focus upon-which I place under the label of the asymmetry problem-are those in which our emotional or evaluative response seems contrary to the one we would have expected when the represented contents are real. I critically review some of the main arguments offered to explain these cases and to challenge the role of art in improving morals. I seek to explain why these responses are not as problematic as one may initially think and to consider in a new light art's capacity to shape our sensibilities. Gegensätzliche Gefühle und die Bedeutung von Kunst für die Erkenntnis In der Geschichte der Ästhetik wurde das emotionale Reagieren auf Kunstwerke lange Zeit als eine Übungs-und Experimentierfeld moralischer Verbesserung diskutiert. Der Artikel behandelt dieses Thema, indem er seine Aufmerksamkeit auf ein Phänomen richtet, das für jene besonders beunruhigend sein könnte, die die Fähigkeit der Kunst zur Erziehung unserer Gefühle verteidigen. Die hier in den Blick genommenen Fälle-die der Autor dem "Problem der Asymmetrie" zuordnet-sind solche, in denen unsere emotionale bzw. evaluative Reaktion jener entgegen gesetzt scheint, die wir erwarten würden, wenn die vorgestellten Inhalte real wären. Zunächst werden die Hauptargumente kritisch gewürdigt, die vorgebracht wurden, um solche Fälle zu erklären und die Rolle der Kunst für die moralische Erbauung in Frage zu stellen. Dann werden Gründe dafür vorgebracht, warum diese Argumente gar nicht so problematisch sind, wie man zunächst annehmen würde, und dafür die Fähigkeit der Kunst, unser ethisches Empfindungsvermögen zu fördern, in einem neuen Licht zu betrachten. It appears to be more or less generally assumed that we respond emotionally to representational works of art and, moreover, that this aspect of our engagement with them is a basic constituent of their appreciation. 1 This feature seems to afford an experiential dimension to our engagement with art, so that we really exercise evaluative and emotional abilities while engaging with works of art. Furthermore, it is by virtue of art's capacity for affording this experiential dimension that artworks may be considered good devices to employ in an attempt to test our moral psychology. Consequently, art sometimes allows one to experiment, judge, and respond to situations one would probably not encounter in real life, so that one's evaluative and psychological profile can be
Reseña del libro:<p>Bertinetto, Alessandro,</p><p><em>Eseguire l’inastesso. Ontologia della musica e improvvisazione</em>.</p>Il glifo Ebooks, Colecc. Melisma, ISBN: 9788897527343, mayo 2016.
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