Aesthetics Makes Nothing Happen? The Role of Aesthetic Properties in the Constitution of Non-aesthetic Value

Abstract

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.

Aesthetics of the Narrative Climax in Contemporary TV Serials

“…Moreover, the aesthetic appreciation of a certain group of climactic elements will probably be dependent on the efficacy with which they can serve to expressively convey the meaning they have for the narrative. This broad conception of aesthetic experience (Goldman 2013) assumes that cognitive value often relies on the effectiveness of the aesthetic properties (Alcaraz 2018).…”

Evaluating Art Morally

“…For although it is important to investigate, as immoralists have done, the way in which the repugnant Nazi perspective endorsed might obstruct our aesthetic appreciation of it (or not), it is also possible that there is a sense in which it is by virtue of its distinctly aesthetic appeal that the film can be experienced as quite so immoral. As María José Alcaraz Léon (2018, p. 24) has pointed out, there is a case to be made for the view that “the alleged beauty of Leni Riefenstahl's fascist cinematic propaganda purportedly increases its malevolent effect”. That is to say, the moral content strikes us as so powerful in part due to the affective response triggered by the work's aesthetic qualities.…”

Interacción entre propiedades estéticas y valor cognitivo: más allá de la absorción narrativa en La Peste

“…De hecho, esta es una de las bases de la posición eticista, compartida por autores como Matthew Kieran (2005). Pero existe también una alternativa opuesta, menos explorada, que considera las evaluaciones estéticas de una obra igualmente influyentes en nuestra apreciación de los contenidos de la misma (Alcaraz, 2018). Para esa óptica, las preguntas que deja abiertas el trabajo de Kuijpers et al resultan objetivos de investigación de primer orden.…”