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COLLECTORS, COLLECTING AND NON-COLLECTIBLES. BETWEEN EVERYDAY AESTHETICS AND AESTHETICISM

100%
Diaconu M.
ESPES
|
2021
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vol. 10
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issue 2
134 – 150
EN
Collecting goes beyond art collecting and seems to meet a more general need. Although it originally aided survival and has predecessors in the animal world, the gesture of collecting has complex motivations. After exploring the collector’s psychology and the behavioural differences between collectors and spectators, this paper analyses the logic of collecting and its principles: order, variation, attractive and meaningful display, the control of contingency, processuality and growth, seriality, and limitation. Finally, the paradoxical attempt to collect non-collectibles, such as gods, clouds or human relations will be shown to illustrate a para-aesthetics of collecting which ranges from the poetics of everyday life to aestheticism.
2
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NO TENSION. DAVID HUME’S SOLUTION TO EVERYDAY AESTHETICS

100%
Godoy M. J.
ESPES
|
2021
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vol. 10
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issue 2
11 - 24
EN
This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that it provides. Once transferred to the everyday sphere, sympathy facilitates understanding between these two versions, since the aesthetic appreciation of everyday objects or common activities requires, like the second version, that they remain in the practical environment and, like the first, to see something special in them, which is the possibility of one’s own or another’s well-being.
3
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WHAT MAKES THINGS BANAL

80%
Makky L.
ESPES
|
2020
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vol. 9
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issue 2
94 – 104
EN
In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) are banal things aesthetically appealing? Drawing on Wolfgang Welsch’s notion of anesthetization and Walter Benjamin’s account of aura, I argue that banality consists in the absence of both an ontological and an axiological character in objects, which makes them appear trivial or insignificant to us. I conclude by showing that although art, everydayness, and banality represent different aesthetic dimensions, objects constantly move from one of these dimensions to the other.
4
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URBAN TECHNOLOGIES – THE NEW EVERYDAYNESS: A REPLY TO LEHTINEN

80%
Zákutná S.
ESPES
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2020
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vol. 9
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issue 2
sandra.zakutna@unipo.sk
EN
This short paper is a reply to Sanna Lehtinen’s article Living with Urban Everyday Technologies whose aim is to introduce the complexity of the problem of everyday technologies in contemporary aesthetics. Thanks to most recent information, computing, and communication technologies, urban technologies have indeed become an indispensable part of human living standards. In connection with Lehtinen’s primary interest in visible technologies with invisible effects, my reply appeals to W. Welsch’s use of the term anaesthetics, which refers to the absence of the ability to feel, as a parallel to this group of technologies. The reply also emphasises that it is necessary to study urban technologies together with a focus on human privacy, social justice, and human wellbeing and that everyday aesthetics has to be ready to reflect on the extremely fast development of these technologies.
5
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LIVING WITH URBAN EVERYDAY TECHNOLOGIES

80%
Lehtinen S.
ESPES
|
2020
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vol. 9
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issue 2
81 – 89
EN
New and complex technologies are exceedingly present and in widespread use in contemporary cities globally. The urban lifeworld is saturated with various applications of information and computing technologies, but also more rudimentary forms of technology construct and create the urban everyday life as we know it. Many forms of urban technologies are perceived first through their everyday aesthetic qualities: how they look, feel, sound, or are otherwise encountered within the streetscape. Philosophical aesthetics, however, has tended to overlook everyday technologies as a topic, often due to unquestioned ideas of how a city should ideally look and feel. Thus, a more realistic approach to contemporary cities is needed, in which the deep-seated role of technologies is recognized and the experiences related to their entangled uses become acknowledged. This paper brings together recent developments in urban aesthetics with some of the core ideas of post-phenomenological approaches to new urban technologies.
6
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DECORUM. AN ANCIENT IDEA FOR EVERYDAY AESTHETICS?

80%
Di Stefano E.
ESPES
|
2021
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vol. 10
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issue 2
25 - 38
EN
Everyday Aesthetics was born in the 21st century as a sub-discipline of Anglo-American Aesthetics and it has spread in the international debate. However, the contribution of historical perspective has not properly explored yet. Is it possible to trace the history of everyday aesthetics before the official birth of this discipline? I will try and give an affirmative answer by focusing on an exemplary category: that of the decorum. Using the history of ideas, I will analyse the Greek concept of prepon and the similar Latin concepts of decorum which express the idea of ‘convenience’ or ‘fitness to purpose’ in the ethical and rhetorical sphere. Later I will analyse the evolution of the concept of decorum in the theory of ancient and Renaissance architecture (Vitruvius, Leon Battista Alberti). My goal is to demonstrate that in Ancient and Renaissance culture decorum is a category that refers to the objects and practices of everyday life but also a principle that regulates appropriate behaviour in the sphere of good manners. Consequently, given its pervasiveness in the different areas of everyday life, the concept of decorum can be a paradigmatic example to trace the history of everyday aesthetics.
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EVERYDAY AESTHETICS SOLVING SOCIAL PROBLEMS

80%
Naukkarinen O.
ESPES
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2021
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vol. 10
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issue 2
151 – 164
EN
What is the role of aesthetics, everyday aesthetics in particular, in processes of solving social problems? Many if not most social problems arise from and affect our daily lives. As far as these problems contain aesthetic aspects, these typically are also of an everyday kind. In this paper, I address the relations between social problems and everyday aesthetics in five sections. I will start by briefly describing what I mean by social problems. Second, I will outline what solving such problems means. Then, I will move on to defining aesthetics for the purposes of this article. Fourth, I will focus on the main question, the potential role of everyday aesthetics in solving social problems. Lastly, I will drill down a bit deeper into my own experiences in this matter in order to concretize the general points and give examples stemming from my working life.
8
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ORDINARY SENSIBILIA

80%
Formis B.
ESPES
|
2021
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vol. 10
|
issue 2
118 – 133
EN
In this paper, I propose some philosophical reflections arising from the encounter with a work of art, namely the Squatting Aphrodite, which is one of the Roman copies that is held in the same room as the Venus de Milo in the Louvre Museum in Paris, France. From the description of this artwork and the effect it has on the spectator, I draw three main consequences: the conceptual difference between ordinary sensibility and everyday aesthetics; the criticism of aesthetic conformity, and the political implications of adopting an ordinary perspective towards aesthetic experience.
9
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MODES OF EXPERIENCE: EVERYDAY AESTHETICS BETWEEN ERLEBNIS AND ERFAHRUNG

80%
Matteucci G., Iannilli G. L.
ESPES
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2021
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vol. 10
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issue 2
39 – 55
EN
This paper focuses on the notion of experience, whose conceptual analysis seems to be often neglected or at least not sufficiently made explicit in the current discourse on Everyday Aesthetics. In our investigation this notion will be tackled, in particular, through the lens of such concepts as Erlebnis, Erfahrung, and Lebenswelt, which are drawn from the continental philosophical tradition. Purpose of the paper is to present a provisional framework aimed at clarifying that a more accurate conceptualization of experience allows for a better contemporary reflection on the aesthetics of everyday life.
10
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ENJOYMENT IN LEVINAS AND THE AESTHETICS OF EVERYDAY LIFE

80%
Hoyos Morales A.
ESPES
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2021
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vol. 10
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issue 2
72 – 87
EN
Through the concept of enjoyment in Levinas, this paper examines the phenomenological and ontological dimension of everyday aesthetics. Enjoyment, in Levinas, forms an essential element in the constitution of the subjectivity of the human being and is no longer to be seen as a moment of ‘inauthenticity’ or ‘alienation’. The experience of the objects of everyday experience is not related to that of objects of representation or of tools, but rather to that of a system of nourishment into which the subject is integrated, as in an ‘element’ or ‘atmosphere’. This constitutive closeness of enjoyment indicates the fundamental difference between what we understand as everyday aesthetics and other aesthetics characterised by contemplation or disinterest.
11
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DIALECTIC OF PRESENCE AND INTERPRETATION IN EVERYDAY AESTHETICS: APPLYING HEIDEGGER AND GUMBRECHT TO A WALK IN ONE’S NEIGHBOURHOOD

80%
Leddy T.
ESPES
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2021
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vol. 10
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issue 2
56 - 71
EN
Gumbrecht’s Heidegger-inspired book, Production of Presence, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” (Gumbrecht 2004) We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, ironically, to everyday aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the art world into this discussion.
12
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FROM EVERYDAY AESTHETICS TO RETHINKING EXISTENCE. THE POSSIBLE DIALOGUE BETWEEN JEAN LUC NANCY’S ONTOLOGY AND THE AESTHETICS OF THE EVERYDAY

80%
Málaga N. L.
ESPES
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2021
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vol. 10
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issue 2
88 – 102
EN
My aim is to argue that Jean Luc Nancy’s conception of Being can be particularly valuable for underlining Everyday Aesthetics’ specificity and thus for revealing its philosophical worth, one that I believe is overshadowed when treating Everyday Aesthetics solely as an extension of traditional aesthetics. Nancy’s ontology is nevertheless rooted in the Heideggerian perspective of Being, and is thus seemingly opposite to an Anglo-American approach, which is the sort of ground that Everyday Aesthetics seems to rely on. This paper will be divided into three parts: first, I discuss what separates Everyday Aesthetics from the European approach – Heidegger included – and why this rupture is legitimate. Secondly, I present what I consider to be the strongest philosophical points that Everyday Aesthetics puts forward. Finally, I show why Nancy’s work, in its specific way of challenging Western thought, can make a considerable contribution to Everyday Aesthetics.
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