The Nordic Journal of Aesthetics Deals with aesthetic problems and conveys current aesthetic research Nordic Society of Aesthetics en-US The Nordic Journal of Aesthetics 2000-1452 <p>Authors who publish with this journal agree to the following terms:</p> <ol type="a"> <ol type="a"> <li class="show">Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="" target="_new">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.</li> <li class="show">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.</li> <li class="show">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 <a href="" target="_new">The Effect of Open Access</a>).</li> </ol> </ol> <!-- content --> Introduction <p>Across philosophical traditions the question of taste has – at least paradigmatically since Kant’s third critique – been one of the most, perhaps the most central question within the discipline of aesthetics. The present issue of NJA explores ways in which this question can be addressed today; politically, analytically, historically, disciplinarily. The articles all stem from the inaugural conference of the research network Aesthetics Unlimited, which was held at Roskilde University, Denmark on 4–5 May 2017. Collaborating with Séminaire d’Esthétique Européen this new international research network for aesthetic studies is funded by the Danish Council for Independent Research and is led by Anne Elisabeth Sejten, Professor of Aesthetics at Roskilde University.</p> Jacob Lund Anne Sejten ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103076 DISTINCTION AND DIFFERENCE: REVISITING THE QUESTION OF TASTE <p>The essay discusses the logic of distinction under the sign of the contemporary culture of difference and proposes a discussion of the relationship between taste and contemporary art. The recent trend toward greater individualization might have rendered social codes more permeable. But this state of affairs is neither the opposite of the standardization nor does it imply that the social logic of distinction has been suspended. It has merely undergone further differentiation, but without abolishing the signifiers of status. On the one hand art as a commodity partakes in the respective developments, on the other, certain strands in contemporary art can also be read as opposing the subject of aesthetic experience to the subject of consumerist taste.</p> Juliane Rebentisch ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103077 TASTE AND OTHER SENSES: RECONSIDERING THE FOUNDATIONS OF AESTHETICS <p>The sense of taste has served as a governing metaphor for aesthetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in the postmodern art world, and I make a case for the often unnoticed role that bodily senses have in the apprehension of art.</p> Carolyn Korsmeyer ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103078 FROM HUME’S “DELICACY” TO CONTEMPORARY ART <p>David Hume’s essay “Of the Standard of Taste” (1757)—which represents a major step towards clarifying eighteenth-century philosophy’s dawning aesthetics in terms of taste—also relates closely to literal, physical taste. From the analogy between gustatory and critical taste, Hume, apt at judging works of art, puts together a contradictory argument of subjectivism (taste is individual and varies from person to person) and the normativity of common sense (the test of time shows that some works of art are better than others). However, a careful reading of the text unveils a way of appealing to art criticism as a vital component in edifying a philosophically more solid standard of taste. Hume’s emphatic references to a requisite “delicacy” complicate the picture, for it is not clear what this delicacy is, but a close inspection of how Hume frames the criterion of delicacy by means of “practice” and the absence of “prejudice” might perhaps challenge us to address issues of contemporary art.</p> Anne Sejten ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103079 THE ORIGINS OF THE TRANSCENDENTAL JUSTIFICATION OF TASTE: KANT’S SEVERAL VIEWS ON THE STATUS OF BEAUTY <p>The article follows Kant’s different views on aesthetics ranging from the pre-critical period to the Critique of the Power of Judgement. It argues that John Zammito’s psychological explanation of why Kant in the third Critique developed an argument for the transcendental justification of judgements of taste is unconvincing. As an alternative, the article shows how Kant in his published pre-critical discussions of aesthetics was relying upon empiricist sources while he in private comments turned to consider the culture critique of Rousseau. Kant’s preoccupation with questions of culture critique, it is argued, was an important reason to enlarge the doctrines of transcendental philosophy with a third Critique containing a transcendental aesthetics of beauty. Additionally, it is pointed out an interesting similarity throughout the development of Kant’s philosophy. In 1765 and in the third Critique Kant was concerned to keep philosophy and judgements of taste apart from science</p> Esther Pedersen ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103081 THE AESTHETICISATION OF TASTE, A CONSEQUENCE OF THE “AESTHETICISATION” OF BEAUTY <p>At the beginning of modern times, taste was seen as a sort of sense of sociability, indistinctly moral and aesthetic. Why, during the eighteenth century did it become exclusively the sense of beauty? To understand this change, this article maintains that we must consider the great revolution, which affected the idea of beauty between the seventeenth and the eighteenth centuries, that is to say the end of the metaphysical conception of beauty. We must analyse the phenomenon of beauty aestheticisation produced by the modern subjectivist, psychological and empirical perspective. The aestheticisation of taste is one of the consequences of the underground ontological revolution, which led to a transformation of the transcendental essences in human values. When beauty is nothing more than beauty, and does not exist without a sensitive experience, one needs a sensitive faculty which enables one to grasp beauty, or more precisely, which gives birth to beauty, seeing beauty as no longer having a proper ontological consistency.</p> Carole Talon-Hugon ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103082 AESTHETICS AND JUDGMENT: “WHY KANT GOT IT RIGHT” <p>The article argues that although all scholars within aesthetics basically know and recognize it, there is a tendency in many of its traditions to forget or to underestimate the importance of the aesthetic judgment. With Thierry de Duve’s short paper “Why Kant got it Right” as its point of departure, this importance is discussed. Not only its importance in aesthetic relations and to aesthetics as a discipline, but also in a broader sense, through the contribution to the overall social cohesion of society, offered by aesthetic judgments. All judgments are pronounced as-if a shared scale of aesthetic preferences did exist (which it does not). Judgments are addressed to communities, to the notion of a joint “we”, and thus they do participate in the creation and the maintenance of the social as such. Also professional aesthetic critique, including art critique, should be aware of that, since even historically achieved differentiations and divisions of labour may be lost again if not being developed and kept up to date.</p> Morten Kyndrup ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103083 REVIEW: RICHARD SHUSTERMAN, THE ADVENTURES OF THE MAN IN GOLD. PATHS BETWEEN ART AND LIFE <p>When Richard Shusterman burst on the academic scene some decades ago he quickly became the golden boy of aesthetics. Now in his late sixties he is hardly a boy anymore, but possibly a golden oldie. Nevertheless, he is still prone to boyish pranks as can be seen in parts of his new book, The Adventures of the Man in Gold. Paths between Art and Life.</p> Stefán Snævarr ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103084 REVIEW: PIERRE KLOSSOWSKI, LIVING CURRENCY <p>Pierre Klossowski’s last major theoretical text Living Currency (2017) saw it’s first official1 translation into English in May 2017, nearly fifty years after it was published in French. On the back of the book is a blurb quoting Foucault, in which he calls it ‘the greatest book of our time’. This was almost certainly hyperbole; but whether or not his appraisal was correct (and I assure you it was not), it is a good book that advances a key to understanding Klossowski’s literary and visual relationship to the exploited and monetized body, as this is the preoccupying theme throughout his fictional, non-fictional, and visual art.</p> Nickolas Calabrese ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103085 CONTRIBUTORS Jacob Lund ##submission.copyrightStatement## 2018-01-12 2018-01-12 26 54 10.7146/nja.v26i54.103087