The theatrical rendering of Ulrich Boschwitz's 'The Passenger' is reviewed in our latest issue and used as an occasion to reflect on the nature of artistic adaptation in general. doi.org/10.1093/aest... #philsky
British Journal of Aesthetics
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The BJA is a quarterly journal and among the world's leading venues for philosophical aesthetics. It is run by the British Society of Aesthetics and published by OUP.
![Every new performance of a piece of music thus both accesses the abstract musical object, imbuing the experience (of an interpreter) with musical meaning (for that interpreter), and contributes to future musical meaning by modifying the abstract object in some, likely rather small, way. […] Trying to divorce meaning from either a concrete performance or from the abstract object conditioned by the community opinion is not possible.
- Irida Altman & Caleb Labbe Phelan, Musical Performance as Translation: A Hermeneutics](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreibb6n2ufddlntoyk7v3rcyci25anf4cyqcagyljjllti7goiw5uty)
![Weil clearly states that beauty is a relationship between us and the world; something dependent on our constitution. And yet, […t]hough beauty depends on us and our sensibility, it is a phenomenological response to accessing or making contact with something real. And for Weil, the thing we are responding to is the order present in the world.
- Emma Heflin, From Desire to Disinterest: Plato and Kant in Simone Weil’s Aesthetics](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreihsbwm4ldubqjmnj5w5v3nlom7el6aopypcn7nzkuk7kzsggzyhcq)
![I am not suggesting that the virtuous person can simply abandon their moral commitments. Instead, virtue involves the practised ability to momentarily and partially disengage from genuine moral commitments to reassess a situation. […] The virtuous person can do this while maintaining commitments they rightly endorse and would continue to endorse from the partially disengaged perspective. This ability better equips them than the vicious to recognize humour that might otherwise be obscured by strong emotions tied to their evaluative commitments.
- Brandon Yip, Having a Good Laugh: The Comic Advantages of Moral Virtue](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreidewang4diblmzm5h4pdd3icphav6pgfgsuecr7sgq7q4lp2parpu)
![[I]n understanding another person’s intentional action, we reach an integrated understanding of what a person does, why they do it, and how they get it done—the very components, I will go on to argue, which are integrated by the form of aesthetic understanding.
- Matthew Heeney, The Form of Aesthetic Understanding](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreifetwncsjbgqp2smpihi6o5xxqjbmppystrwew3nijr74jhr7apla)
![[A]rt can be world-mirroring (to paraphrase Landmann-Kalischer) only to the extent that it is also ‘world-creating’: art reflects and teaches us about our ways of being in the world partly by constituting or ‘inventing’ them. […] If art teaches us to see the fogs in our world, it is not by replicating them as they are, not by expressing our existing ways of seeing and looking, as they are ‘in themselves’, as Landmann-Kalischer has it, but, if Oscar Wilde is right, by inventing them[.]
- Keren Gorodeisky, The Art of Expressing Selves](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreig5tqpvb3tc2gs4tw2st2rgftqi7zuim2ox4nctfcqcrousbtmjnq)
![[T]here are no clear examples where functional properties are themselves responsible for beauty[…]. So we doubt that there is a species of beauty specifically tied to functional wellformedness. This does not mean that functional objects cannot be beautiful. It does mean, however, that their beauty cannot (in general) be understood by reference to their functionality. And that, in turn, means that functionality should not be central in a theory of beauty.
- Daan Evers & Julian Hanich, Beauty as a Specific Aesthetic Concept: A Response to Panos Paris](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreict3yu7vrqnxuahujlwzsgmcfetkh7se3jnaftuqnbu2k7rquxxky)
![Why should we think that a human using an artist’s work as an object of inspiration to produce new artworks does not require the artist’s consent but the use of an artist’s work as training data for an AI text-to-image generator to produce new artworks does require the artist’s consent? What is the difference between how artists permissibly use each other’s works and how an artist’s work is used in training an AI text-to-image generator? […T]he difference lies in how the two satisfy (or fail to satisfy) norms internal to artistic practice.
- TJ Broy, What is Wrong with AI Art?](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:chsp27b6x6v5fyeqzazfpspx/bafkreiahl43ir46plujyo6y2uiq54hj6iz5p4mszedxcntnmuroxv6dnlm)
