Richard Marc Shusterman

Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation to contemporary somaesthetics, cognitive psychology, and physiology, this paper shows that though Burke's somatic arguments can be criticized as overly simplistic and mechanistic, his recognition of the crucial bodily dimensions of aesthetic experience should be taken more seriously. In refining Burke's insight that bodily factors can help explain our aesthetic reactions, somaesthetics further urges that improved somatic understanding and performance can provide valuable means for enhancing our aesthetic response.

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living.

After noting Rorty’s rhetorical use of binary oppositions, which belies important continuities (and which is even reflected in the problem of radically opposing classical pragmatism to neopragmatism), I question the idea that progress in pragmatism must go through engagement with Rorty. I do so by arguing that Rorty failed to treat or outright rejected some important philosophical issues. I consequently challenge the famous model for pragmatist pluralism: the metaphor of a single hotel corridor opening to a plurality of rooms with different people doing or believing different things. My paper also makes a case for the central importance of the aesthetic in Rorty’s philosophy despite his avowed rejection of aesthetics.

Interpretation has been a key theme in pragmatist aesthetics, but its centrality in neopragmatist thinking goes far beyond the field of art. Its influence extends into epistemology, ontology, and the philosophies of language, history, selfhood, and culture. Joseph Margolis devoted many articles and even an entire book to this topic, which he titled Interpretation Radical but Not Unruly. My critical examination of Margolis’s theory of interpretation shows how it is radical not only in terms of its robust relativism. It is also radical in the etymological sense of “radical” as “forming the root” of his philosophical thought in general. The logic of interpretation that Margolis developed for aesthetics is the original, generative source of his relativism, but its influence and relativist logic then extended ever more widely and deeply into his themes of anti-essentialism, historicism, and flux that pervade his metaphysics of culture and philosophical anthropology.

Emerson et Thoreau ont donné à la philosophie le sens d’une manière de vivre, consacrée à l’élévation de la conscience et à l’amélioration de soi. Par leur conception esthétique de la vie philosophique, ils se situent dans une tradition qui va de Platon au pragmatisme, mais ils sont également proches de la pensée orientale par leur injonction à mener une vie éveillée, au sens bouddhiste. La réforme morale et l’esthétique de soi participent à un être éveillé par quoi la vie philosophique se sépare de la vie ordinaire, traditionnellement dénoncée comme sommeil. En associant le corps et la conscience dans l’ascèse de l’éveil, Emerson et Thoreau annoncent les disciplines propres à la soma-esthétique.

To what extent is explicit and reflective body consciousness useful in improving our performance of action? Having examined why influential Western and Asian philosophers have denied the value of such awareness, asserting instead the superiority of spontaneous action, this paper then offers a more nuanced position by showing the ways and contexts in which such body consciousness can improve our action. This is done through a close reading of some classical Chinese and Japanese texts together with some recent studies in neuroscience