This work was presented at the Research Center for Philosophy of Science of Ferdowsi University of Mashhad (Iran) – in August 2020. ---
Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ, and this is a Kantian, minimalist, and subjective view (some others would incline toward an objective inte…
Read moreThis work was presented at the Research Center for Philosophy of Science of Ferdowsi University of Mashhad (Iran) – in August 2020. ---
Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ, and this is a Kantian, minimalist, and subjective view (some others would incline toward an objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art, e.g., Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections that would promote definitions of art without φ, but it seems that they could not successfully refute φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, which have come from contemporary literature on it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ through the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s view of the relation, and the writer has also replied to those objections. ---
In the next section of the book, the writer has applied the φ through creativity to the philosophy of animal-made art, and the writer revolutionarily illustrates that, first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures on the earth or in the cosmos as a new part of environmental aesthetics, as the marginally second order of animal aesthetics. It is owing to the fact that, first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not consider the normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between, on the one side, the pleasure of drinking water when one’s thirst may cause death, and on the other side, one’s pleasure of listening to music when there is no urgent necessity for it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. ---
The main section of this book is the writer’s argument—the Animal-Made Art Impossibility Argument—in favor of the impossibility of animal-made art, i.e., Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, and the writer has replied to some possible ideas and objections to the argument. ---
Pouya Lotfi Yazdi ---
Iran | June 2022