According to what is known as the classic theory, beauty can be defined as unity or formal harmony. To overcome some of the criticisms that it encountered, the American philosopher Jared S. Moore proposed, in his paper from 1942, a modernisation of such theory, by distinguishing various types and subtypes of harmony which, taken together, are intended to cover both the objective and the subjective sides of beauty. Our goal is to look closer to some of the main principles that (...) emerge within Moore’s intricate taxonomy of harmony – most notably, the principles of organic unity, fittingness, and empathy – which in his article are only sketched or implicitly suggested. Employing such supplementations, we hope to make J.S. Moore’s comprehensive view of beauty even more complete from a theoretical standpoint and suitable to face the challenge posed by the modernist and postmodern artistic practices, which seemingly undermined the notions of beauty and formal harmony. (shrink)

Non c’è alcun dubbio, Leibniz si sbagliava: non viviamo nel migliore dei mondi possibili. In passato, l’arte perlomeno forniva all’uomo consolazione sotto forma di opere che, con la loro bellezza, profondità e inventività, suggerivano vie d’uscita dalla realtà o dischiudevano nuovi orizzonti. Ma ai nostri giorni, non ci è più possibile trovare conforto nell’arte, specie se ci immergiamo nel mondo delle arti visive, dove a dominare incontrastate il mercato, a ricevere le più entusiastiche recensioni critiche e a stimolare l’interesse dei (...) filosofi sono opere davvero povere d’immaginazione formale e, conseguentemente, di contenuto incarnato. Basti pensare ai teschi tempestati di diamanti di Damien Hirst, ai bambini-manichini appesi da Cattelan a un albero di Porta Ticinese a Milano, ai cani di palloncini di Jeffrey Koons, o al Terzo Paradiso di Pistoletto. Cosa possono fare gli studiosi di estetica per invertire la rotta, per rendere il nostro mondo, se non il migliore dei mondi possibili, per lo meno artisticamente più allettante di quello odierno? La risposta la si potrà trovare nella messa a punto di una definizione estetica dell’arte e di un perfezionamento dei suoi criteri di classificazione, che sono anche norme di valutazione. (shrink)

The search for a definition of art has been at the forefront of the debate in the analytical philosophical tradition for at least the last fifty years. If for nearly twenty years the dominant accounts were those offered by proponents of a relational account of art, be it in the form of an institutional or of an intentional/historical theory, by the middle 1980s, aesthetic theories of art started to reappear. What binds together the definitions elaborated by such diverse authors as (...) Monroe Beardsley, Richard Eldridge, Richard Lind, and Nick Zangwill is their having postulated, as the main goal of art, the satisfaction of an aesthetic interest through the production of an experience with a notable aesthetic character... (shrink)

In present times, the notion of beauty finds itself in a strange situation. On one side, it has undergone a sort of new renaissance since the last decades of the XX century, thanks to the works of several philosophers and aestheticians. On the other side, it is a common loci both in aesthetics and art history that beauty has disappeared from modern and contemporary art, especially when visual arts and instrumental music are concerned. One of the most effective arguments in (...) sup-port of this thesis maintains that there is no connection between normative and descriptive judgments of beauty. I am going to argue that such connection exists, and that it lies in the intermediate role played by the properties of harmony and appropriateness, which belong to the aesthetic as well as to the non-aesthetic realm. This will help us to free the notion of beauty from the charges of ambiguity and abuse, and to restore its relevance in XX and XXI centuries arts. (shrink)