- Hardcover: 272 pages
- Publisher: OUP Oxford (20 Nov 2008)
- Language English
- ISBN-10: 0199205248
- ISBN-13: 978-0199205240
- Product Dimensions: 20.8 x 14.8 x 1.4 cm
- Amazon Bestsellers Rank: 1,260,152 in Books (See Top 100 in Books)
- See Complete Table of Contents
Functional Beauty
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Review
This book is a highly original contribution to a neglected topic in aesthetics. It also possesses additional virtues. The authors present an array of controversial theses in a way that makes them very accessible and very thought-provoking... a stimulating book... It is essential reading for anyone who wishes to think about this topic. (Robert Stecker, The Philosophical Quarterly )
Functional Beauty is a clear-headed, smart, vigorous defence of a new and very important theoretical position in philosophical aesthetics. It takes stock of the historical background underlying modern controversies over its topic. It argues forcefully for the application of theory to matters of aesthetic judgment in a wide variety of domains... This book is a landmark study of an important subject and the one that anyone interested in the way in which aesthetic judgments are made - whether in art, in nature, or in everyday life - should read. (Ronald Moore, Environmental Values )
Functional Beauty is eminently readable, and the authors display a convincing mastery of the scientific literature from which they borrow... P & C have done much to advance the debate about aesthetic appreciation in all realms. Their book is a must-read for serious philosophers of art. (Stephanie Ross, Notre Dame Philosophical Reviews )
Functional Beauty is a clear-headed, smart, vigorous defence of a new and very important theoretical position in philosophical aesthetics. It takes stock of the historical background underlying modern controversies over its topic. It argues forcefully for the application of theory to matters of aesthetic judgment in a wide variety of domains... This book is a landmark study of an important subject and the one that anyone interested in the way in which aesthetic judgments are made - whether in art, in nature, or in everyday life - should read. (Ronald Moore, Environmental Values )
Functional Beauty is eminently readable, and the authors display a convincing mastery of the scientific literature from which they borrow... P & C have done much to advance the debate about aesthetic appreciation in all realms. Their book is a must-read for serious philosophers of art. (Stephanie Ross, Notre Dame Philosophical Reviews )
Product Description
Glenn Parsons and Allen Carlson offer an in-depth philosophical study of the relationship between function and aesthetic value, breaking with the philosophical tradition of seeing the two as separate. They begin by developing and defending, in a general way, the concept of Functional Beauty, exploring how the role of function in aesthetic appreciation has been treated by some notable thinkers in the history of aesthetics. They then consider the relationship to Functional Beauty of certain views in current aesthetic thought, especially what we call 'cognitively rich' approaches to the aesthetic appreciation of both art and nature. Turning to work on the nature of function in the philosophy of science, they argue that this line of enquiry can help solve certain philosophical problems that have been raised for the idea that knowledge of function plays an important role in aesthetic appreciation. Although philosophical discussions of aesthetic appreciation tend to focus largely and sometimes almost exclusively on artworks, the range of aesthetic appreciation is, of course, much larger. Not simply art, but also nature, architecture, and even more mundane, everyday things--cars, tools, clothing, furniture, and sports--are objects of frequent and enthusiastic aesthetic appreciation. Accordingly, in the second half of the book, Glen Parsons and Allen Carlson consider the place and importance of Functional Beauty in the aesthetic appreciation of a broad range of different kinds of things. The final chapters explore Functional Beauty in nature and the natural environment, in architecture and the built environment, in everyday artefacts, events, and activities, and finally in art and the artworld. In each case, Parsons and Carlson argue that Functional Beauty illuminates our aesthetic experiences and helps to address various theoretical issues raised by these different objects of appreciation.
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1 of 1 people found the following review helpful
The aesthetics of Functions
14 Mar 2009
Format:Hardcover
Glenn Parsons and Allen Carlson's book, "Functional Beauty," represents a virtual new mutation to the field of philosophical aesthetic thought. It addresses the relationship of function to aesthetically interested appreciation of artifactual things.
After thoroughly reviewing the history of the field on this topic, mostly the lack thereof, the authors go on to show that there is no human intention that, in and of itself, is sufficient for the assignment of a `proper function' to things; i.e., functions that intrinsically belong to them, in contrast to others which are called "functions simpliciter."
From this situation they attempt to, methodologically, "naturalize" functions through the provision of a purely causal non-intentional analysis. In doing so they treat of two basic problem areas. These are "the problem of indeterminacy", that is how can the proper functions of any object be singled out and identified by us in the perception of them, and "the problem of translation", that is how are the aesthetic qualities of any object influenced, perhaps altered, in the very recognition of their functional aspects.
In their attempt to resolve the indeterminacy problem in connection with the realm of artifacts, the authors appeal to the concept of function as "selective effect" recently developed in the philosophy of the biological sciences. In the course of things, the authors recognize and readily acknowledge that the notion of a `proper function' is vague and that there may be no clear answers available. However, if the authors theoretical stance developed in this book, itself finds success in the market place of ideas, then they may well have on the very grounds offered, and perhaps much to their own delight, proven the point of their argument on behalf of the proper function of artifacts as "selective effect."
The reading of this book is to be encouraged, for it works to leaven the subject of aesthetics with that of function which, in so much of its past, it has not sought to tread; and especially for those of us interested in things to be admired for their beauty, not only for what they are, but also what they can do, and actually do in the performances of their functions.
Russell Quacchia
After thoroughly reviewing the history of the field on this topic, mostly the lack thereof, the authors go on to show that there is no human intention that, in and of itself, is sufficient for the assignment of a `proper function' to things; i.e., functions that intrinsically belong to them, in contrast to others which are called "functions simpliciter."
From this situation they attempt to, methodologically, "naturalize" functions through the provision of a purely causal non-intentional analysis. In doing so they treat of two basic problem areas. These are "the problem of indeterminacy", that is how can the proper functions of any object be singled out and identified by us in the perception of them, and "the problem of translation", that is how are the aesthetic qualities of any object influenced, perhaps altered, in the very recognition of their functional aspects.
In their attempt to resolve the indeterminacy problem in connection with the realm of artifacts, the authors appeal to the concept of function as "selective effect" recently developed in the philosophy of the biological sciences. In the course of things, the authors recognize and readily acknowledge that the notion of a `proper function' is vague and that there may be no clear answers available. However, if the authors theoretical stance developed in this book, itself finds success in the market place of ideas, then they may well have on the very grounds offered, and perhaps much to their own delight, proven the point of their argument on behalf of the proper function of artifacts as "selective effect."
The reading of this book is to be encouraged, for it works to leaven the subject of aesthetics with that of function which, in so much of its past, it has not sought to tread; and especially for those of us interested in things to be admired for their beauty, not only for what they are, but also what they can do, and actually do in the performances of their functions.
Russell Quacchia
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