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Against Value in the Arts and Education proposes that it is often the staunchest defenders of art who do it the most harm, by suppressing or mollifying its dissenting voice, by neutralizing its painful truths, and by instrumentalizing its ambivalence. The result is that rather than expanding the autonomy of thought and feeling of the artist and the audience, art's defenders make art self-satisfied, or otherwise an echo-chamber for the limited and limiting self-description of people's lives lived in an "audit culture", a culture pervaded by the direct and indirect excrescence of practices of accountability. This book diagnoses the counter-intuitive effects of the rhetoric of value. It posits that the auditing of values pervades the fabric of people's work-lives, their education, and increasingly their everyday experience. The book uncovers figures of resentment, disenchantment and alienation fostered by the dogma of value. It argues instead that value judgments can behave insidiously, and incorporate aesthetic, ethical or ideological values fundamentally opposed to the "value" they purportedly name and describe. The collection contains contributions from leading scholars in the UK and US with contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.

This paper discusses the relationships among aesthetic cognition, aesthetic emotion and college students' aesthetic behaviour in light of three questionnaires including an aesthetic cognition scale, an aesthetic emotion scale, and an aesthetic behaviour scale. A survey including these three structured scales was administered to 1060 university students at general undergraduate institutions. Their responses were scored on a 5-point Likert scale. Structural equation modelling was used to construct the measurement model and structural model. The survey results indicated positive correlations among these three variables. In addition, aesthetic emotion played a mediating role in the influence of aesthetic cognition on aesthetic behaviour. The results of this study can enhance the daily lives of college students by improving their levels of aesthetic and creative behaviour.

In the proposed gynecentric aesthetic, which follows the work of Heide Göttner-Abendroth and Alan Lomax, aesthetic activity would function to integrate the individual and society. Intellect, emotion and action would combine to achieve a synthesis of body and spirit. Song and dance would involve the equal expressions of all participants, and aesthetic structures would reflect this egalitarianism. The erotic would be expressed as a vital, positive force, divorced from repression and pornography. The emphasis would be off aesthetic objects to be coveted, hoarded and contemplated, and on dynamic process, fully engaging and socially significant.

In this paper I examine some key texts in philosopher Luce Irigaray's oeuvre that I name her aesthetic of sexual difference. Her aesthetic emerges both from critical engagements with women artists and theories of subjectivity formation and cultural formation. I argue that for Irigaray, art- making has an essential role in the thinking and practice of sexual difference. I also argue that because Irigaray reconfigures the terms on which aesthetics traditionally relies, her aesthetic is methodologically indicative, rather than substantively prescriptive of how sexual difference and sexuate culture might be represented.

This is an introductory article to the translation of Frank Sibley's "Aesthetic Concepts". The problem of the aesthetic as it has formed in the controversies of theoretical trends is analysed here. The article provides with thorough consideration of Frank Sibley's conception, developed in his works. The indirect controversy of author's position towards the objectivist understanding of aesthetic qualities and aesthetic judgments, the original character of his theoretical system is demonstrated.

Against Value in the Arts and Education proposes that it is often the staunchest defenders of art who do it the most harm, by suppressing or mollifying its dissenting voice, by neutralizing its painful truths, and by instrumentalizing its ambivalence. The result is that rather than expanding the autonomy of thought and feeling of the artist and the audience, art's defenders make art self-satisfied, or otherwise an echo-chamber for the limited and limiting self-description of people's lives lived in an "audit culture", a culture pervaded by the direct and indirect excrescence of practices of accountability. This book diagnoses the counter-intuitive effects of the rhetoric of value. It posits that the auditing of values pervades the fabric of people's work-lives, their education, and increasingly their everyday experience. The book uncovers figures of resentment, disenchantment and alienation fostered by the dogma of value. It argues instead that value judgments can behave insidiously, and incorporate aesthetic, ethical or ideological values fundamentally opposed to the "value" they purportedly name and describe. The collection contains contributions from leading scholars in the UK and US with contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.