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britjaesth.bsky.social
British Journal of Aesthetics
@britjaesth.bsky.social
1.4K followers 6 following 270 posts
The BJA is a quarterly journal and among the world's leading venues for philosophical aesthetics. It is run by the British Society of Aesthetics and published by OUP.
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britjaesth.bsky.social
AI art anyone? 😬

Anthony Cross takes the plunge in our brand new issue. doi.org/10.1093/aest... #philsky
In his discussion of forgeries, Dutton is very clear on one point: creating a forgery is a kind of achievement, just not the kind of achievement that we might have initially thought it was. The same is no doubt true of AI-generated art; Allen’s work is an artistic performance, and it is to some degree an achievement. But, as Dutton puts it, ‘the fundamental question then is, what has the artist done, what has he achieved?’. This is a question which, for AI-generated art, has hardly even been asked. - Anthony Cross, Tool, Collaborator, or Participant: AI and Artistic Agency
November 7, 2025 at 11:01 AM
britjaesth.bsky.social
Chris Earley defends a collaborative account of an artwork's epistemic value in our brand new issue. doi.org/10.1093/aest... #philsky
[E]ven if Shakespeare could not intend to tell us anything specific about the 2016 election, he has tried and non-accidentally succeeded in providing us with prompts that can be applied to topics that, by their very nature, resonate widely in subjects far beyond those his plays address. In order to work out just what the magnitude of Shakespeare’s cognitive achievement is with respect to these themes, we have to test just how far this resonance goes, which involves exploring specific political subjects in the wider world. - Christopher Earley, Co-Producing Art's Cognitive Value
November 6, 2025 at 8:16 PM
Reposted by British Journal of Aesthetics
amersocaesthetics.bsky.social
The DivCom reading group will be starting up again soon, and this year we'll be reading the 2019 Journal of Aesthetics and Art Criticism special issue on aesthetics and race.

See aesthetics-online.org/news/713965/... for details about how to join.

Hannah Kim & Nicholas Whittaker
DivCom Co-Chairs
DivCom Chairs Announce New Reading Group: Responses Requested by November 10 - American Society For Aesthetics
aesthetics-online.org
November 5, 2025 at 8:12 PM
britjaesth.bsky.social
A little peek at the content in our brand new issue. academic.oup.com/bjaesthetics... #philsky
Cover of newest BJA. List of Articles in latest BJA. List of review articles in latest BJA. Symposium on Spectator Gaming in latest BJA.
November 3, 2025 at 10:37 AM
britjaesth.bsky.social
Volume 65, Issue 4 has landed my friends, and it's a banger. academic.oup.com/bjaesthetics... #philsky
Navy blue cover of the British Journal of Aesthetics - Volume 65, Number 4, October 2025.
November 3, 2025 at 10:30 AM
britjaesth.bsky.social
Becky Wallbank reviews Jon Robson's defence of knowledge from aesthetic testimony in our latest issue. doi.org/10.1093/aest... #philsky
Robson is open to the idea that some kinds of pessimistic intuitions might be explained by widespread, tacit acceptance of folk relativism. I wonder how compatible this is with the idea that there is a widespread, tacit acceptance of the idea that aesthetic assertions indiscriminately signal qualities such as intelligence, creativity and skill. The latter implies the presence of some kind of shared standard of knowledge. - Rebecca Wallbank, Review of Jon Robson’s Aesthetic Testimony: An Optimistic Approach
October 28, 2025 at 5:24 AM
britjaesth.bsky.social
Poems as socioeconomic gatekeepers? Open access in our latest issue. doi.org/10.1093/aest... #philsky
‘When I read the poem in my accent, which retains some of its regional inflections, tones, and cadences despite my own years in the formal institutions of British life, the lines do not rhyme. And they do not rhyme to the ear of those with many of the standard accents of the north-east or south-west of England, for example, or of Wales and Northern Ireland. More significantly for what follows, the lines do not rhyme in the voices of those from the post-industrial heartlands of central Scotland, from working-class regions of London, Birmingham, or Liverpool, or from traditional rural constituencies across the United Kingdom.’ - Tom Roberts, ‘Voice, Rhyme, and Aesthetic Injustice’
October 28, 2025 at 4:42 AM
britjaesth.bsky.social
Ryan Doran is getting to the philosophical bottom of true beauty in this open access 🔓 advance article...

...by ranking the most beautiful philosophers' bottoms 🍎. (You'll never believe who made number 5 😱).* doi.org/10.1093/aest...
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*might be bollocks.
[P]rettiness is often described as ‘shallow’, but beauty is described as ‘deep’. Depth seems to be primarily intended in its metaphorical sense in this context, as referring to importance or significance, but at times also has intimations of its literal meaning of referring to spatial depth. It is common to hear prettiness spoken of as a property of mere sensory surfaces and appearances, and as trivial, and of beauty as somehow reaching beyond appearances, and as being significant or even profound. - Ryan P Doran, True Beauty
October 26, 2025 at 8:54 PM
Reposted by British Journal of Aesthetics
alex-fisher.bsky.social
I take no responsibility for any brain explosions as a result of this paper.
britjaesth.bsky.social British Journal of Aesthetics @britjaesth.bsky.social · 21d
In this advance article, Alex Fisher argues that the phenomenal experience of virtual reality does not involve seeing-in. And yet it's twofolded 🤯. Unexplode your brains and click the link, people. doi.org/10.1093/aest... #philsky
There is a second aspect to our awareness, simultaneous to our awareness of represented content. Our experience is twofold. Yet this is so without our awareness of the configuration of virtual reality images—we have a twofold experience without seeing-in. - Alex Fisher Virtual Reality, Seeing-In, and Twofoldness
October 22, 2025 at 6:06 AM
britjaesth.bsky.social
In this advance article, Alex Fisher argues that the phenomenal experience of virtual reality does not involve seeing-in. And yet it's twofolded 🤯. Unexplode your brains and click the link, people. doi.org/10.1093/aest... #philsky
There is a second aspect to our awareness, simultaneous to our awareness of represented content. Our experience is twofold. Yet this is so without our awareness of the configuration of virtual reality images—we have a twofold experience without seeing-in. - Alex Fisher Virtual Reality, Seeing-In, and Twofoldness
October 21, 2025 at 3:58 PM
Reposted by British Journal of Aesthetics
britaesthetics.bsky.social
The British Society of Aesthetics is pleased to announce a tenth round of funding for its Connections series of conferences.

The Society is looking to fund one conference with a grant of up to £10,000.

british-aesthetics.org/portfolio/bs...
BSA Connections - The British Society of Aesthetics
The British Society of Aesthetics is pleased to announce a tenth round of funding for its Connections series of conferences. The Society is looking to fund one conference with a grant of up to £10,000...
british-aesthetics.org
October 15, 2025 at 8:22 AM
britjaesth.bsky.social
Chris Bartel is playing with toys in this advance article. Come for the nerf guns, stay for the syllogisms. doi.org/10.1093/aest... #philsky
We do not play with toys because we expect to gain something of practical value from them. Rather, we play with toys for aesthetic reasons. This is a broad topic that would require a much longer treatment than I have the space for here. This essay has the more modest goal of attempting to provide a framework for thinking of the aesthetic value of toys by looking at them in relation to games. - Christopher Bartel, When a Balloon is Enough: An Attention-Based Account of Toys and Games
October 17, 2025 at 11:06 AM
Reposted by British Journal of Aesthetics
amersocaesthetics.bsky.social
We are pleased to announce that the new issue of The Journal of Aesthetics and Art Criticism (83.3) is now available online.

ASA members have free access to all content via the Oxford site by logging into your account on the ASA web site.
October 13, 2025 at 2:18 PM
britjaesth.bsky.social
Connor Kianpour defends (many) immoral jokes in this advance article. Will he have cancelled himself by the time you reach the conclusion? Only one way to find out... doi.org/10.1093/aest... #philsky
Humour’s combination of non-literality, imaginative distance, and play allows it to disarm, provoke, and invite reflection, even from resistant audiences. That distinctiveness supports a more permissive ethical stance: immoral jokes often expose social and moral incongruities, making them valuable tools for moral-epistemic growth. - Connor K Kianpour, Learning by Laughing: Humour as Moral Error Detection and the Ethics of Immoral Jokes
October 8, 2025 at 7:03 PM
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britjaesth.bsky.social
In this advance article, Nils Stear reviews The Passenger, a play adapted from Ulrich Boschwitz's recently rediscovered novel, and reflects on the challenges and promise of literary adaptations. doi.org/10.1093/aest... #philsky
In a remarkable feat of stamina, Neumark Jones gives a compelling performance in which he never leaves the stage, and the set […] never changes. This results in almost continuous movement at a frequently frenetic pace along a narrative track that meanders less than the novel’s on the way to its tragic terminus. If the novel is a tense commuter service stopping periodically at ominous stations, the play is a runaway express train on which the emergency brake has snapped. - Nils-Hennes Stear, Review of The Passenger, Finborough Theatre, London
October 1, 2025 at 8:14 PM
Reposted by British Journal of Aesthetics
britjaesth.bsky.social
Ted Gracyk looks at the resistance to casting ugly voices in leading opera roles and its relationship to questions of justice in our latest issue. doi.org/10.1093/aest... #philsky
As our bodies age, we experience predictable changes in both appearance and functionality. […] The voice also ages, most notably because the vocal folds of the larynx become thinner and gradually harden (Stadelman-Cohen and Hillman 2019: 34). The singing voice changes with age, the vocal range diminishes, and therefore the prime years for many opera singers have been brief. - Theodore Gracyk, The Beautiful Voice in Opera: The Injustice of Vocal Discrimination
September 29, 2025 at 7:39 AM
Reposted by British Journal of Aesthetics
nickwiltsher.bsky.social
"Is it a long way to the golf course?"
"Well, it depends on what you mean by a long way."
THAT'S WHAT YOU GET FOR ASKING DIRECTIONS OUTSIDE THE PHILOSOPHY DEPARTMENT PAL.
October 1, 2025 at 10:22 AM
Reposted by British Journal of Aesthetics
britaesthetics.bsky.social
The British Society of Aesthetics seeks to appoint a paid, part-time Editor for its website, newsletter, and social media. Applicants will be expected to be UK-based postgraduates working in aesthetics.

The deadline for applications is 22 October 2025.
Position Available: BSA Website & Social Media Editor - The British Society of Aesthetics
The British Society of Aesthetics seeks to appoint a paid, part-time Editor for its website, newsletter, and social media. DUTIES OF POST WEBSITEThe Editor will be responsible for editing and maintain...
british-aesthetics.org
September 29, 2025 at 7:10 AM
britjaesth.bsky.social
HAIL OUR GLORIOUS LEADER!

...well, editor, I suppose. Co-editor. Our glorious co-editor. Hail.
metisuned.bsky.social METIS research group @metisuned.bsky.social · Oct 1
Our colleague Paloma Atencia Linares in her talk “Creatividad, sistemas artificiales y el problema de la subjetividad”.
October 1, 2025 at 8:17 PM
britjaesth.bsky.social
In this advance article, Nils Stear reviews The Passenger, a play adapted from Ulrich Boschwitz's recently rediscovered novel, and reflects on the challenges and promise of literary adaptations. doi.org/10.1093/aest... #philsky
In a remarkable feat of stamina, Neumark Jones gives a compelling performance in which he never leaves the stage, and the set […] never changes. This results in almost continuous movement at a frequently frenetic pace along a narrative track that meanders less than the novel’s on the way to its tragic terminus. If the novel is a tense commuter service stopping periodically at ominous stations, the play is a runaway express train on which the emergency brake has snapped. - Nils-Hennes Stear, Review of The Passenger, Finborough Theatre, London
October 1, 2025 at 8:14 PM
britjaesth.bsky.social
Ted Gracyk looks at the resistance to casting ugly voices in leading opera roles and its relationship to questions of justice in our latest issue. doi.org/10.1093/aest... #philsky
As our bodies age, we experience predictable changes in both appearance and functionality. […] The voice also ages, most notably because the vocal folds of the larynx become thinner and gradually harden (Stadelman-Cohen and Hillman 2019: 34). The singing voice changes with age, the vocal range diminishes, and therefore the prime years for many opera singers have been brief. - Theodore Gracyk, The Beautiful Voice in Opera: The Injustice of Vocal Discrimination
September 29, 2025 at 7:39 AM
Reposted by British Journal of Aesthetics
amersocaesthetics.bsky.social
We are pleased to announce that the Summer 2025 edition of the ASA Newsletter is now available on-line!

Go here to read about recent society news, catch up on the latest CFP's, and learn about upcoming dates and deadlines: cdn.ymaws.com/aesthetics-o...
cdn.ymaws.com
September 23, 2025 at 6:34 PM
britjaesth.bsky.social
Bence Nanay looks closely at Tsai Ming-Liang's more experimental work in this advance article published mere minutes ago. doi.org/10.1093/aest... #philsky
Tsai has always been very explicit that, for him, filmmaking is not about stories, not about narratives, but about showing images worth seeing. And the Walker series gives him the opportunity to do this in a pure form. The slow-walking monk is but an excuse for showing us images worth looking at. Bence Nanay, Review of Tsai Ming-Liang: Walker Series, Film Fest Gent and Stedelijk Museum voor Actuele Kunst
September 19, 2025 at 12:51 PM
britjaesth.bsky.social
Christine Hamel and Ann Cahill look at what is needed in actors' voice training to create more just practices in rehearsal and performance. From our latest issue. doi.org/10.1093/aest... #philsky
If affective states flow among discrete bodies, moving those bodies to different actions, experiences, and choices, and if the way they hit and take up residence in bodies is culturally and politically inflected, then how are we to understand how emotion can be effectively and ethically taken up in the space of voice and acting training? Christine Hamel & Ann J Cahill, The Swirl of Emotion Among Us: Affect, the Voice, and Performance Training
September 19, 2025 at 6:47 AM
britjaesth.bsky.social
Mariajo Alcaraz León takes a closer look at how an artist's identity intersects with the ethical contours of her work in our newest issue. doi.org/10.1093/aest... #philsky
‘[Dana] Schutz could have produced an insightful work even without belonging to—or receiving acknowledgment from—the relevant group. Her failure would not so much depend on these aspects, but—as I will try to show—on her awkward artistic contribution to the story and image she takes as her subject.’ - María José Alcaraz León, An Artist’s Voice: Expressive Achievement, Experiential Content, and Authority
September 18, 2025 at 7:35 AM