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Conceiving axiology as “value theory” makes it a bit less intuitive than metaphysics or epistemology. I previously put “ethics” in place of axiology, but ultimately could not justify this construal, because axiology seems undeniably to be a more overarching category than ethics.
Axiology, thus defined, accounts for all degrees of value: “Value theory, or axiology, concerns which things are good or bad, how good or bad they are, and, most fundamentally, what it is for a thing to be good or bad.” 1
Axiology, then, is the home for ethics, aesthetics, 2 and political philosophy — all enterprises driven by the pursuit of value judgment.
Of course, aesthetics is a difficult category to place — intrinsic to the concept of beauty are metaphysical and epistemological aspects, such that it could be called an overarching category in its own right. One author notes that “aesthetics in particular could analyze the genesis of different modes of experiencing space and time; the relations of inner and outer.” 3
For instance, here is a form of art (a skill requiring aesthetic judgment) called chiaroscuro. 4
In Italian, it literally means “light-dark.” It began in the Renaissance (around the 1500s and 1600s), when artists were trying to figure out ways to draw three-dimensional objects. They wanted a way to visually represent a sphere sitting on a table, but the key to drawing a realistic sphere sitting on the table is not in the ability to draw a perfect sphere but to create perspective with the right kind of shading. The shadows on an object say just as much about its shape as the outline, possibly even more. The shading of an object is, in a sense, what makes a painted object believable — the shadows make a piece of art real, and alive.
Up to that point in Renaissance painting, the moon had always been drawn as perfectly spherical and smooth, similar to the concept of beauty at the time. The moon represented purity and a lack of defect. But the scientist Galileo was (also) an armature chiaroscuro artist. 5
One night, while looking at the moon through his telescope, he realized: the sky is a perfect chiaroscuro painting. There is a dark canvas, and the sun illuminates the moon. For the first time in history, this scientist realizes because of his artistic training: astronomy is a kind of light-on-dark artistry. And then, while looking at the moon through his telescope, he notices things that only a chiaroscuro artist would be able to notice: the shadows inversely betray that the moon has mountains. 6
In this way, aesthetic intuition is an aspect of modern cosmology (metaphysics) and science (epistemology).
Yet, it is axiology in general which we will distinguish as the third major philosophical category with metaphysics and epistemology.
↑1 | Iwao Hirose and Jonas Olson, “Introduction to Value Theory” in Iwao Hirose and Jonas Olson (eds.), The Oxford Handbook of Value Theory (New York: Oxford University Press, 2015), 1 [1-9]. Hirose and Olson continue to tease out the inquiries which constitute axiology: “What kind of value is in question? What kinds of things are or can be valuable? How can values be compared and measured? How does value theory bear on practical issues in ethics and other disciplines?” |
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↑2 | Aesthetics is a particularly difficult discipline to classify. Martin Seel brilliantly makes the case that aesthetics (in particular, the experience of beauty) is a matter of perception that must be distinguished from epistemology, and highlights its enormous overlap with metaphysics: “The sensuous impression retains value not as a purported fact nor as a deceptive apparency … but as an aspect of the presence of the object that is remarkable in itself—as an additional element of its appearing.” Thus, for Seel, the aesthetic aspect of an object is a property of a thing that impresses itself on the perception — an impression which testifies to its being, but its being (metaphysics) is signified (epistemology) by its value (axiology). Yet, for the sake of conceptual economy, we will locate it within axiology. Martin Seel, Aesthetics of Appearing, trans. John Farrell (Stanford, CA: Stanford University Press, 2000, 2005), 60. |
↑3 | Hans Rainer Sepp and Lester Embree, “Introduction” in Hans Rainer Sepp and Lester Embree (eds.), Handbook of Phenomenological Aesthetics (New York: Springer, 2010), xxvii [xv-xxx]. |
↑4 | There are two kinds of shadows, and understanding this difference is key to understanding chiaroscuro: “The first, a form-shadow, is caused by form turning away from the source of light. A soft, gradated edge is created between the lit portion of the form and the portion of the form that is in the shadow—that is, the round part of the form that has turned away from the light. The second, a cast-shadow, is caused by form intercepting the light and casting its shadow on an adjacent surface. This produces a hard edge between light and the cast shadow. Thus the division between the two contrasting values of light and dark will depend on the shadow created, either be a soft transition or a hard, abrupt one.” Chiaroscuro trained Galileo to be able to identify these softer shadows. William L. Maughan, The Artist’s Complete Guide to Drawing the Head (New York: Watson-Guptill Publications, 2004), 14. |
↑5 | I first heard this story of Galileo mentioned in Adam Grant, Originals: How Non-Conformists Move the World (New York: Viking, 2016), 48. See further Dean Keith Simonton, “Foresight, Insight, Oversight, and Hindsight in Scientific Discovery: How Sighted Were Galileo’s Telescopic Sightings?” Psychology of Aesthetics, Creativity, and the Arts 6, no. 3 (2012): 1-12; Samuel Y. Edgerton, The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution (Ithica, NY: Cornell University Press, 1991); idem, The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed our Vision of the Universe (Ithica, NY: Cornell University Press, 2009). |
↑6 | Galileo “alone was able to appreciate the implications of the dark and light regions, regions that indicated not only the shadows cast by the mountains but (also) the mountain peaks high enough to catch the solar rays after darkness had settled in the valleys (cf. ‘alpine glow’).” Simonton, “Foresight, Insight, Oversight, and Hindsight in Scientific Discovery,” 6. |
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