Editorials from the last two years started with observations about the tumultuous state of global politics. Unfortunately, I start with the same observations this year. Now, added to the global turmoil and uncertainty, more locally, in the United States where this journal’s operation is based, we are witnessing a steady erosion of academic freedom and protections for free speech and expression, often directly affecting what gets exhibited in museums, what artistic projects get funded, with some artists canceling their own exhibitions in protest. More than ever, it is critically important for artists and scholars, not to mention the general public, to raise their voices to protect academic freedom, freedom of expression, and democracy.
History is rife with examples of artists bearing witness to human tragedies, exposing social injustices, and protesting political oppression, sometimes while risking their lives. Artists have also celebrated humanity’s triumph over evil, imagined an ideal society, and pointed to a hopeful future. The power of these expressions is immeasurable. Academic aesthetics provides insights into how we are profoundly affected by such artistic expressions, fully demonstrating that aesthetic matters are not dispensable fluff, as they are sometimes so characterized.
At Contemporary Aesthetics we are firmly committed to providing a platform for diverse voices and viewpoints regarding contemporary aesthetic matters. As a completely autonomous organization, we are guided exclusively by ensuring academic integrity and facilitating open and inclusive dialogue in a respectful and constructive forum. As we face serious challenges to democracy and eroded freedom of expression, we are determined to support true dialogue among those thinking about the power of art and aesthetics. We invite both authors and readers to critically examine the role art and aesthetics play in enhancing our well-being and creating a better world for all.
Among the challenges and opportunities involved in exploring contemporary aesthetics is keeping pace with the rapidly changing world, including the widespread presence of digitization and the use of AI. This year, that change was addressed by two board members, Ossi Naukkarinen and Gioia Laura Iannilli, who served as guest co-editors for a Special Volume on AI and Changing Aesthetics. Being the first collection of its kind, we believe it will provide a foundation for future research in this ever-changing technoscape.
While Special Volumes, which we have published almost annually in recent years, afford a focus for the research we publish, our regular volumes continue to offer a diverse array of studies which define the character of Contemporary Aesthetics. We plan to keep offering these complementary approaches to promote a rich aesthetics inquiry.
Another feature that has come to define our journal is a commitment to disciplinary, cultural, and linguistic inclusivity. We make a special effort to encourage authors who may not be familiar to Anglophone readers. Although we publish exclusively in English, and we require a specific format and writing style that may differ from what some authors regularly use, we work with contributors to make their good work conform to that idiom for our readers. We also try to make our review process not simply a verdictive exercise but an educational process particularly for those who are at an early stage of their career. In short, we take great care in working with authors, regardless of whether their articles are accepted for publication. We take this service and contribution to our profession seriously.
At the same time, we make sure that what we publish is meaningful and relevant to readers from diverse disciplinary, cultural, and linguistic backgrounds, while discouraging those works which are accessible and relevant only to a small circle of philosophers. The discussions should matter to all our readers.
Our reviewers have given much time and expertise to prepare thorough and constructive reviews. Some of them go beyond the call of duty to work with the author through two revisions. I cannot thank them enough. Authors often express gratitude for the feedback from anonymous reviewers, even if their papers were not accepted. For Volume 23, the following scholars helped us with reviews:
María José Alcaraz León, Erik Anderson, Tony Aumann, Alice Barale, Jeanette Bicknell, John Carvalho, Peter Cheyne, Meilin Chin, Chauncey Colwell, Christian Conrad, Daniel Conway, Carla Milani Damiao, John Dyck, Valeria Federici, David Fenner, Rosa Fernandez, Paolo Furia, John Gibson, Garry Hagberg, Nicole Hall, Casey Haskins, Lisa Heldke, Kathleen Higgins, Dan Hirshberg, Gioia Laura Iannilli, Simon James, Guðbjörg R Jóhannesdóttir, Jennifer Judkins, Joseph Kassman-Tod, James Kirwan, Kimberly Kowal, Paul Lavy, Sanna Lehtinen, Adam Loughnane, Eva Man, Fatemeh Masdari, Erich Hatala Matthes, Jukka Mikkonen, Karim Nader, Bence Nanay, Ossi Naukkarinen, Kalle Puolakka, Matteo Ravasio, Jussi Saarinen, Karen Simecek, Jeffrey Smith, Yujia Song, Saam Trivedi, Rudi van Etteger, Julie Van Camp, Vera Vicenzotti, Nicholas Whitaker, Mary Beth Willard, Rissa Willis, Nicholas Wiltsher
As always, I want to thank Arnold Berleant for always being available to lend his wisdom and advice based upon his experience of running Contemporary Aesthetics for the first fifteen years. John Carvalho, Associate Editor, has been my steady rock. I am grateful for his timely and expert advice, as well as helping with some aspects of my work as Editor. Sanna Lehtinen, Assistant Editor, has also been a steady help for which I am thankful. The board members have also given me a constant source of inspiration, encouragement, and support. Running this journal is a true team effort.
Last but not least, I want to thank Lynnie Lyman and Anne Berleant. Lynnie has been our assistant for many years and the one who held our operation together with an expert technical hand and good humour. She stepped down from many years of service to this journal and handed her work over to Anne, who added this new position to her continuing work as our copyeditor. Thanks to their cooperative work during the transitional period, Contemporary Aesthetics was able to run without disruption, and I can’t thank them enough.
We are determined to continue our contribution to the development of aesthetics discourse. We hope you continue your support for our journal by using the articles for teaching, conducting your own research, and enriching your intellectual life, as well as submitting your work to us. Please encourage your students and colleagues to do the same.
Respectfully,
Yuriko Saito, Editor