Deadline: 1^st March 2026

Special Issues are a collection of 7 to 12 high-quality articles on a well-defined topic that is timely, has been neglected, or represents an important contribution to the field. Ideally, Special Issues should help the journal to achieve some of the general editorial goals: achieving gender diversity and representation of minority groups, connecting aesthetics to other areas of philosophy, promote research in novel and timely areas, and/or reaching the arts and/or academic disciplines different from philosophy. A document outlining the full responsibilities of the Guest Editor can be found on the front page of the BJA 

We welcome proposals on any topic that fits the above description.

Articles included in the Special Issues will be similar in format to articles published in the journalā€”they should be peer-reviewed and conform to the . However, we are open to consider the inclusion of interviews or other types of text if a good case is made by candidate guest editors.

Proposals should include (i) the name(s) and CV(s) of the guest editor(s); (ii) the proposed topic for the special issue and a short rationale justifying its relevance; (iii) a list of authors the candidate guest editor(s) have approached to contribute articles and their degree of commitment (the issue will have a call for papers, but editors are also encouraged to approach individuals to contribute). Proposals should not exceed 1500 words (not including the CV).

Decisions on submissions will be made by the middle of March 2026. The Editors may invite some unsuccessful applicants to modify their submission into a proposal for a symposium: between three and five papers on a theme which would be published as part of a standard issue. As with Special Issues, symposia applications will be judged in part on their aspirations to achieve gender diversity and the representation of minority groups. Decisions on symposia will be made shortly after these modified proposals are submitted.

All documents should be sent in a single email, as attachments, to the Editors: Paloma Atencia-Linares (patencia@fsof.uned.es) and Derek Matravers (derek.matravers@open.ac.uk). Applications should be received by the 1^stĀ of March 2026.

Submission deadline: 31 August 2026; Editor: Ted Nannicelli (The University of Queensland, Australia)

Since the publication of a 2023 issue of The Polish Journal of Aesthetics on the topic of ā€˜Art, Aesthetics, and Artificial Intelligence,ā€™ questions about the implications of generative AI for the creation and appreciation of art have become increasingly pressing. In that issue of the PJA, and in other scholarly journals, philosophers and theorists have been wrestling with puzzling questions about what the prevalence of generative AI might mean for how we think about the definition of art, the ontology of art, the nature of creativity, and the role of intentionality in artmaking.

At the same time, we have begun to see the emergence of a new cluster of questions about the ethical dimensions of the use of generative AI in our creative and appreciative practices. Regarding the creative side of things, scholars and critics have asked whether generative AI might imperil traditional forms of artistic labor, appropriate existing artworks and/or styles of individual artists, threaten to reproduce biases and reinforce existing structures of social inequality, or result in a kind of aesthetic de-skilling. Regarding appreciative matters, we might wonder about the ethical implications of offloading to recommendation algorithms our decisions about what sorts of movies or music to experience, or about what sorts of virtues of characters might be threatened if the object of our appreciation has been created not by another human but by generative AI.

This issue ofĀ The Polish Journal of AestheticsĀ aims to bring together these two strands of inquiry. The editor invites scholars to submit papers that examine any of the various ethical dimensions of AI art, including but not limited to:

• The implications of AI art for appreciative virtues such as curiosity, patience, perseverance, and sensitivity.
• AI, artistic appropriation, and/or copyright.
• AI art and content moderation / censorship.
• AI art, ā€˜fakeā€™ images, and deception.
• AI art and rights (free expression, rights of personality/publicity, intellectual property).
• The creation of AI art and moral agency (including moral responsibility and blameworthiness).
• AI and artistic labor.
• Aesthetic deskilling.
• Algorithmic bias, AI art, and social inequality.
• The ethical affordances or possibilities of AI art.

Submission deadline: 31 August, 2026.

Author Guidelines: We ask Authors to read our guidelines posted under the tab , as well as to double-check the completeness of each submission (please do not forget to collectively submit: the abstract, keywords, bibliography, and a biographical note about the author) before submitting.

Only complete submissions sent through the submissions page will be acceptedā€”submission page:

All submitted articles are subject to double-blind reviews. Articles published in The Polish Journal of Aesthetics are assigned DOI numbers.

More information: 

Guest editors: Mateusz Salwa and Adam Andrzejewski

Deadline for submissions: 15 June 2024.

Conceived of as all that is banal, ordinary, routine, etc., we typically associate ā€œthe everydayā€ with environments, objects or events that are so familiar and are experienced so directly that they appear necessarily real. This is how aesthetics has tended to approach the everyday. Despite the philosophy of artā€™s interest in, among other things, questions of artistic or literary fiction, the field of everyday aesthetics has been confined to what is given here and now. It seems, however, that such a perspective should be broadened in such a way as to cover all that belongs to everyday life, including events that absent, yet are closely linked to the unreal, that is to the imaginary. Not only does the everyday define that which exists at present, but it also influences our fears, hopes, desires and fantasies; that is, factors decisive for how we imagine the past and the future. This sort of imaginary everyday may be expressed in various ways ā€“ as artistic, cinematic or literary representations ā€“ either as utopian or dystopian. It may include a Sci Fi-like visions of the future, or it may show up as events dominated by a climate, economic or demographic crisis. No matter the ā€œlook,ā€ ā€œfeelā€ or sense of the imaginary or fictitious everyday has, it impacts the real everyday, since such factors, however imaginary, shape our everyday life. Moreover, if the everyday surrounding us has an important aesthetic aspect, as everyday aesthetics claims, then the imaginary or fictitious everyday must be equally impactful. Hence, the organisers invite papers that reflect upon such issues as:

• aesthetic experience of the imaginary or fictitious everyday
• ontology and aesthetics of the imaginary or fictitious everyday
• impact of imaginary the fictious everyday on the aesthetic experience of the real everyday
• relationships between the imaginary or fictitious everyday and the real everyday
• the everyday in cinema, literature, comic books and other art forms
• the everyday as a Sci Fi, fantasy or horror motif
• the imaginary everyday and escapism
• the imaginary everyday as a utopia or dystopia
• the imaginary everyday and emotions

You can submit .

Over the past few years, Artificial Intelligence, AI, has increasingly entered our everyday livesĀ and different versionsĀ ofĀ it are changing ourĀ political, medical, economic, creative,Ā recreationalĀ and many otherĀ practices.Ā It is impossible not to use and be affected by AI because our cars, smartphones, factories, and electrical networks, for example, are dependent on it.

The broadĀ fieldĀ ofĀ aesthetics, spanningĀ the whole variedĀ spectrumĀ ofĀ artā€“non-art,Ā hasĀ also been affected by thisĀ process,Ā and scholarsĀ ofĀ aestheticsĀ have increasingly turned their attention to the implicationsĀ ofĀ AI. A few examples include Lev Manovich & Emanuele Arielliā€™s seriesĀ ofĀ texts ā€œArtificialĀ Aesthetics: A Critical Guide to AI, Media and Designā€ (2021-2024); Eduardo Navasā€™ bookĀ The RiseĀ ofĀ Metacreativity ā€“ AnĀ AestheticsĀ after RemixĀ (2023); Special IssueĀ ofĀ AI and Society, n. 26, vol. 4 (2021); Andrew Samo & Scott Highhouseā€™s article ā€Artificial intelligence and art: Identifying the aesthetic judgment factors that distinguish human- and machine-generated artworkā€œ (2023); and the recent debate on the website ā€œAestheticsĀ for birdsā€ (2023). On 14 December 2023, the Google search engine gaveĀ 3,020,000,000Ā results on the search ā€œAI and artā€ andĀ 405,000,000Ā on ā€œAI andĀ aestheticsā€, and the numbers are constantly growing.Ā 

Often, the current debate is devoted to assessing the nature and value of art generated by AI.  This special issue of Contemporary Aesthetics has a different and more tightly focused aim. We would like to investigate how the phenomena and implications of AI affect a specific area of aesthetics, namely the academic discipline. The core questions orienting this call for papers address the future of aesthetics. How will researching, writing, studying, learning, and teaching aesthetics happen in the age of AI? How to use AI responsibly, or sensibly, in an academic field that is challenged by new elements entering it after it has evolved in very different ways over the past centuries? What kinds of AI technologies are used now and in the future and how will they transform our field? What will remain unchanged and why?

AreasĀ ofĀ interest can be, but are not limited to, the following:
ā€”AI’s Role Beyond Its Traditional Domains: What areasĀ ofĀ AI,Ā traditionally applied to otherĀ fieldsĀ ofĀ research,Ā can have a role in the developmentĀ ofĀ academicĀ aesthetics?Ā 
ā€”Human-AI Collaboration inĀ Aesthetics: What kindĀ ofĀ contribution the human agent can or must provide in this framework?
ā€”Enhancing Aesthetic Literature with AI: How can traditional and contemporary aesthetic literature benefit from AI-fueled research?Ā 
ā€”Revisiting Aesthetic History through AI: Is it possible to re-write the historyĀ ofĀ aestheticsĀ through AI?
ā€”Educational Transformation via AI: What are the educational implicationsĀ ofĀ AI in theĀ fieldĀ ofĀ aesthetics?
ā€”Potential RisksĀ ofĀ AI inĀ Aesthetics: What kindsĀ ofĀ risks does AI pose?

Submission details:
The deadline for submissions isĀ 30 June 2024.
Please send the submissions and inquiries to:Ģżgioialaura.iannilli2@unibo.it

The maximum length is 7,000 words including endnotes and abstract. Please follow carefully the submission guidelinesĀ ofĀ °ä“Ē²Ō³Ł±š³¾±č“Ē°ł²¹°ł²āĢż“”±š²õ³Ł³ó±š³Ł¾±³¦²õ:Ģżhttps://contempaesthetics.org/submissions/.

The guest editors for the issue are Gioia Laura Iannilli (Bologna University) and Ossi Naukkarinen (Aalto University), with co-editor Enrico Glerean (Aalto University).

The submissions should not exceed 8,500 words (incl. footnotes and bibliography), must be
written in English, and prepared for anonymous peer review. For specific guidelines, please visit
the journalā€™s website https://estetikajournal.org/about/submissions.

Confirmed contributors to this special issue are Robert R. Clewis (Gwynedd Mercy University)
and Aviv Reiter (Ben-Gurion University of the Negev / Bar Ilan University).

Call for Papers

Over the last several decades, much attention has been paid to Kantā€™s aesthetic theory and Kantā€™s
theory of fine art. Yet, not that much has been written on Kantā€™s remarks on the actual art he
was aware of. Although in Kantā€™s non-critical writings one finds some striking remarks on
Miltonā€™s poems, Raphaelā€™s paintings, and Rameauā€™s music, to cite just a few examples, either these
remarks have been overlooked or their significance has not been fully considered in the literature.

This special issue aims to address this fundamental gap. It is intended to explore Kantā€™s theory of
art not only conceptually but also in light of Kantā€™s views on the actual arts, artists, and artworks
on which he commented. The ultimate goal of the special issue is to put some flesh on the
systematically structured framework of the Critique of the Power of Judgment by incorporating Kantā€™s
seemingly non-systematic remarks on art scattered across other texts into his overall account.
Articles should be submitted by the 15th of October 2024 via https://estetikajournal.org.

Publication schedule

Submission deadline: 15 October 2024
Publication date: September 2025

Guest Editor: JoĆ£o Lemos (NOVA University of Lisbon)

For further information, please contact the editors at: https://estetikajournal.org/contact
Estetika is a leading journal for philosophical aesthetics in Europe. For more information on the
journal, please visit the journalā€™s homepage: https://estetikajournal.org/.

Beauty and taste are central concepts within aesthetics. There has been an upsurge of interest in returning to both concepts and considering how they feature in not just our engagements with the arts, but also in our aesthetic appreciation of everyday artefacts and activities, natural and built environments, bodies, moral character, and intellectual pursuits (Mothersill, 1984; Scarry, 1999; Nehamas, 2007; Parsons and Carlson, 2008; Scruton, 2009; Lopes, 2018; Riggle, 2022). However, even with increasing interest, concerns continue to surface regarding the relationships between judgements of beauty and other kinds of aesthetic judgements, whether pursuing beauty should have any privileged role in the development of taste in our aesthetic lives, and how exactly beauty interacts with pursuing goodness, knowledge, and justice.

This special issue aims to advance our contemporary understanding of the concepts of beauty and taste. We have welcomed Dr Panos Paris (Cardiff University) to contribute a target article, ā€˜Which Beauty? What Taste? Reflections on the Importance of the Philosophy of Beauty and Tasteā€™. We are inviting short articles of two kinds. First, we invite articles that respond directly to the arguments raised in Dr Parisā€™ article. Second, we also invite articles that relate more broadly to the topics of beauty and taste.

All submissions must be short essays of no longer than 3,500 words (excluding footnotes and bibliography)Ā and should be emailed toĀ editor@debatesinaesthetics.orgĀ by April 29^thĀ 2024. For full submission guidelines see:Ģż.

Abstract forĀ ā€˜Which Beauty? What Taste? Reflections on the Importance of the Philosophy of Beauty and Tasteā€™:

In this paper, I reflect on the importance of the traditional conceptual pair of beauty and taste. Despite recent proclamations within philosophy that beauty is making a comeback, the concept still provokes confusion. I trace such confusion in part to philosophersā€™ increasingly thinking of beauty, in the so-called narrow, common-sense way, as an essentially shallow and thin concept. However, in stark contrast to most philosophers today, I observe that the notion of beauty in the narrow sense is the concept that allowed philosophers in the pastā€“ā€“not unlike many laypersons todayā€“ā€“to see beauty as linked to our most fundamental values, and so to speak of beauty of intellect, moral beauty, or the beauty of theorems, as well as artistic and natural beauty. And it is this understanding of beauty that was seen as a fundamental component of a flourishing life. Thus, to think of beauty as shallow and thin is thus not just undesirable, but evinces an impoverished outlook on both aesthetics and value more generally.

I begin by giving some background on beautyā€™s alleged comeback in recent philosophy. I then proceed to note that in recent years this comeback has concentrated on aesthetic value rather than beauty, which is often dismissed as less important. I suggest that this is at least partly due to an association between, or a running together of, three distinctions: between a narrow and a broad sense of beauty; between beauty as a thin and a thick concept; and between beauty that is easy, sensuous, and shallow on the one hand, and deep, profound, and meaningful, on the other. I argue that useful as these distinctions may be, they are unrelated to one another. Importantly, there is a distinct concept of beauty in the narrow sense that is both thick and not easy or shallow, that is inextricably tied to form, pleasure, and (non-aesthetic) value. However, whether or not an alleged instance of beauty, or indeed a personā€™s or groupā€™s conceptions and experiences of beauty are easy and shallow or profound and meaningful, turns on another recently disparaged, yet central concept: taste. If we wish to better understand and promote the profound, meaningful, and enlightening varieties of beauty, then we should ensure that the conceptual pair of beauty and taste stand at the forefront of our philosophical enquiries.

The full paper can be downloaded here:Ģż

Debates in AestheticsĀ is a peer-reviewed, open-access journal for articles, interviews and book reviews. Published by theĀ ĢĒŠÄŹÓʵ, the journalā€™s principal aim is to provide the philosophical community with a dedicated venue for debate in aesthetics and the philosophy of art.

Please visitĀ Ā for more information, or feel free to email us atĀ editor@debatesinaesthetics.org.

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the Predictive Processing framework. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic behaviours as well as a wide range of psychological phenomena of general interest, including perception, cognition, learning, attention, curiosity, affect, motivation, well-being, and the dynamics of sub-personal and person-level experience. This theme issue provides a timely synthesis of this ambitious research programme, laying down a framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind.

Most of the papers (including theĀ ) are available openĀ access at:Ģż.