Professor Clive Cazeaux BA MA PhD

Screen-shot-2011-06-07-at-15.41.16-150x100.pngProfessor of Aesthetics
Head of Research Degrees
t: +44 (0)29 2041 6680

Specialist Subject Areas

• metaphor and visual thinking in aesthetics and the theory of knowledge
• the philosophies of artistic research and art-science practice
• ecological aesthetics and listening as responses to dualistic subject–object thought


PhD in Philosophy, University of Wales
MA in Philosophy, University of Wales
BA (Hons) Fine Art, University of London, Goldsmiths


I studied Fine Art at Goldsmiths College, University of London (1984-87), and it was the questions I encountered there concerning the nature of representation in drawing which led me to Philosophy. An MA in Philosophy at Cardiff University allowed me to locate these questions in Kant’s theory of knowledge (1989-90), and prepared the ground for my PhD study – at the Technische Universität, Berlin (1992), and at Cardiff University (1990-95) – on how recent theories of metaphor in art and science can be informed by Kantian philosophy.

In 1995 I was appointed Lecturer in Philosophy at Birmingham Institute of Art and Design, part of the University of Central England as it was then. I took up a Senior Lectureship in Aesthetics at the University of Wales Institute, Cardiff, one year later. From 2003 I was Programme Leader for BA Art and Philosophy, and since 2007 I have been Head of Research Degrees. I became Professor of Aesthetics in 2012.

Current research

Central to my work on metaphor, aesthetics and artistic research is the role belonging plays in thought. The concept of belonging governs how our perception carves the world into chunks; it determines our sense of the boundaries of things, the lines and points at which one thing becomes something else. It could be said to determine a person’s ecological awareness: their sense of ‘what belongs to me’ and ‘what is beyond or outside of me’. Philosophy conventionally works with binary oppositions, such as subject–object, mind–body, and inner–outer. My interest lies in what happens when one tries to stop thinking in dualisms, and has to address the textures of experience without the comfort of being able to ascribe qualities to one side of an opposition or the other.

I am currently working on the relation between art, research and philosophy. In the last fifteen years, there has been a rapid expansion of interest in the arts as forms of research. However, a problem with a lot of literature in the field is that it makes assumptions regarding the nature of knowledge or is not familiar with the interaction that has occurred between art and knowledge in the history of aesthetics. I am looking at how thinking around visual arts research can be both critiqued and expanded by debates from aesthetics and the theory of knowledge. Questions include: Do the requirements of research amount to an imposition on the artistic process that dilutes the power of art? How can something subjective become objective? Is the subjective–objective distinction still valid? What is the relationship between art theory and practice, word and image, and cognition and aesthetics? Does art still have a territory or a set of qualities it can call its own? If not, then where does art stand in relation to research?

Principal Publications, Exhibitions and Awards

Click here to view Prof Cazeaux’ papers and publications on Cardiff Metropolitan University’s DSpace repository.

Forthcoming Art, Research, Philosophy. Abingdon: Routledge.

Forthcoming Epistemology and sensation. In Sage Encyclopaedia of Theory in Psychology, ed. H. Miller. Thousand Oaks: Sage.

2015 The aesthetics of the scientific image. Journal of Aesthetics and Phenomenology, vol. 2.2, pp. 1-23.

2015 Insights from the metaphorical nature of making. Lo Sguardo, vol 17.1, pp. 373-91. Online.

2013 Leading Plato into the darkroom. In On Perfection: An Artists’ Symposium, ed. J. Longhurst. Intellect: Bristol, pp. 65-83.

2012 Sensation as participation in visual art. Aesthetic Pathways vol.2.2, pp. 2-30.

2012 Deconstructing and reconstructing artists with PhDs. In Beyond Deconstruction, ed. A. Martinengo. Berlin: De Gruyter, pp. 107-34.

2011 The Continental Aesthetics Reader. Abingdon: Routledge. Expanded, second edition.

2010 Beauty is not in the eye-stalk of the beholder. In Doctor Who and Philosophy, eds. P. Smithka and C. Lewis. Chicago: Open Court, pp. 313-24.

2009 Locatedness and the objectivity of interpretation in practice-based research. Working Papers in Art and Design, vol. 5. Online.

2008 Inherently interdisciplinary: four perspectives on practice-based research. Journal of Visual Arts Practice, vol. 7, pp. 107-32.

2007 Metaphor and Continental Philosophy: From Kant to Derrida. New York: Routledge.

Supervision of Doctoral Research (titles or broad areas of investigation)

• metaphor and visual thinking in aesthetics and the theory of knowledge
• the philosophies of visual arts research and art-science practice
• ecological aesthetics and listening as responses to dualistic subject–object thought
• art and design as philosophy
• art and design writing
• interdisciplinarity