Much of my research is driven by an interest in metaphor or how one thing can be about something else, e.g. ‘architecture is frozen music’ (Schelling), ‘the insect voice of the clock’ (Orwell). Behind this is a fascination for how things are grouped together or classified as one kind of thing, and the consequences of this compartmentalization for knowledge and thinking. On the one hand, metaphor relies upon compartmentalization by applying one thing to another but, on the other, it rejects it by claiming that two different things are the same. Furthermore, the claim made by a metaphor is nonsensical yet striking and insightful. How can this be? Consideration has to be given, I think, to the nature of concepts, and how it is that any one concept can be both a centre of familiar meaning, while also entertaining connections with concepts that are alien or remote.
I am currently working on the significance of appearance, or becoming manifest to the senses, for philosophy. The consequences of Berkeley’s and Kant’s assertions that concepts require or entail sensory content, I think, have yet to be fully realized. This work will take the form of a series of articles and then a book.
I am also writing a book on the philosophy of audio drama, due for publication in 2023. Every art form – dance, film, literature, music, theatre and the visual arts – has philosophy books devoted to it, exploring the questions and possibilities that are raised by the form. Every art form, that is, except one: radio drama or audio drama.
My book will locate the nature and scope of audio drama within key concepts and debates from phenomenology, philosophical aesthetics, and the philosophies of technology and sound. It will also present audio drama as an art form that can be artistically inventive in ways that either match or exceed the dynamism claimed for other arts.
View Prof Cazeaux’ papers and publications on Cardiff Metropolitan University’s DSpace repository.
Articles and chapters
2021 Image and indeterminacy in Heidegger's schematism.
2021 Which ‘Martin Creed’? Or switching from insignificance to significance. In
Aesthetics, Philosophy and Conceptual Art, eds. E. Schelleckens and D. Dal Sasso. London: Bloomsbury, pp. TBC.
2019 Art, philosophy and the connectivity of concepts: Ricoeur and Deleuze and Guattari. In
Journal of Aesthetics and Phenomenology 6:1, pp. 21–40.
2017 Aesthetics as ecology, or the question of form in eco-art. In
Extending Ecocriticism: Crisis, Collaboration and Challenges in the Environmental Humanities, eds. P. Barry and W. Welstead. Manchester: Manchester University Press, pp. 149-69.
2016 Epistemology and sensation. In
Sage Encyclopaedia of Theory in Psychology, ed. H. Miller. Thousand Oaks: Sage, pp. 294-7.
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.
2013 Leading Plato into the darkroom. In
On Perfection: An Artists’ Symposium, ed. J. Longhurst. Bristol: Intellect, 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.
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.
2008 Inherently interdisciplinary: four perspectives on practice-based research.
Journal of Visual Arts Practice, vol. 7, pp. 107-32.
The Continental Aesthetics Reader. London: Routledge.
2017 Art, Research, Philosophy. Abingdon: Routledge.
2011 The Continental Aesthetics Reader. Abingdon: Routledge. Expanded, second edition.
2007 Metaphor and Continental Philosophy: From Kant to Derrida. New York: Routledge.
2000 The Continental Aesthetics Reader. London: Routledge.
1992 Immanuel Kant: Critical Assessments, co-edited with Ruth Chadwick. London: Routledge.