Aesthetic Object

2022 ◽  
pp. 65-90
Author(s):  
Zhirong Zhu
Keyword(s):  
Aesthetic Object

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Phenomenolological review v. cierer of reading proceedings in the context of its «litery anthropology»

2020 ◽  
Vol 1 (100) ◽  
pp. 64-70
Author(s):  
O.D. Lauta ◽  
◽  
S.M. Geiko ◽  
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Philosophical Analysis ◽  
Reading Process ◽  
Aesthetic Object ◽  
Semantic Definition ◽  
Reception Aesthetics

The phenomenological review of V. Izer's reading process in the context of «literary anthropology» is analyzed. The philosopher makes a distinction between interpretation and reception. The first, in his opinion, gives the imagination a «semantic definition», and the second – a sense of aesthetic, object. The first passes within the limits of the «semantic orientations» of the literary theory, and the second – within the limits of the cultural and anthropological context. The article deals with the philosophical analysis of the reception aesthetics. For the supporters of this theoretical direction, there is an inherent shift of attention from the problems of creativity and literary work to the problem of its reception or, in other words, from the level of psychological, sociological or anthropological interpretation of the creative biography, to the level of perceived consciousness. Receptive aesthetics gives the reader privilege in the «text/reader» paradigm and gives him the cognitive and affective ability to create his own text from this text.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Aesthetic Object as Numerical Analogy

1985 ◽  
Vol 86 (6) ◽  
pp. 46-48
Author(s):  
Thomas E. Linehan
Keyword(s):  
Aesthetic Object

scholarly journals CITRA EKSOTIK DALAM NOVEL RONGGENG DUKUH PARUK

2020 ◽  
Vol 19 (2) ◽  
pp. 23
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Power Relationship ◽  
The Novel ◽  
The West ◽  
Aesthetic Object ◽  
Post Colonial ◽  
World Region ◽  
East Region ◽  
Rearrangement Process ◽  
Ambivalent Relationship ◽  
Material Conditions

Imaging of a discourse in the paradigm of postcolonialism is closely related to the issue of domination and subordination in terms of reference to imperialism or capitalization. The imagery is a project that develops special perceptions about "foreign" (East) regions. This project presupposes that the "foreign" (East) region is exotic "uncivilized" regions, standardized in a special "understanding", whose main purpose is to separate or dissolve it ("tame" the "foreign" region), so that different from or being "civilized". One area that is strongly embedded in this project is literature, with the novel as an aesthetic object. In connection with this issue, this article reveals how the East is presented in its exotic image, so how the image represents an ambivalent relationship between the East (colonized) and the West (invaders), especially in the Ronggeng Dukuh Paruk (RDP) novel by Ahamad Tohari.The results of the study show that the RDP novel is an urgent medium related to the conditions of postcoloniality. The postcoloniality is meant not only that the narrative that is displayed is the essence of what is obtained from the author about the exotic world region (the nature of Paruk dukuh) with all the signs attached to it, narration is also used as an affirmation of identity and historical existence, in the context of civilized culture. The culture in question is the source of identity that is championed as a filter and lifter, for the community that has been known and thought about, as an invitation for emancipation. Power and ability to tell stories, in this case, are used as weapons of the author in hopes of inspiring readers. The expected result is the hegemonic reader of the discourse displayed in the work of the author.In the post-colonial context, this method is inseparable from a combination where political and ideological power is interrelated, where the image represented is always still signifying the "emancipation" power relationship between the West and the East. However, like ideology, imaging must be realized other than as originating from and relating to material conditions and material effects, it is also a misrepresentation of reality and in its rearrangement process. Therefore, the potential, possibilities, and certain visions that follow, are full of content, values, or strategies for "mastering" (power). Especially in the Ronggeng Dukuh Paruk novel by Ahamad Tohari, exotic images give rise to ambivalent meanings for emancipation efforts (West to East).

Unspeakable Events

2011 ◽  
Author(s):  
Simon Gikandi
Keyword(s):  
Everyday Life ◽  
Social Standing ◽  
Aesthetic Object ◽  
William Beckford ◽  
The Aesthetic ◽  
The Moment

This chapter presents two instances of how slave money shaped the moment of taste in both pragmatic and conceptual terms. It provides a substantive exploration of the cultural traffic between Britain and its colonial outposts in order to show how the experience of slavery was turned into an aesthetic object that was woven into the fabric of everyday life. It then seeks to connect slave money and the power and prestige of art by focusing on the aesthetic lives of William Beckford and Christopher Codrington, famous heirs to slave fortunes, who sought to remake their social standing through the patronage of art and the mastery of taste.

Baudelaire's Two Cosmopolitanisms

2021 ◽  
Vol 21 (1) ◽  
pp. 85-98
Author(s):  
Stephen Adam Schwartz
Keyword(s):  
The Other ◽  
Work Of Art ◽  
Aesthetic Object ◽  
The Spectator ◽  
The One ◽  
Ways Of Life

In his text on the ‘Exposition Universelle 1855’, Baudelaire upholds what he calls ‘cosmopolitisme’ as the antidote to the constraining influence of universalizing principles of taste that are meant to define beauty for all times and places. Baudelaire’s view is that such aesthetic systems close off the possibility of beauty, which, he maintains must contain an element of novelty. Accordingly, the proper attitude for the viewer (or reader or spectator) to take before a work of art is one that remains always open to novelty and to the ‘universal vitality’ out of which it springs. This attitude is the cosmopolitan one. Yet Baudelaire characterizes this attitude in ways that seem fundamentally incompatible if not diametrically opposed. On the one hand, cosmopolitanism as described in this text seems to involve the slow, lived apprenticeship in the values, ways of life, and criteria of judgement of those in other places, the better to be able to appreciate the beauty of the objects produced in them. On the other, he speaks of the appropriate attitude toward an aesthetic object — indeed toward any object that presents itself to our senses — as one resulting solely from the spectator’s exertions on his or her own mind and will, exertions by which the spectator refrains from imposing criteria of judgement upon the putative aesthetic object in order, instead, to derive one’s criteria from it. While the text on the ‘Exposition’ provides the reader with no way of resolving this contradiction, Baudelaire’s remarks on fashion in ‘Le Peintre de la vie moderne’ (1863) provide a dialectical resolution.

Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object

2020 ◽  
pp. 33-62
Author(s):  
Andrei Molotiu
Keyword(s):  
Art History ◽  
Comic Book ◽  
Comic Strip ◽  
Indiana University ◽  
Senior Lecturer ◽  
Aesthetic Object ◽  
Full Size ◽  
Comic Art ◽  
History Department ◽  
Born Again

Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.

Socrates and the objet ambigu

2020 ◽  
pp. 400-440
Author(s):  
Hans Blumenberg
Keyword(s):  
Aesthetic Object ◽  
Origin Story ◽  
The Aesthetic

This chapter examines Hans Blumenberg's “Socrates and the objet ambigu: Paul Valéry's Discussion of the Ontology of the Aesthetic Object and Its Tradition” (1964). It discusses the origin story of Paul Valéry's dialogue Eupalinos. More than ten years after his letter to Paul Souday, Valéry returns to this prehistory and confirms that he had chosen the form of the dialogue for its elasticity and malleability. And there can be no doubt that it is this form that led to Socrates carrying the dialogue. All this, including the choice of the name “Eupalinos” — an ancient architect Valéry found in an encyclopedia — is of paramount facticity, which, if not labored, was certainly perceived as adequate. But this facticity, which befell the poet, was at the same time provoked by the needs of his poetic self-understanding — and was, of course, stylized in retrospect.

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