Varieties Of Aesthetic Experience

Philosophy ◽  
1955 ◽  
Vol 30 (114) ◽  
pp. 238-248
Author(s):  
D. L. Pole
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Distinguishing Characteristic ◽  
War And Peace ◽  
Good Fortune ◽  
In Virtue Of ◽  
Single Question

The traditional business of aestheticians has been to supply an answer to the question, “What is art?” A single question is put, and apparently it is assumed—though recently the assumption has been fairly widely challenged—that there is a single answer to be supplied; that there is one definition or one essence of art from which all its properties can be shown to derive. However the problem is also quite frequently reformulated: some theorists prefer to ask, “What is aesthetic experience?” Here we find a second assumption: it seems to be taken for granted that it is appropriate to put either one question or the other, but not both; aesthetic experience having been characterized, art can be denned in terms of it, or vice versa. And it is assumed here, as before, that there is one essential answer to give. It is supposed, that is to say, that all aesthetic experience— the experience of reading War and Peace or Herrick’s two lines Of Julia, Weeping, the experience of looking at York Minster or the pattern on the carpet, if by good fortune the carpet is well designed— has some one distinguishing characteristic in all instances, in virtue of which alone they are to be called aesthetic.

On the Causal-Doxastic Theory of the Basing Relation

2002 ◽  
Vol 32 (4) ◽  
pp. 543-559 ◽  
Author(s):  
Daniel M. Mittag
Keyword(s):  
Recent Article ◽  
Causal Relation ◽  
The Other ◽  
Causal Relations ◽  
Basing Relation ◽  
In Virtue Of

If one is to believe that p justifiably, then one must believe p for, or because of, one's evidence or reasons in support of p. The basing relation is exactly this relation that obtains between one's belief and one's reasons for believing. Keith Allen Korcz, in a recent article published in this Journal, has argued that two conditions are each sufficient and are jointly necessary to establish basing relations between beliefs and reasons. One condition is formulated to account for basing relations that can obtain in virtue of causal relations between one's belief and reasons, and the other condition is supposed to account for basing relations which can be established independently of the instantiation of any such causal relation.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals Movement as a Somaesthetic Source of Subjectivity

2021 ◽  
Vol 12 ◽  
Author(s):  
Robert Dobrowolski ◽  
Krzysztof Pezdek
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Authentic Self ◽  
Positive Source

The paper discusses two opposite understandings of how the kinaesthetic experience of movement translates into the development of subjectivity. One of them, in which somatically experienced movement is regarded as a positive source of authentic self-fashioning, will be described within the framework of phenomenology. The other, which emphasises the inauthentic nature of movement, will be described in term of psychoanalysis. Subsequently, the two opposite interpretations will be discussed in the conciliatory perspective of aesthetic experience, in which the contradiction of spontaneity and conformity will be shown as a quasi-artistic factor which bolsters the dynamics of subjectivity development.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Polifonia pamięci w reportażu Magdaleny Grzebałkowskiej "1945. Wojna i pokój"

2021 ◽  
pp. 225-248
Author(s):  
Aleksandra Łasińska
Keyword(s):  
Elderly Person ◽  
The Other ◽  
War And Peace

The article is an analysis of Magdalena Grzebałkowska’s book Poland 1945: war and peace and aims to examine the categories of memory present in it. The author, based on chosen characters, describes several kinds of memory: of a child, of an elderly person, and of the other. The aim of the analysis is to point the presence of various forms of memory in the book and to illustrate their polyphony.

scholarly journals Van wie zegt de profeet dit? Een een-voudige vraag en een meervoudig antwoord

2005 ◽  
Vol 61 (4) ◽  
Author(s):  
Rein Bos
Keyword(s):  
Old Testament ◽  
The Other ◽  
Biblical Criticism ◽  
Life And Death ◽  
Other Hand ◽  
Christian Perspective ◽  
Practical Theological ◽  
The One ◽  
Christian Congregations ◽  
Single Question

Of whom does the prophet say this? A single question and a multifaceted answerTheologians seeking to preach Old Testament texts meaningful way in Christian congregations face a great challenge. On the one hand, very little has been written in homiletical textbooks about hermeneutical problems facing those who wish to read the Old Testament from the perspective of Christ’s life and death. On the other hand, advances in biblical criticism seemed to have made any such attempt problematic to begin with. In this article, the author attempts to provide a practical-theological contribution to this hermeneutical challenge by reconsidering the heuristic value of mediaeval fourfold interpretation of scriptural passages. By focussing on the servant song of deutero-Isaiah (53) in light of its reinterpretation in Acts 8, this paper aims to provide some suggestions on how Christological interpretation of the Old Testament can be done in a way that takes the original context seriously and is able to read the text from a Christian perspective without the one reading infringing on the other.

scholarly journals La estética modal como herramienta de análisis cinematográfico

2020 ◽  
Author(s):  
Jesús Ramé López
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Other Hand ◽  
The Aesthetic ◽  
Fundamental Categories ◽  
Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

The New Law of Armed Conflict

1978 ◽  
Vol 15 ◽  
pp. 3-41 ◽  
Author(s):  
L. C. Green
Keyword(s):  
Twentieth Century ◽  
Intermediate State ◽  
Armed Conflict ◽  
The Other ◽  
War And Peace ◽  
Law Of Armed Conflict ◽  
The Law ◽  
Court Of Appeal

In HisDe Jure Belli ac Paris, Grotius, quoting Cicero, stated that “there is no Middle between War and Peace,” and this sentiment seems to have received general agreement well into the twentieth century. Thus, inJansonv.Driefontein Consolidated Mines, Lord Macnaghten stated: “I think the learned counsel for the respondent was right in saying that the law recognises a state of peace and a state of war, but that it knows nothing of an intermediate state which is neither one thing nor the other — neither peace nor war.” One might have thought that the English courts would have abandoned this view in the light of their own experience during the Manchukuo incident, for by 1939 inKawasaki Kisen Kabushiki Kaisha of Kobev.Bantham S.S. Co.the Court of Appeal was prepared to concede that “war” might exist for some commercial purposes but not in so far as other legal relationships were concerned.

On the Hermes of Praxiteles

1882 ◽  
Vol 3 ◽  
pp. 81-95
Author(s):  
A. H. Smith
Keyword(s):  
The Other ◽  
Good Fortune ◽  
Other Hand ◽  
True Position ◽  
The Subject ◽  
The Right

It is well-known how, in the spring of 1877, the German explorers at Olympia had the good fortune to dig up the chief parts of a statue which had been seen by Pausanias in the same spot, and had been described by him in the following words:—χρόνῳ δὲ ὕστερον καὶ ἄλλα ἀνέθεσαν ἐς τὸ Ἡραῖον, Ἑρμῆν λίθου, Διόνυσον δὲ φέρει νήπιον, τέχνη δέ ἐστι Πραξιτέλους (Paus. v. 17, 3).The bulk of the statue is in exquisite preservation. The greater part however of the right arm of Hermes is missing. Since the whole motive of the subject depends upon the action of the arm, speculation has been busy as to the most probable restoration of this limb.With a view to the solution of this problem, Benndorf has collected together a series of types of the Hermes and Dionysos group. His list is not exhaustive, and he seems to have passed over certain instances of importance.My principal object in this paper is to attempt to show that a certain group of types contains the clue to the restoration of the missing arm, although they do not represent the arm in its true position; and on the other hand to show that certain types which have the arm in its true position, are untrustworthy guides as to the restoration of the attribute attached to it.

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