A matter of taste? On the significance of aesthetic judgement for morality

2021 ◽  
Vol 16 (3) ◽  
pp. 351-355
Author(s):  
Gernot Böhme
Keyword(s):  
Aesthetic Judgement

Kunst als reflexive Form und als reflektierende Bewegung

2010 ◽  
Vol 55 (2) ◽  
pp. 75-86
Author(s):  
Brigitte Hilmer
Keyword(s):  
Propositional Content ◽  
The Self ◽  
Aesthetic Judgement ◽  
The Difference ◽  
Self Reference

Kunst kann dann als reflexiv interpretiert werden, wenn Reflexivität nicht auf propositionalen Gehalt oder sogar sprachliche Artikulation angewiesen ist. Reflexion tritt auf in den Modi der Selbstbeziehung des Lebendigen, des Überlegens und der Selbstreferenz im Symbolischen. Kunst ist ein Reflexionsmedium, das diese Modi beansprucht und miteinander verflicht. Eine spezifisch ästhetische Reflexivität ist von und nach Kant nach dem Vorbild der transzendentalen Reflexion und in Konkurrenz zu ihr etabliert worden. Sie läßt sich als Reflexivität des ästhetischen Urteils, als emphatisches Gemachtsein, als Rückwendung auf Wahrnehmungsvollzüge oder als Begriffsreflexion verstehen. Dabei wird die Unterscheidung von Anschauung und Verstand in deren Zusammenspiel oder Abspaltung vorausgesetzt. Von der Analogie zur transzendentalen Reflexion löst sich aber erst ein Verständnis von ästhetischer Reflexivität, das von den drei Modi und ihrer Verflechtung ausgeht.<br><br>Reflexivity does not presuppose linguistic articulation or even propositional content. If it did, art could not be called reflexive. Reflexivity can be found in the self-contact of the living, in mental reflection or in symbolic self-reference. Art is a medium which claims these different modes of reflexivity and intertwines them. Aesthetic reflexivity as such has been established by Kant and his epigones, following the model of transcendetal reflection. Thus it could be specified as the reflexive structure of aesthetic judgement, or as an emphasis on a work’s being created, or as a reference to perception itself in the process of perceiving, or as a way of reflecting concepts. Aesthetic reflexivity can only be detached from the model of transcendental reflection, if it is seen as oriented towards the interaction among the three modes of reflection mentioned above, leaving aside the difference, interplay or competition between perception and conceptual capacities.

Evaluative Perception

2018 ◽  
Keyword(s):  
Virtue Ethics ◽  
Philosophy Of Mind ◽  
Perceptual Experience ◽  
Value Theory ◽  
Ethical Perception ◽  
Aesthetic Judgement ◽  
Evaluative Judgement

Evaluation is ubiquitous. Indeed, it isn't an exaggeration to say that we assess actions, character, events, and objects as good, cruel, beautiful, etc., almost every day of our lives. Although evaluative judgement—for instance, judging that an institution is unjust—is usually regarded as the paradigm of evaluation, it has been thought by some philosophers that a distinctive and significant kind of evaluation is perceptual. For example, in aesthetics, some have claimed that adequate aesthetic judgement must be grounded in the appreciator's first-hand perceptual experience of the item judged. In ethics, reference to the existence and importance of something like ethical perception is found in a number of traditions, for example, in Virtue Ethics and Sentimentalism. This volume brings together philosophers in aesthetics, epistemology, ethics, philosophy of mind, and value theory, to contribute in novel ways to debates about what we call Evaluative Perception. Specifically, they engage with (1) Questions regarding the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are perceptual experiences of values sui generis? Are values necessary for certain kinds of perceptual experience? (2) Questions about Epistemology: Can evaluative perceptual experiences ever justify evaluative judgements? Are perceptual experiences of values necessary for certain kinds of justified evaluative judgements? (3) Questions about Value Theory: Is the existence of evaluative perceptual experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of evaluative perceptual experience?

A Conceptual Approach to Local Flaps

1979 ◽  
Vol 87 (4) ◽  
pp. 491-496 ◽  
Author(s):  
Charles J. Krause
Keyword(s):  
Skin Color ◽  
Donor Site ◽  
Local Flaps ◽  
Functional Capability ◽  
Conceptual Approach ◽  
Aesthetic Judgement ◽  
Design And Implementation ◽  
Flap Design ◽  
Texture Match ◽  
Donor Site Defect

Few procedures offer the surgeon a greater opportunity to exercise his surgical and aesthetic judgement than the design and implementation of local flaps about the head and neck. Considerations include skin color and texture match; adequacy of flap blood supply; size, location, and characteristics of the donor site defect; functional capability of the proposed flap; nature of skin tension lines created; and number of surgical procedures required. A systematic approach to local flap design and implementation is presented, and illustrations of the geometric principles involved are included.

Images and Image: a Re-Examination of Tetrarchic Iconography

1993 ◽  
Vol 40 (2) ◽  
pp. 181-200 ◽  
Author(s):  
Roger Rees
Keyword(s):  
Late Antiquity ◽  
The Other ◽  
Aesthetic Judgement ◽  
Stylistic Change ◽  
Present Essay ◽  
Location Patterns ◽  
The Government

Consideration of Tetrarchic portraiture has usually focused on the extant porphyry sculptures (plates 2, 6, 7, 9, and 10). This was perhaps inevitable, since the arresting eyes of the Cairo bust or the stubby legs of the Vatican groups are certainly curious. Few scholars have resisted the temptation to pronounce their aesthetic judgement (and why not?), but none has been as caustic as Bernard Berenson who saw in them ‘the meanest symptoms of decay’, an effect into which the sculptor had ‘simply blundered and stumbled’. Berenson's book and many of the other academic works which refer to the porphyry sculptures address the wider issue of style and, in particular, stylistic change in Late Antiquity. They cite the same art, but draw a range of conclusions: L'Orange proposes parallels between style and the structure of society; Kitzinger suggests a conscious approximation to a ‘sub-antique’ style; and Bandinelli sees the porphyry work as exceptional, specialized and short-lived. Without neglecting the porphyry sculpture, the present essay aims to consider the whole range of surviving portraits and to make sense of them within the relatively narrow field of Tetrarchic ideology. This necessarily involves the question of style and, therefore, has points of contact with the above ideas. However, the present study is primarily ‘internal’, drawing together images diverse in form and location. Patterns are soon apparent, but the Tetrarchy had to establish its ideological stability and credibility if the government were to endure. It collapsed quickly (A.D. 284–311), but in this respect, Tetrarchic portraiture offers a good example of the power of art to manipulate its audience by instilling belief.

scholarly journals Aesthetical Quality & Artistic Values of Beauty of Tagore and Seal

2018 ◽  
pp. 50-61
Author(s):  
Md. Mahadi Hassan
Keyword(s):  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
Art Object ◽  
Significant Distinction ◽  
Works Of Art ◽  
Artistic Values ◽  
Aesthetic Judgments

Some separate aesthetics and philosophy of art, claiming that the former is the study of beauty while the latter is the study of works of art. However, most commonly Aesthetics encompasses both questions around beauty as well as questions about art. It examines topics such as aesthetic objects, aesthetic experience, and aesthetic judgments. For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.

Development of a psychological pathway model linking lighting quality to well-being in indoor café environments

2018 ◽  
Vol 27 (3) ◽  
pp. 390-401 ◽  
Author(s):  
Dong Hyun Kim
Keyword(s):  
Structural Equation ◽  
Well Being ◽  
Pathway Model ◽  
Aesthetic Judgement ◽  
Pathway Models ◽  
Negative Feelings ◽  
Indoor Lighting ◽  
The Impact ◽  
Psychological Pathway

The aim of the study was to investigate whether indoor lighting quality would have any systematic impact on psychological well-being of people working in café environments. Earlier studies have mostly focused on the impact of lighting in typical workspace environments through laboratory settings. The present study was conducted under two different real café environments; one with daylight, another without daylight, with a total of 66 customers’ participation. Two psychological pathway models that linked customers’ self-reported lighting quality, pleasantness, aesthetic judgement of space appearance, environmental satisfaction and feelings of eye discomfort were developed. Application of structural equation modelling produced strong fits to these two models, one with daylight, another without daylight, in which quality of lighting was linked with environmental satisfaction and feelings of eye discomfort in both cafés. The results suggest that under a non-daylit café environment, providing good quality lighting can both directly and indirectly promote environmental satisfaction and decrease negative feelings of eye discomfort, while under a daylit café environment, perceived lighting quality was only indirectly linked.

There’s Something Wrong with the Entire Mode of Valorization. Sianne Ngai in Conversation with Magda Szcześniak

2021 ◽  
Author(s):  
Sianne Ngai ◽  
Magda Szcześniak
Keyword(s):  
Aesthetic Judgement

A conversation about Sianne Ngai's latest book "Theory of the Gimmick: Aesthetic Judgement and Capitalist Form" (2020), which explores the uneasy mix of attraction and repulsion produced by the gimmick across a range of forms specific to capitalist culture.

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