Conclusion

2019 ◽  
pp. 302-306
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Aesthetic Pleasure ◽  
The World

Hegel’s wide-ranging philosophy of art allows us both to assess the expression of different worldviews in art and the ways in which individual arts—architecture, sculpture, painting, music, and poetry—allow us to sense ourselves and become aware of the world around us. His aesthetic theory elucidates crucial components of philosophical idealism generally, and his description of how art gives us joy illuminates modern aesthetic experience as well. This chapter connects Hegel’s “aesthetics of truth,” and so his idealism, to a description of aesthetic pleasure, then briefly speculates on how Hegel’s theory of art can be applied and extended to our experiences of contemporary art today.

Hegel's Aesthetics

2019 ◽  
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
History Of Philosophy ◽  
Philosophy Of Art ◽  
New Approach ◽  
History Of ◽  
End Of Art

Hegel’s Aesthetics: The Art of Idealism is the first comprehensive interpretation of Hegel’s philosophy of art in English in thirty years. In a new analysis of Hegel’s notorious “end of art” thesis, it argues for a variety of ways art ends, including historical, conceptual, and prosaic endings. It shows the indispensability of Hegel’s aesthetics for understanding his philosophical idealism and introduces a new claim about his account of aesthetic experience. In contrast to previous interpretations, it argues for considering Hegel’s discussion of individual arts—architecture, sculpture, painting, music, and poetry—on their own terms, unlocking new insights about his theories of perception, feeling, selfhood, and freedom. This new approach allows Hegel’s philosophy to engage with modern aesthetic theories and opens new possibilities for applying Hegel’s aesthetics to contemporary art. Hegel’s Aesthetics also clarifies why Hegel is known as the “father of art history” by elucidating his controversial analysis of symbolic, classical, and romantic art and by clarifying his examples of each. By incorporating newly available sources from Hegel’s lectures on art, it expands our understanding of the particular artworks Hegel discusses as well as the theories he rejects. Hegel’s Aesthetics situates his arguments in the intense philosophizing about art among his contemporaries, including Kant, Lessing, Herder, Schelling, and the Schlegel brothers. It gives us a rich vision of the foundation of his ideas about art and the range of their application, confirming Hegel as one of the most important theorists of art in the history of philosophy.

scholarly journals EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH

2017 ◽  
Vol 5 (9) ◽  
pp. 217-223
Author(s):  
P.K. Rejimon
Keyword(s):  
Human Activity ◽  
Aesthetic Experience ◽  
Second Century ◽  
Philosophy Of Art ◽  
Cultural Activities ◽  
The World ◽  
Indian Aesthetics ◽  
Aesthetic Cognition ◽  
The Rich ◽  
Art Philosophy

Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.

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.

Figurations of the Ecstatic

Janus Head ◽  
2011 ◽  
Vol 12 (1) ◽  
pp. 203-221
Author(s):  
David D. Dillard-Wright ◽  
Keyword(s):  
Common Sense ◽  
Aesthetic Experience ◽  
Daily Life ◽  
Consumer Society ◽  
The World ◽  
The Common

Descriptions of “aesthetic arrest,” those ecstatic moments that lift the common sense subject-object dichotomy, abound in Merleau-Ponty’s writings. These special experiences, found in both artistic and mystical accounts, arise from the daily life of ordinary perception. Such experiences enable the artist, philosopher, or mystic to overturn received categories and describe phenomena in a creative way; they become dangerous when treated as the sine qua non of aesthetic experience. Aesthetic arrest, though rare in consumer society, need not be overwhelmed by the flood of information and can still provide fresh glimpses into the world as lived.

Art as Information Ecology

2021 ◽  
Author(s):  
Jason A. Hoelscher
Keyword(s):  
Information Theory ◽  
Aesthetic Experience ◽  
American Art ◽  
Aesthetic Theory ◽  
Information Ecology ◽  
Robert Morris ◽  
New Information ◽  
Theory Of Information ◽  
Gilbert Simondon

In Art as Information Ecology, Jason A. Hoelscher offers not only an information theory of art but an aesthetic theory of information. Applying close readings of the information theories of Claude Shannon and Gilbert Simondon to 1960s American art, Hoelscher proposes that art is information in its aesthetic or indeterminate mode—information oriented less toward answers and resolvability than toward questions, irresolvability, and sustained difference. These irresolvable differences, Hoelscher demonstrates, fuel the richness of aesthetic experience by which viewers glean new information and insight from each encounter with an artwork. In this way, art constitutes information that remains in formation---a difference that makes a difference that keeps on differencing. Considering the works of Frank Stella, Robert Morris, Adrian Piper, the Drop City commune, Eva Hesse, and others, Hoelscher finds that art exists within an information ecology of complex feedback between artwork and artworld that is driven by the unfolding of difference. By charting how information in its aesthetic mode can exist beyond today's strictly quantifiable and monetizable forms, Hoelscher reconceives our understanding of how artworks work and how information operates.

Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics

2021 ◽  
Vol 1 ◽  
pp. 53-60
Author(s):  
Thomas Leddy ◽  
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Philosophy Of Art ◽  
Social Meaning ◽  
Surface Level ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Deep Meaning ◽  
Definition Of ◽  
Formal Properties

Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.

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.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

scholarly journals The Image of the Babel Tower in Contemporary Art and a Parallel Disruption of the Statue of Liberty

2018 ◽  
Vol 1 (1) ◽  
pp. 34-47
Author(s):  
Ayfer Karabıyık
Keyword(s):  
Contemporary Art ◽  
The World ◽  
Local Narratives

The ‘Legend of the Babel Tower’ is mentioned in local narratives in many regions of the world and in mainstream religions, and is a subject much worked on in the field of art. This study will focus on the theme of the Babel Tower myth as discussed in contemporary art. The intention here is to discuss the reasons for the different assessments of the Babel myth in each period.

scholarly journals “Presence” in the Broad Present. Gumbrecht, H. U. (2020). Production of Presence. What Meaning Cannot Convey. Kharkiv: IST Publishing

Sententiae ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 67-78
Author(s):  
Victor Chorny ◽  
Keyword(s):  
Aesthetic Experience ◽  
Cultural Analysis ◽  
Philosophical Tradition ◽  
Complex Relation ◽  
The World ◽  
Satisfactory Account ◽  
History Of ◽  
Vague Concept

This review of the Ukrainian translation of H. U. Gumbrecht’s best-known work brings out the strengths and weaknesses of the translation and the peculiar reception of Gumbrecht’s key ideas (“presence” and “the broad present”) in Ukraine. It also critically assesses Gumbrecht’s own original and often contradictory points. I question the relevance of Gumrecht’s meaning / presence distinction for reconstructing the history of the philosophical tradition, as well as for analysing our complex relation to the world. I also demonstrate the weakness of his biased attempts to paint his opponents as relativists. Besides, I contrast Gumbrecht’s meaning / presence dualism with John Dewey’s theory of experience. The latter conceives experience as a dialectical relation between “doing” and “undergoing”. This juxtaposition shows that Gumbrecht’s theory cannot give a satisfactory account of the mechanisms of everyday or aesthetic experience due to its lack of consistent “everyday” epistemology. Moreover, his vague concept of “presence” and its unequivocal appraisal conflict with his own concept of the chronotope of “broad” or “complex” present, as presented in the selected essays of The Time Is Out of Joint. Eventually, I conclude that Gumbrecht’s eclectic terminological apparatus, as well as uncritical and biased reconstruction of the tradition preclude any serious philosophical engagement. However, it does not undermine the significance of his particular insights and theoretical instruments (such as “the broad present”) for cultural analysis.

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