Environmental Art and the Interaction of Ethical and Aesthetic Value

2020 ◽  
pp. 127-150
Author(s):  
Ted Nannicelli
Keyword(s):  
Natural Environment ◽  
Environmental Art ◽  
Ethical Criticism ◽  
Aesthetic Value ◽  
Art Forms ◽  
The Creation ◽  
The Aesthetic ◽  
In Virtue Of ◽  
Oriented Approach

This chapter argues that (1) in contrast to the art forms already discussed, the ethical criticism of which sometimes invites the perspectivist approach and sometimes demands the production-oriented approach, the proper ethical criticism of environmental art requires the production-oriented approach; (2) the production-oriented approach to the ethical criticism of environmental artworks lends support to the moderate moralist’s claim about the interaction of ethical and aesthetic value: the presences of ethical defects in environmental artworks sometimes diminishes their aesthetic value; (3) because environmental artworks appropriate part of the natural environment as an aspect of their identity, an aesthetic flaw in an environmental artwork necessarily also creates aesthetic disvalue in the natural environment—disvalue that exists in virtue of the creation of the artwork. Insofar as the diminishment of the aesthetic value of the natural environment is ethically wrong, the aesthetic flaws of an environmental artwork necessarily constitute ethical flaws.

Environmental Aesthetics

2009 ◽  
Author(s):  
John A. Fisher
Keyword(s):  
Twentieth Century ◽  
Natural Environment ◽  
Rapid Growth ◽  
Environmental Concerns ◽  
Environmental Aesthetics ◽  
Aesthetic Value ◽  
The Status ◽  
Value Of Nature ◽  
The Aesthetic ◽  
In Virtue Of

The rapid growth of concern for the natural environment over the last third of the twentieth century has brought the welcome reintroduction of nature as a significant topic in aesthetics. In virtue of transforming previous attitudes towards nature, environmentalist thinking has posed questions about how we conceptualize our aesthetic interactions with nature, the aesthetic value of nature, and the status of art about nature. Although environmental concerns have undoubtedly motivated the new aesthetic interest in nature, the term ‘environmental aesthetics’ connotes two overlapping but distinct themes, one emphasizing the aesthetics of nature as understood by environmentalism, the second focusing on the notion of environments of all sorts as objects of appreciation.

Artistic Creation and Ethical Criticism

2020 ◽  
Author(s):  
Ted Nannicelli
Keyword(s):  
Ethical Criticism ◽  
New Production ◽  
Artistic Creation ◽  
Art Forms ◽  
Oriented Approach ◽  
Made In

Artistic Creation and Ethical Criticism advances a new, production-oriented approach to the ethical criticism of art. Its overarching arguments are these: (1) Judgments of an artwork’s ethical value are often made in terms of how it was created, and, furthermore, this is in part because some art forms more readily lend themselves to this form of ethical appraisal. (2) Among the ways in which art is ethically criticized, this production-oriented approach more often leads to practical consequences (censure, dismissal, prosecution, shifts in policy, legislation) because its claim to objectivity is less contested than that of other sorts of ethical criticism. (3) Together, (1) and (2) constitute an approach to the ethical criticism of art that is not only tacit in many art appreciative practices, but which is rationally warranted and defensible. In short, there are many cases in which one should ethically critique artworks in terms of how they are created because this approach encompasses cases that other approaches cannot and results in plausible judgments about the works’ ethical merits and flaws.

scholarly journals Flower and plant variants as abstraction in Javanese batik motifs from classical to contemporary era

2021 ◽  
Vol 905 (1) ◽  
pp. 012145
Author(s):  
S Budi ◽  
T Widiastuti ◽  
D T Ardianto ◽  
S Mataram
Keyword(s):  
Natural Environment ◽  
Aesthetic Value ◽  
The Public ◽  
Basic Substance ◽  
The Aesthetic

Abstract Batik is one of the artworks of old Javanese society which has continued to exist and develop until the present day. In the 18th century, batik was a special type of clothing worn by the nobility, and there were even prohibitions for using batik clothing with certain types of motifs. Its basic substance is the ornamental images made on the fabric. A piece of cloth can change its position and value only because of a difference in decoration. As a visual aesthetic, batik is the work of Javanese artists, created by abstracting the surrounding natural environment, especially various flora, and fauna. Up to 1912, there were more than 100 names of flowers, leaves, and plants that were abstracted to become classical motifs. In the contemporary era, where batik has become more acceptable as clothing for the public, flora-based motifs are no longer the result of abstraction of particular flowers or plants but are considered more for their ornamental aesthetic. The aesthetic value of contemporary batik motifs is no longer determined by the type of flowers or plants abstracted, but by how they are represented for the beauty of clothing.

The Production-Oriented Approach to the Ethical Criticism of Art

2020 ◽  
pp. 47-68
Author(s):  
Ted Nannicelli
Keyword(s):  
Virtue Ethics ◽  
Virtue Epistemology ◽  
Moral Agent ◽  
Ethical Criticism ◽  
General Argument ◽  
Ethical Evaluation ◽  
Conceptual Space ◽  
Moral Agents ◽  
In Virtue Of ◽  
Oriented Approach

This chapter sketches the general argument for the production-oriented approach to the ethical criticism of art. It begins by noting that at least some artworks (of performance art, for example) are isomorphic with the actions by which they are created. Such artworks are open to ethical evaluation in the same way that any action of a moral agent is open to ethical appraisal. This clears the conceptual space for the production-oriented approach. The chapter goes on to show that the production-oriented approach has an advantage over the interpretation-oriented approaches advocated by Booth, Devereaux, and Gaut in virtue of its ability to assign praise or blame to real moral agents who are responsible for their artworks. The chapter then bolsters the rationale for the production-oriented approach by appealing to anti-empiricist arguments in the aesthetics literature before drawing upon an analogy to similar arguments in virtue ethics and virtue epistemology.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
Ted Nannicelli
Keyword(s):  
Ethical Criticism ◽  
Art Forms ◽  
Oriented Approach ◽  
Made In

This chapter summarizes the methods, arguments, and contents of the overall book. It outlines the central considerations in support of the production-oriented approach to the ethical criticism of art. It claims that judgments of an artwork’s ethical value are often made (and often should be made) in terms of how it was created and, furthermore, that this is in part because some art forms more readily lend themselves to this form of ethical appraisal. In addition, the chapter claims that among the ways in which we ethically criticize art, this production-oriented approach more often leads to practical consequences (censure, dismissal, prosecution, legislation) because its claim to objectivity is less contested than that of other sorts of ethical criticism.

scholarly journals “HUMAN, HUMANITY, AND HUMANITIES” DALAM PENCIPTAAN KARYA KRIYA KULIT

CORAK ◽  
2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Rohmad Eko Priyono
Keyword(s):  
Final Stage ◽  
Three Dimensional ◽  
Charles Sanders Peirce ◽  
Two Dimensional ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Standard Values ◽  
The Creation ◽  
The Aesthetic ◽  
Aesthetic Values

The creation of it has a title “human, humanity, and humanities” The author would like to learn about the unique symbol of a Human and its application in the form of the installation of art. The approach used in the creation is an aesthetic approach, the method used is based on the aesthetic values embodied in art. Aesthetic is the main objective in the creation of works derived from the shape of a Human. Terms of design that has been studied in the study of art as craft unconscious part spontaneously out of the standard values in making the creation of craft art, starting from sketches to the final stage. Semiotics is used in the creation of works of art craft is semiotics Charles Sanders Peirce - sign approach based on the idea of a philosopher and thinker United clever, Charles Sanders Peirce (1839-1914) is the method used to determine whether a work of art has meaning symbol, index, and icon. This approach is actually used as the meaning of the meaning and purpose of the philosophical. In this case, the artist commented aesthetic value and his symbolization, artists explore the beauty, the uniqueness of the shape of a human and then pour it into the leather craft three-dimensional and two-dimensional. And artists have chosen the concept of human as a concept in leather craft work.Keyword: Creation, Craft, Leather and the Making Process  Jurnal Penciptaan ini memiliki judul "human, humanity, and humanities". Penulis ingin mengetahui simbol unik tentang manusia dan mengaplikasikannya dalam bentuk instalasi seni. Pendekatan yang digunakan dalam penciptaan adalah pendekatan estetika, yaitu pendekatan yang berdasar pada nilai estetika yang terkandung dalam karya seni. Estetika memiliki tujuan utama dalam penciptaan karya yang berasal dari bentuk manusia. Kerangka desain yang telah dipelajari dalam studi seni sebagai karya seni bagian bawah sadar secara tak langsung keluar dari nilai fungsional dalam pembuatan karya seni, mulai dari sketsa hingga tahap akhir. Semiotika yang digunakan dalam penciptaan karya seni adalah semiotik Charles Sanders Peirce - pendekatan tanda berdasarkan gagasan seorang filsuf dan pemikir Amerika yang cerdas, Charles Sanders Peirce (1839-1914) adalah metode yang digunakan untuk menentukan apakah suatu karya seni Memiliki makna simbol, indeks, dan ikon. Pendekatan ini sebenarnya digunakan sebagai makna - makna dan tujuan filosofis. Dalam hal ini, seniman memiliki pandangan bahwa nilai estetika dan simbolisasi, seniman mengeksplorasi keindahan, keunikan bentuk manusia dan kemudian menuangkannya ke dalam kriya kulit tiga dimensi dan dua dimensi. Dan seniman telah memilih konsep manusia sebagai konsep dalam karya seni kriya. Kata Kunci: Penciptaan, Kriya, Kulit dan Proses Pembuatan

scholarly journals Functional and aesthetical evaluation of landscape

2007 ◽  
Vol 55 (5) ◽  
pp. 155-164
Author(s):  
Dagmar Stejskalová
Keyword(s):  
Spatial Planning ◽  
Landscape Matrix ◽  
Aesthetic Value ◽  
Aesthetic Evaluation ◽  
Comprehensive View ◽  
Project Documentation ◽  
The Creation ◽  
The Aesthetic

Functional and aesthetical evaluation of landscape was used in the framework of Project QF4061 Landscape Plan of a Microregion in connection with the proposal of landscape measures to be taken in an important watercourse. As a part of the project the methodology of functional and aesthetical evaluation of landscape was defined as a method of landscape spatial planning. The methodology consists in the creation of landscape “matrix” as a landscape network of a definite size. The criteria of evaluation of the particular squares of this landscape matrix were defined in the framework of methodology. The defined criteria are not invariable, but they are always related with the type of landscape to be evaluated. By the attribution of scores according to the defined criteria to the particular squares of landscape matrix these squares may be compared in a simple way. Such evaluation provides some categories of the aesthetic value of landscape that define the functional and aesthetic landscape spaces. Applying the result of this evaluation and other knowledge of the landscape we will get a more comprehensive view on landscape. The functional and aesthetic evaluation of landscape may substantially contribute to the more complex understanding of a given territory in which landscape measures are to be proposed in subsequent project documentation. The methodology is simple and easily feasible in practice.

What is Aesthetic Value?

2019 ◽  
pp. 19-40
Author(s):  
Robert Stecker
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Value ◽  
History Of Thought ◽  
Aesthetic Properties ◽  
History Of ◽  
The Aesthetic ◽  
In Virtue Of

This chapter offers an answer to the question: what is aesthetic value? It defends aesthetic empiricism: the view that the primary bearer of aesthetic value are experiences and that other things have aesthetic value in virtue of their capacity to provide aesthetically valuable experiences. By way of answering criticisms of this conception of aesthetic value, it argues that it is coherent, that it is grounded in the history of thought about the aesthetic, and that it does not succumb to counterexamples. The chapter concludes by looking at the idea that aesthetic value should be defined instead in terms of aesthetic properties and argues that defensible versions of such an approach are consistent with a definition in terms of aesthetic experience.

What Is an Institution?

2007 ◽  
pp. 5-27 ◽  
Author(s):  
J. Searle
Keyword(s):  
Physical Structure ◽  
Necessary Condition ◽  
Collective Intentionality ◽  
Institutional Facts ◽  
Institutional Fact ◽  
The Status ◽  
The Creation ◽  
State Of Affairs ◽  
In Virtue Of ◽  
Typical Point

The author claims that an institution is any collectively accepted system of rules (procedures, practices) that enable us to create institutional facts. These rules typically have the form of X counts as Y in C, where an object, person, or state of affairs X is assigned a special status, the Y status, such that the new status enables the person or object to perform functions that it could not perform solely in virtue of its physical structure, but requires as a necessary condition the assignment of the status. The creation of an institutional fact is, thus, the collective assignment of a status function. The typical point of the creation of institutional facts by assigning status functions is to create deontic powers. So typically when we assign a status function Y to some object or person X we have created a situation in which we accept that a person S who stands in the appropriate relation to X is such that (S has power (S does A)). The whole analysis then gives us a systematic set of relationships between collective intentionality, the assignment of function, the assignment of status functions, constitutive rules, institutional facts, and deontic powers.

Lighting of Engineering Structures and Industrial Facilities New Aspects of the Topic

2018 ◽  
pp. 29-36
Author(s):  
Nikolai I. Shepetkov ◽  
George N. Cherkasov ◽  
Vladimir A. Novikov
Keyword(s):  
Fundamental Problem ◽  
Lighting Design ◽  
Aesthetic Value ◽  
Engineering Structures ◽  
Industrial Facilities ◽  
Artificial Lighting ◽  
Industrial Structures ◽  
Design Solutions ◽  
Architectural Lighting ◽  
The Aesthetic

This paper considers the fundamental problem of artificial lighting in various types and scales of industrial facilities, focusing on exterior lighting design solutions. There is a lack of interest from investors, customers and society in high­quality lighting design for industrial facilities in Russia, which in many cities are very imaginative structures, practically unused in the evening. Architectural lighting of various types of installations is illustrated with photographs. The purpose of the article is to draw attention to the aesthetic value of industrial structures, provided not only by the architectural, but also by a welldesigned lighting solution.

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