Why Artistic Value is not Aesthetic Value

2019 ◽  
pp. 41-57
Author(s):  
Robert Stecker
Keyword(s):  
Aesthetic Value ◽  
Cognitive Value ◽  
Artistic Value ◽  
Distinct Kind

This chapter argues that artistic value is a distinct kind of value from aesthetic value. Artistic value is a function of, and derived from, a plurality of more basic values, including, but not confined to, aesthetic value. Artworks are also valued as artworks for their cognitive value, ethical value, art-historical value, interpretation-centered value, and in other ways as well. To understand the artistic value of particular works requires understanding what the artist who makes the work is intending to do in it—what functions it is intended to fulfill or what it is intended to achieve. In order to defend this view, the chapter will show that artistic value is not reducible to aesthetic value.

A Study of Uyghur Folk Carpet Pattern

2014 ◽  
Vol 1048 ◽  
pp. 290-293
Author(s):  
Xiakeer Saitaer
Keyword(s):  
Economic Development ◽  
Value Of Life ◽  
Aesthetic Value ◽  
Artistic Value ◽  
The World ◽  
Human Figure ◽  
Color Scheme ◽  
Peacock River

Uyghur carpet is the traditional Uyghur handicraft, it is the fusion of spinning, dyeing, knitting and painting with both practical and artistic value. Its origination dates back to more than 2000 years ago and it has been evolving gradually ever since along with the economic development. In recent years, carpet samples with thousands of years history have been discovered in the ruins of ancient tomb in Niya, Shanpula, Yuli, Zhagunluke, Talimu and Peacock River. Scholarships are amazed at the carpets’ unique patterns, delicate quality and fine colors. These carpets are weaved with patterns of human figure, animal and god bird. These patterns are surrounded by designs of beautiful flower and scenery. Some patterns contain auspicious words. The weaving technique, pattern designs and color scheme not only reflect how ancient Uyghur people think about the world, their appreciation of beauty and value of life, but also demonstrate their nature to pursue, and create aesthetic value and their enjoyment of beauty.

scholarly journals Subjective Ratings of Beauty and Aesthetics: Correlations With Statistical Image Properties in Western Oil Paintings

i-Perception ◽  
2017 ◽  
Vol 8 (3) ◽  
pp. 204166951771547 ◽  
Author(s):  
Gregor U. Hayn-Leichsenring ◽  
Thomas Lehmann ◽  
Christoph Redies
Keyword(s):  
Subjective Evaluation ◽  
Objective Measures ◽  
Subjective Rating ◽  
Subjective Ratings ◽  
Aesthetic Value ◽  
Data Set ◽  
Oil Paintings ◽  
Artistic Value ◽  
Subjective Evaluations ◽  
The Relationship

For centuries, oil paintings have been a major segment of the visual arts. The JenAesthetics data set consists of a large number of high-quality images of oil paintings of Western provenance from different art periods. With this database, we studied the relationship between objective image measures and subjective evaluations of the images, especially evaluations on aesthetics (defined as artistic value) and beauty (defined as individual liking). The objective measures represented low-level statistical image properties that have been associated with aesthetic value in previous research. Subjective rating scores on aesthetics and beauty correlated not only with each other but also with different combinations of the objective measures. Furthermore, we found that paintings from different art periods vary with regard to the objective measures, that is, they exhibit specific patterns of statistical image properties. In addition, clusters of participants preferred different combinations of these properties. In conclusion, the results of the present study provide evidence that statistical image properties vary between art periods and subject matters and, in addition, they correlate with the subjective evaluation of paintings by the participants.

Introduction

2019 ◽  
pp. 1-16
Author(s):  
Robert Stecker
Keyword(s):  
Human Experience ◽  
Human Values ◽  
General Notion ◽  
Aesthetic Value ◽  
Artistic Value ◽  
Or Practice ◽  
The Aesthetic ◽  
The Way

This chapter provides an overview of the book. It includes a chapter-by-chapter summary, a sketch of its central concepts, especially aesthetic value and artistic value, and an explanation of the importance of studying these concepts. It identifies the sense in which both the values mentioned above are universal human values. The chapter concludes with a discussion of value as a general notion. Aesthetic value is universal in the sense that most people are motivated to seek it out and that this desire can be fulfilled by a wide array of types of human experience. Art is universal because one will find painting, sculpting, ceramics, poetry, storytelling, music, dance in every culture that exists or has existed. If there are exceptions, there are very few. It is important to study these values because their universality indicates their great significance in our lives. But an equally important theme explores the way the aesthetic intersects with other values—especially ethical, cognitive, and functional ones. No important appreciative context or practice is completely centered on a single value, and such contexts can only be fully understood in terms of a plurality of values.

scholarly journals BEKSAN GOLEK AYUN-AYUN GAYA YOGYAKARTA DALAM PERSPEKTIF AKSIOLOGI

2016 ◽  
Vol 25 (2) ◽  
pp. 197
Author(s):  
Sri Widayanti
Keyword(s):  
Data Analysis ◽  
Material Object ◽  
Aesthetic Value ◽  
Cognitive Value ◽  
Self Confidence ◽  
Feminine Beauty ◽  
Library Research ◽  
National Heritage ◽  
The Aesthetic ◽  
External Form

The Golek Ayun-ayun dance of Yogyakarta's style is a sacred Golek dance style in Javanese tradition that has come down through generations as a national heritage. This dance is a classical Javanese dance comes from the court of Yogyakarta. It depicts a young woman's desire to always look her best.The Golek Ayun-ayun dance celebrates feminine beauty and appeal, including the coquettish dance because this dance portrays a woman who was dressed up. Many varieties of these dances that depict women being dressed up, like for example stole (sondher/sampur) games movement, or pairs of the ring (ali-ali), there is also look in the mirror (ngilo) and so forth. For Golek Ayun-ayun dance which the source comes from Ngayogyakarta court has standard rules or provisions, so it will not change the principle meaning.The principles of classical Javanese dance/Joged Mataram are Sawiji (concentration of mind), Greged (enthusiasm, consciousness), Sengguh (self-confidence), Ora Mingkuh (no surrender). Library research is done by collecting data and completed by interview. The material object of the research is Golek Ayun-ayun dance, and the formal object is axiology. Data analysis by descriptive, Verstehen, interpretation, hermeneutics, comparison, and heuristics method. The result showed that the elements used to organize the dancer makeup and fashion, also the beautiful movement of Golek Ayun-ayun dance is the content /meaning of makeup, fashion, and beautiful movement of Golek Ayun-ayun dance style, while the whole is external form. It contains the aesthetic value as an element of art or the art of dance. The art values in the movement, rhythm, makeup and fashion of Klana Raja dance are sensuous value, formal value, cognitive value, and life value.

Aesthetic Value, Inversion, and the Ethical Properties of Artworks

2019 ◽  
pp. 71-80
Author(s):  
Robert Stecker
Keyword(s):  
Prima Facie ◽  
The Other ◽  
Aesthetic Value ◽  
Artistic Value ◽  
Aesthetic Properties

This chapter investigates two phenomena where values plausibly interact within artworks. One is the case of purported aesthetic value ‘inversions’ within artworks. The other is the case of purported ethical-artistic value inversions within artworks. I hypothesize that one gets inversion in the valuable properties of artworks, when the properties in question are aesthetic properties. I will look for principles for evaluating artworks that best accommodate that fact of inversion. I will argue that there is a good candidate for such a principle, but it is neither a pro tanto nor a prima facie principle as they are ordinarily conceived. I will finally argue that some proponents of ethical-artistic inversion do indeed treat it as a species of aesthetic inversion.

Intersections of Value

2019 ◽  
Author(s):  
Robert Stecker
Keyword(s):  
Environmental Ethics ◽  
Good Life ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Artistic Value ◽  
A Value ◽  
The Everyday ◽  
The World ◽  
Human Need ◽  
The Aesthetic

This book is about the universal human need to aesthetically experience the world around us. To this end, it examines three appreciative contexts where aesthetic value plays a central role: art, nature, and the everyday. The book concludes by asking: what is the place of the aesthetic in a good life? An equally important theme explores the way the aesthetic interacts with other values—broadly moral, cognitive, and functional ones. No important appreciative practice is completely centered on a single value and such practices can only be fully understood in terms of a plurality of intersecting values. Complementing the study of aesthetic appreciation are: (1) An analysis of the cognitive and ethical value of art; (2) an attempt to answer fundamental questions in environmental aesthetics, and an investigation of the interface between environmental ethics and aesthetics; and (3) an examination of the extent to which the aesthetic value of everyday artifacts derives from their basic practical functions. The book devotes special attention to art as an appreciative context because it is an especially rich arena where different values interact. Artistic value is complex and pluralistic, a value composed of other values. Aesthetic value is among these, but so are ethical, cognitive, and art-historical values.

scholarly journals One Imagination in Experiences of Beauty and Achievements of Understanding

2019 ◽  
Vol 60 (1) ◽  
pp. 71-88
Author(s):  
Angela Breitenbach
Keyword(s):  
Aesthetic Experience ◽  
Prima Facie ◽  
Aesthetic Value ◽  
Cognitive Value ◽  
The Aesthetic

Abstract I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I show that my unified account of imagination has important implications: it sheds light on two puzzling phenomena, the aesthetic value of science and the cognitive value of art.

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