Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty

2021 ◽  
Vol 48 (2) ◽  
pp. 107-123
Author(s):  
J. M. Bernstein
Keyword(s):  
Immanuel Kant ◽  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Natural Beauty ◽  
Living Nature

Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natural beauty. The article tracks the development of this thought from Kant’s account of “wild beauties” through Adorno’s chapter “Natural Beauty” to its actualization in Robert Smithson’s Spiral Jetty.

Teddie’s Landschaft

2021 ◽  
Vol 48 (2) ◽  
pp. 85-105
Author(s):  
Sherry Lee
Keyword(s):  
Cultural Landscape ◽  
Built Environments ◽  
Aesthetic Theory ◽  
Philosophy Of Nature ◽  
Summer Vacation ◽  
Natural Beauty ◽  
Volcanic Terrain

Abstract This article considers the concept of cultural landscape (Kulturlandschaft) from Theodor W. Adorno’s Aesthetic Theory, exploring how the philosophy of natural beauty in relation to historical built environments resonates with ideas of musical landscape and experiences of peripatetic listening. If Adorno’s mature thought is marked by the fractured experience of exile, his late evocations of displacement actually echo youthful experiences on holiday—notably, the striking volcanic terrain of a summer vacation in Italy, which is transformed soon thereafter into a reflection on landscape, alienation, and song. Throughout the recurrences of the trope of landscape in Adorno’s writings before Aesthetic Theory, the philosophy of nature and history and experiences of tourism and exile constellate into an aesthetic that contemplates sublimity and kitsch side by side: modernist philosophy as shaped by experiences of music, travel, and landscapes of distance and estrangement.

The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics

2012 ◽  
Vol 598 ◽  
pp. 8-11
Author(s):  
Shen Qi Gan ◽  
Hong Zhang
Keyword(s):  
Sustainable Development ◽  
Aesthetic Theory ◽  
Aesthetic Value ◽  
The Core ◽  
Natural Beauty ◽  
Man And Nature ◽  
Environment Perception ◽  
Basic Concepts ◽  
Ecological Architecture ◽  
The Aesthetic

This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.

Traces of the Other: Adorno on Natural Beauty

2020 ◽  
Vol 47 (2) ◽  
pp. 169-189
Author(s):  
André Krebber
Keyword(s):  
Historical Context ◽  
The Other ◽  
Environmental Crisis ◽  
Aesthetic Theory ◽  
Environmental Aesthetics ◽  
Natural Beauty ◽  
Relationship Of ◽  
The Relationship

Abstract This article explores Theodor W. Adorno’s recovery of natural beauty in Aesthetic Theory against the background of current debates in environmental aesthetics and evinces the relationship of his reading of natural beauty to his critique of the domination of nature. From there, a critique of natural domination can be issued through the artwork. Whereas Adorno specifies that artworks do not relate to natural beauty in a positive, pseudomorphotic sense, they nevertheless inherit a quality of natural beauty as presenting to humans what is not reducible to the human. Within the specific historical context of an environmental crisis, then, a case is finally made for art as an area of ecological critique that recovers the artwork and nature from both the artwork’s reduction to a propagandistic tool and its idealistic enlisting for reinstating a bourgeois ideal of nature.

Rhythmic Accent and the Absolute: Sulzer, Schelling and theAkzenttheorie

2013 ◽  
Vol 10 (2) ◽  
pp. 277-286 ◽  
Author(s):  
TOMAS MCAULEY
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Contemporary Music ◽  
Philosophy Of Art ◽  
Friedrich Schelling ◽  
Philosophical Concept ◽  
Isaac Newton ◽  
The Absolute ◽  
Definition Of ◽  
Ultimate Ground

ABSTRACT1770s Berlin saw the birth of a new theory of rhythm, first stated in Johann Georg Sulzer'sAllgemeine Theorie der schönen Künste(1771–1774), and later labelled theAkzenttheorie(theory of accents). Whereas previous eighteenth-century theories had seen rhythm as built up from the combination of distinct units, theAkzenttheoriesaw it as formed from the breaking down of a continual flow, achieved through the placing of accents on particular notes. In hisPhilosophie der Kunst(1802–1803) the philosopher Friedrich Schelling used Sulzer's definition of rhythm to suggest, astonishingly, that music can facilitate knowledge of the absolute, a philosophical concept denoting the ultimate ground of all reality. In this article I show how Schelling could come to interpret theAkzenttheoriein such extravagant terms by examining three theories of time and their relationships to rhythm: that of Sulzer and his predecessor Isaac Newton, that of Immanuel Kant and that of Schelling. I conclude by arguing that in Schelling's case – an important one, since his is the earliest systematic presentation of a view of music that came to predominate in the decades after 1800 – his view of music was driven neither by developments in contemporary music nor by changes in the philosophy of art as a discrete intellectual enterprise, but by revolutions in philosophy by and large unconcerned even with art in general.

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.

The Transformations of Aesthetic Theory

2020 ◽  
pp. 1-9
Author(s):  
Arnold Berleant
Keyword(s):  
Everyday Life ◽  
Environmental Ethics ◽  
Social Relations ◽  
Environmental Movement ◽  
Western Civilization ◽  
Aesthetic Theory ◽  
The Arts ◽  
Natural Beauty ◽  
Aesthetic Inquiry ◽  
Social Aesthetics

Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the oceanic expanse that is Western civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader range of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. The course of the arts has displayed a similar succession of changes.

scholarly journals El conceptualismo y la estética del significado

2015 ◽  
Vol 19 (1) ◽  
Author(s):  
Matilde Carrasco Barranco
Keyword(s):  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Artistic Production ◽  
The Core ◽  
Aesthetic Properties

RESUMENDesde que en los años 60 la producción artística más relevante rechazara la teoría estética modernista, se ha cuestionado si la estética tenía realmente algo que ver con el arte. Diversas formas de cognitivismo en filosofía del arte han acompañado al conceptualismo que, en un sentido amplio, ha fundamentado la mayoría de las prácticas neovanguardistas. Sin embargo, la relación entre el arte y la estética ha sido redefinida sobre distintas bases. Este artículo se centra en la reciente «estética del significado» de Danto para contestar la tesis conceptualista que afirma que la estética es irrelevante para la crítica y el valor del arte actual.PALABRAS CLAVECONCEPTUALISMO ARTÍSTICO, PROPIEDADES ESTÉTICAS, BELLEZA INTERNA, DANTOABSTRACTSince the most relevant artistic production rejected modernist aesthetic theory in the 60s, there has been discussion about the question of whether aesthetics had really anything to do with art at all. Various forms of cognitivism in the philosophy of art developed accompanying the conceptualism that, broadly speaking, has been at the core of most neo-avantgarde practices. However, the interrelationship between art and aesthetics has been reviewed on different basis. This paper focuses on recent Danto’s «aesthetics of meaning» in order to dispute the conceptualist thesis which states that aesthetics is irrelevant for the criticism and the value of contemporary art.KEYWORDSARTISTIC CONCEPTUALISM, AESTHETIC PROPERTIES, INTERNAL BEAUTY, DANTO

Art, value of

2018 ◽  
Author(s):  
Malcolm Budd
Keyword(s):  
Immanuel Kant ◽  
David Hume ◽  
Social Consequences ◽  
Philosophy Of Art ◽  
Measurable Quantity ◽  
Work Of Art ◽  
Complex Issue ◽  
Artistic Value ◽  
Decent Society

Art has as many kinds of value as there are points of view from which it can be evaluated. Moreover, the benefits of art vary with the role of the participant, for there are benefits that are specific to the creation, the performance and the mere appreciation of art. But in the philosophy of art one value is basic, namely the distinctive value of a work of art, its value as a work of art, which can be called its ‘artistic value’. This value is intrinsic to a work in that it is determined by the intrinsic, rather than the instrumental, value of an informed experience of it, an experience of it in which it is understood. Artistic value is a matter of degree, but it is not a measurable quantity, and whether one work is better than another may be an indeterminate issue. A judgment about a work’s artistic value claims validity, rightly or wrongly, not merely for the person who makes the judgment but for everyone. Both David Hume and Immanuel Kant tried to show how such a claim could be well-founded, but their attempts are usually considered failures, and there is no accepted solution to the problem they addressed. Many philosophers have been concerned with the relation between artistic value and other values. The most famous attack on art, founded on its supposed relation to other values, was made by Plato, who claimed that nearly all art has undesirable social consequences and so should be excluded from a decent society. Plato overlooked many possibilities, however, and the question of art’s beneficial or harmful influence is a much more complex issue than he recognized.

scholarly journals Reception of Francis Hutcheson’s Views in Immanuel Kant’s Philosophy of the Power of Judgment

2021 ◽  
Vol 58 ◽  
pp. 119-132
Author(s):  
Marta Śliwa
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Critical Philosophy ◽  
Francis Hutcheson ◽  
The Aesthetic ◽  
New Research

The following dissertation aims at presenting the dependencies between the aesthetic theory by the Scottish philosopher Francis Hutcheson and the critic philosophy by Immanuel Kant. Those issues seem to be worth discussing in the light of some new research into the British aesthetics: particularly, for its significance in the field of newly created domain that aesthetic has become after Alexander Baumgarten and, mostly, after critical philosophy by Immanuel Kant. The comparison of the views held by Hutcheson and Kant shows the importance of the theory of beauty presented by the Scottish philosopher that results not only from his acknowledging the epistemological significance of an aesthetic experience and accepting that it is conditioned by disinterestedness of perception. What is important is Hutcheson’s place in the evolution of the concept of aesthetics, which took place in the 18th century and which was crowned by Kant and his Critique of the Power of Judgment.

scholarly journals Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noël Carroll

MELINTAS ◽  
2017 ◽  
Vol 32 (2) ◽  
pp. 148
Author(s):  
Mardohar B. B. Simanjuntak
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Experience ◽  
Historical Narrative ◽  
Philosophy Of Art ◽  
Simple Matter ◽  
Works Of Art ◽  
Definition Of ◽  
Recurrent Theme

Defining what an artwork is has been a recurrent theme in aesthetics, or to be more specific, in the philosophy of art. Yet this is proven to be no simple matter. Thus finding the definition of art has proven to be an elusive undertaking as works of art have always kept on eluding one definition after another. A strong definition might have proven to be illusory. An analytic aesthetician, Noël Carroll has undertaken a complex, if not ambitious, project opting to refute this conundrum in aesthetics by proposing another perspective that stems not from metaphysics but an epistemological one. He managed to show analytically that the epistemological approach is far less problematic and even offers a string of advantages at the praxis level. Carroll completed his proposal by revising two of the most powerful definition of art, that is, the Kantian aesthetic experience and the Levinsonian historical definition of art in those he emancipated the most essential foundation disinterestedness coined by Immanuel Kant, and set the modified definition in a trail of historical correctness. The mix between these two strong elements has amalgamated in a new breed proposed by Carroll in that he labels it historical narrative. This, for Carroll, is a better option over endless disputes over the speculated essence of an artwork and its criticism.

Sign in / Sign up

Export Citation Format

Share Document