scholarly journals Powtórzenie niemożliwe. O estetycznym doświadczeniu przeszłości w Pannach z Wilka Jarosława Iwaszkiewicza

1970 ◽  
Author(s):  
Irena Górska
Keyword(s):  
Friedrich Nietzsche ◽  
Aesthetic Experience ◽  
Soren Kierkegaard ◽  
Aesthetic Experiences ◽  
Favourable Attitude ◽  
The Past ◽  
Experience Of Time ◽  
The Senses ◽  
The Aesthetic ◽  
Past Experiences

The author attempts to describe the aesthetic experiences of the past lived by the protagonist of Jarosław Iwaszkiewicz’s The Wilko Girls, and answer the question about the possibility of repetition. Elaborating on the arguments proposed by Friedrich Nietzsche in The Gay Science and by Søren Kierkegaard in Repetition, the author proves that even with a favourable attitude to one’s own past, an attempt to repeat past experiences is impossible. Nothing can be experienced again. The past is closed. The possibility of only partial access to it is created by human sensuality referring to the notion of aisthesis, which is the source of aesthetic experience. The senses stimulated by various sounds, smells, tastes, images, and the accompanying memories and emotions, constitute a vast spectrum of aesthetic experiences, making the experience of the past an existential experience of time.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

The Aesthetic Triad

2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Rapid Growth ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Emergent Property ◽  
Aesthetic Experiences ◽  
Large Scale Systems ◽  
Sensory Motor ◽  
The Aesthetic ◽  
Meaning System ◽  
The Brain

Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.

Experiencing Expectation: Perceiving the Future in Performance

2009 ◽  
Vol 34 (2) ◽  
pp. 166-172
Author(s):  
JOY KRISTIN KALU
Keyword(s):  
Complex System ◽  
Aesthetic Experience ◽  
Wooster Group ◽  
The Past ◽  
Emergent Phenomena ◽  
The Future ◽  
The Aesthetic ◽  
A Performance ◽  
The Hamlet

This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future inherent in the performative materiality. Hamlet by New York's Wooster Group serves as an example for an analysis focusing on the aesthetic experience of the future in performance. The Hamlet performance proves exceptionally suitable, since the staging is based on a theatrical repetition of the film document of a Hamlet performance long past, and unfolds a complex system of past and future bound time layers.

scholarly journals Associating With Art: A Network Model of Aesthetic Effects

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder
Keyword(s):  
Cognitive Process ◽  
Aesthetic Experience ◽  
Experimental Manipulation ◽  
Art Theory ◽  
Aesthetic Experiences ◽  
Future Studies ◽  
Psychological Constructs ◽  
The Social ◽  
The Aesthetic ◽  
Active Interaction

In recent years, understanding psychological constructs as network processes has gained considerable traction in the social sciences. In this paper, we propose the aesthetic effects network (AEN) as a novel way to conceptualize aesthetic experience. The AEN represents an associative process where having one association leads to the next association, generating an overall aesthetic experience. In art theory, associations of this kind are referred to as aesthetic effects. The AEN provides an explicit account of a specific cognitive process involved in aesthetic experience. We first outline the AEN and discuss empirical results (Study 1, N=255) to explore what can be gained from this approach. Second, in Study 2 (N=133, pre-registered) we follow calls in the literature to substantiate network theories by using an experimental manipulation, and found evidence in favor of the AEN over other alternatives. The AEN provides a basis for future studies that can apply a network perspective to different aesthetic experiences and processes. This perspective takes a process-based approach to aesthetic experience, where aesthetic experience is represented as an active interaction between viewer and artwork. If we want to understand how people experience art, it is central to know why people have different experiences with the same artworks, and, also, why people have similar experiences when looking at different artworks. Our proposed network perspective offers a new way to approach and potentially answer these questions.

scholarly journals The concept of encounter in psychotherapy and developmental psychology

2015 ◽  
Vol 23 (3) ◽  
pp. 105-116 ◽  
Author(s):  
M.V. Ermolaeva ◽  
D.V. Lubovsky
Keyword(s):  
Mental Health ◽  
Mental Health Services ◽  
Health Services ◽  
Older People ◽  
Aesthetic Experience ◽  
Developmental Psychology ◽  
Advanced Age ◽  
The Past ◽  
Psychological Tools ◽  
The Aesthetic

The article discusses possibilities for application of the concept of encounter in two areas of practical developmental psychology — in the work with the aesthetic experience gained by people in the perception of artworks and in relation to mental health services for older people, for whom one of the most important activities is the recollection of their life. Authors take as basic the understanding of the encounter proposed by W. Schutz, who showed psychological tools to achieve it in psychotherapy, and R. May, who applied this concept in the psychology of creativity. The authors clarify psychotechnical tools to achieve basic aspects (openness, self-consciousness, responsibility, etc.) in relation to the work of psychologist with the aesthetic experience as a result of the perception of artworks, and recollections of the life in mature and advanced age. The importance of encounter with aesthetic experience is considered in the context of forming a system of means mastering our own emotions (L.S. Vygotsky). Authors stressed the importance of the encounter with recollections of the past for the growth of psychological new formations of mature ages.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

scholarly journals A Perspectival Account of Acedia in the Writings of Kierkegaard

Religions ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 80
Author(s):  
Jared Brandt ◽  
Brandon Dahm ◽  
Derek McAllister
Keyword(s):  
Soren Kierkegaard ◽  
Past Century ◽  
Christian Tradition ◽  
Seven Deadly Sins ◽  
The Past ◽  
The Aesthetic

Søren Kierkegaard is well-known as an original philosophical thinker, but less known is his reliance upon and development of the Christian tradition of the Seven Deadly Sins, in particular the vice of acedia, or sloth. As acedia has enjoyed renewed interest in the past century or so, commentators have attempted to pin down one or another Kierkegaardian concept (e.g., despair, heavy-mindedness, boredom, etc.) as the embodiment of the vice, but these attempts have yet to achieve any consensus. In our estimation, the complicated reality is that, in using slightly different but related concepts, Kierkegaard is providing a unique look at acedia as it manifests differently at different stages on life’s way. Thus, on this “perspectival account”, acedia will manifest differently according to whether an individual inhabits the aesthetic, ethical, or religious sphere. We propose two axes for this perspectival account. Such descriptions of how acedia manifests make up the first, phenomenal axis, while the second, evaluative axis, accounts for the various bits of advice and wisdom we read in the diagnoses of acedia from one Kierkegaardian pseudonym to another. Our aim is to show that Kierkegaard was not only familiar with the concept of acedia, but his contributions helped to develop and extend the tradition.

scholarly journals Os sentidos da revelação: Sophia e Herberto

2019 ◽  
Vol 38 (60) ◽  
pp. 97
Author(s):  
Paulo Ricardo Braz de Sousa
Keyword(s):  
Friedrich Nietzsche ◽  
Intimate Relationships ◽  
Theoretical Framework ◽  
Close Reading ◽  
The Senses ◽  
The Aesthetic

Resumo: Este ensaio busca investigar os sentidos da revelação poética nas obras de Sophia de Mello Breyner Andresen e Herberto Helder. Para tanto, é utilizado (principalmente, mas não apenas) um arcabouço teórico que atravessa as concepções filosóficas de Friedrich Nietzsche em torno da questão estética entre uma arte apolínea e outra dionisíaca, assim como suas intersecções. A partir de um exercício de leitura corpo a corpo dos poemas selecionados de ambos os autores, a ideia deste trabalho é reconhecer como estas distintas poéticas, cada qual ao seu modo, manifesta íntimas relações com a experiência do sagrado. Por fim, este ensaio projeta a possibilidade de fazer do procedimento crítico aqui desenvolvido um modo de leitura da moderna poesia portuguesa.Palavras-chave: Sophia de Mello Breyner Andresen; Herberto Helder; revelação poética; sagrado.Abstract: This essay tries to investigate the senses of poetic revelation in the works of Sophia de Mello Breyner Andresen and Herberto Helder. For that, a theoretical framework is used (mainly, but not only) that crosses the philosophical conceptions of Friedrich Nietzsche about the aesthetic question between an Apollonian and a Dionysian art, as well as its intersections. From an close reading exercise of the selected poems of both authors, the idea of this work is to recognize how these different poetics, each in its own way, manifests intimate relationships with the experience of the sacred. Finally, this article plans the possibility of making this critical procedure a way of reading modern Portuguese poetry.Keywords: Sophia de Mello Breyner Anresen; Herberto Helder; poetic revelation; sacred.

scholarly journals The nature of perception and emotion in aesthetic appreciation: A response to Makin’s challenge to Empirical Aesthetics

2019 ◽  
Author(s):  
Martin Skov ◽  
Marcos Nadal
Keyword(s):  
Research Methods ◽  
Scientific Knowledge ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Aesthetic Experiences ◽  
Emotional Processes ◽  
Distinct Kind ◽  
The Aesthetic ◽  
Mainstream Psychology

Alexis Makin argued in a recent paper that Empirical Aesthetics is unable to properly advance our understanding of the mechanisms involved in aesthetic experience. The reason for this predicament, he claims, is an inability of current research methods to capture the psychological properties that truly characterize aesthetic experience, especially the unique perceptual and emotional processes involved in the aesthetic experience. We show that Makin’s argument rests on assumptions that are at odds with scientific knowledge of the neurobiological mechanisms involved in the appreciation of sensory objects. We thereafter show that such mechanisms are rooted in shared neurobiological systems, and operate according to computational principles that are common to many domains of experience. This casts doubt on the notion that aesthetic experiences constitute a distinct kind of experiences that can be defined according to a set of special and unique qualities. Finally, we discuss how attributing this specialness to “aesthetic” experiences leads Empirical Aesthetics astray from mainstream psychology and neuroscience.

Sign in / Sign up

Export Citation Format

Share Document