scholarly journals Ways of pointing to artworks: a Wittgensteinian approach = Formas de apuntar a las obras de arte: un enfoque wittgensteiniano

2019 ◽  
Vol 32 ◽  
pp. 23
Author(s):  
Salvador Rubio Marco
Keyword(s):  
Aesthetic Experiences ◽  
Alternative Approach ◽  
The Aesthetic ◽  
Main Criticism ◽  
In Virtue Of ◽  
Realist Concept ◽  
Do So

Abstract: The aim of P. Kivy’s recent De Gustibus: Arguing about Taste and Why We Do It (2015) is to answer to the very same question in terms of an emphasis on belief based on «phenomenological» (if not also ontological) «art-realism». Those who disagree on taste do so because they (explicitly or implicitly) see, in judgments relating to properties of artworks, the expression of beliefs, some of which are «true», and true in virtue of correctly reporting «facts» (non-aesthetic art-relevant facts, aesthetic art-relevant facts, or art value facts), and they try to convince others of what they think is «real» about art. Kivy follows the traces of this phenomenology of «beautiful» found in Hume’s work (and vs. Kant’s work). The main criticism is that it is actually possible to defend an alternative approach to understanding art in terms of «aspects» (an allegedly ‘anti-realist’ concept), so as to take account of rationality, disputes and the role of facts regarding judgments of taste. Kivy does not concede enough attention to the aesthetic experiences of seeing now what we were unable to see before (the «dawning» of an aspect), for example.Key words: Kivy, taste, phenomenology, belief, aesthetics, Wittgenstein.Resumen: El objetivo del reciente De Gustibus. Arguing about Taste and Why We Do It (2015), de P. Kivy es responder a la pregunta incluida en el título de su libro en términos de un énfasis en la creencia que se basa en un realismo en arte «fenomenológico» (si no también ontológico): quienes que disputan sobre «gusto» suelen hacerlo porque ellos (explícita o implícitamente) ven los juicios concernientes a las propiedades de las obras de arte como expresando creencias, algunas de las cuales son verdaderas, y verdaderas en virtud de reportar hechos correctamente (hechos no estéticos relevantes para el arte, hechos estéticos relevantes para el arte o hechos de valor artístico), y tratan de convencer a otros de lo que ellos piensan que es ‘real’ sobre el arte. Kivy sigue el rastro de esa fenomenología de ‘lo bello’ a partir de la obra de Hume (y contra la obra de Kant). Mi crítica principal es que es posible defender un enfoque alternativo de la comprensión del arte en términos de aspectos (un concepto supuestamente «antirrealista») a fin de tener en cuenta la racionalidad, las disputas y el papel de los hechos con respecto a los juicios de gusto. Kivy no presta suficiente atención a las experiencias estéticas de ver ahora lo que no podíamos ver antes (el «aparecer» de un aspecto), por ejemplo.Palabras claves: Kivy, gusto, fenomenología, creencia, estética, Wittgenstein.

scholarly journals The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 366-381 ◽  
Author(s):  
Stephen Snyder
Keyword(s):  
Work Of Art ◽  
Theoretical Concepts ◽  
Alternative Approach ◽  
Aesthetic Style ◽  
Artistic Interpretation ◽  
History Of ◽  
Artistic Theory ◽  
The Aesthetic ◽  
The Mind

Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.

Zur Struktur und Rolle ästhetischer Erfahrung in Emil Staigers »Die Kunst der Interpretation« (1951)

2017 ◽  
Vol 21 (1) ◽  
Author(s):  
Tobias Klauk ◽  
Tilmann Köppe
Keyword(s):  
Literary Criticism ◽  
Aesthetic Experience ◽  
Aesthetic Experiences ◽  
Aesthetic Properties ◽  
The Aesthetic

AbstractCurrent accounts of the aims and methods of criticism as developed in Emil Staiger’s seminal essay »Die Kunst der Interpretation« typically do not concentrate on the role of aesthetic experience. We clarify the notion of aesthetic experience employed in Staiger’s essay and point out the centrality of aesthetic experience for his view of criticism. According to Staiger, aesthetic experiences are central to the aesthetic merit of an artwork, they guide the critic’s appreciation of aesthetic properties, and literary criticism should be concerned with the elucidation of how aesthetic properties are based on other manifest properties of a work. We also review some recent alternative reconstructions of Staiger’s view, and offer some routes to a critique of his view that is based on his central assumptions concerning the aims and methods of criticism, rather than on a rejection of them.

Aesthetic awareness in athletic performance

2021 ◽  
pp. 141-158
Author(s):  
John Toner ◽  
Barbara Gail Montero ◽  
Aidan Moran
Keyword(s):  
Athletic Performance ◽  
Empirical Work ◽  
Aesthetic Quality ◽  
Aesthetic Experiences ◽  
Self Evaluation ◽  
And Performance ◽  
The Aesthetic ◽  
Aesthetic Awareness ◽  
Potential Use

A considerable volume of research has explored spectators’ attraction to the aesthetic aspects of sport. However, considerably less attention has been devoted to an evaluation of the aesthetic dimension of sport from the performer’s perspective. This chapter hypothesizes that such evaluation can benefit athletic skill. It substantiates and elucidates some of the types of aesthetic experiences athletes may undergo and considers their potential use in sports. The chapter argues that athletes sometimes evaluate their actions by determining whether they have certain aesthetic quality, such as whether a movement embodies power or feels somehow just beautifully right. In bringing some of these ideas together it considers how an athlete’s aesthetic awareness of their own movements might be conducive to better practice and performance. This thesis is propaedeutic to future empirical work investigating the role of aesthetic self-evaluation in athletic performance.

scholarly journals The role of expertise in the aesthetic evaluation of mathematical equations

2021 ◽  
Author(s):  
Gregor U. Hayn-Leichsenring ◽  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Domain Knowledge ◽  
Formal Training ◽  
Aesthetic Evaluation ◽  
Aesthetic Experiences ◽  
Mathematics Majors ◽  
Sensory Qualities ◽  
Mathematical Equations ◽  
The Aesthetic ◽  
Aesthetic Judgments

AbstractThere is a notion that mathematical equations can be considered aesthetic objects. However, whereas some aesthetic experiences are triggered primarily by the sensory properties of objects, for mathematical equations aesthetic judgments extend beyond their sensory qualities and are also informed by semantics and knowledge. Therefore, to the extent that expertise in mathematics represents the accumulation of domain knowledge, it should influence aesthetic judgments of equations. In a between-groups study design involving university students who majored in mathematics (i.e., experts) or not (i.e., laypeople), we found support for the hypothesis that mathematics majors exhibit more agreement in their aesthetic judgments of equations—reflecting a greater degree of shared variance driven by formal training in the domain. Furthermore, their judgments were driven more strongly by familiarity and meaning than was the case for laypeople. These results suggest that expertise via advanced training in mathematics alters (and sharpens) aesthetic judgments of mathematical equations.

scholarly journals A INFORMAÇÃO ARTÍSTICAARTISTIC INFORMATION

2011 ◽  
Vol 9 (1) ◽  
pp. 1
Author(s):  
Ana Claudia Inacio da Silva Pirolo
Keyword(s):  
Empirical Study ◽  
Public Art ◽  
Literature Search ◽  
Information Science ◽  
The Public ◽  
The Aesthetic ◽  
Role Of Information ◽  
Reception Aesthetics ◽  
Do So

Estudo da arte sob a ótica da Ciência da Informação com o objetivo de identificar a função da informação na formação do público para arte e sua contribuição na democratização da arte. Para isso empreendeu-se uma pesquisa bibliográfica com o objetivo de analisar a associação da Arte e da Ciência da Informação. Realizou-se um estudo empírico sobre o comportamento do público em relação a usabilidade da informação sobre a arte para interpretar a obra estética. Com isso expande-se a compreensão das condições de recepção da obra estética quando mediada pela informação.Abstract:Study of art from the perspective of information science in order to identify the role of information in the formation of public art and its contribution to the democratization of art. To do so, undertook a literature search in order to analyze the association of Art and Information Science. We conducted an empirical study on the behavior of the public regarding the usability of information about art to interpret the aesthetic work. With that expands the understanding of the conditions of reception aesthetics of the work when mediated by information. 

scholarly journals Valuations of diversity: The role of marquee quotas in creative industries (Working Paper)

2021 ◽  
Author(s):  
Alanna Stuart ◽  
Kim de Laat
Keyword(s):  
Creative Industries ◽  
Creative Industry ◽  
Racially Diverse ◽  
Economic Role ◽  
Working Paper ◽  
Independent Music ◽  
The Aesthetic ◽  
Depth Interviews ◽  
Do So

We examine how creative industry workers engage with diversity, absent a formal organizational mandate to do so. Through in-depth interviews with independent music industry personnel (N=50), we find that marquee quotas -- racially diverse representation on rosters and festival bills -- guide how diversity is sought and implemented. Such quotas are justified via four distinct valuations of diversity: aesthetic, economic, reputational, and moral. Both racialized and white participants justify the importance of diversity on moralistic grounds. By contrast, white participants more often justify the value of diversity by making claims about the aesthetic, economic and reputational benefits of marquee quotas. The deployment of these more self-serving valuations has consequences for the extent to which people of colour can be authentically included. Our analysis contributes to critiques of the socio-economic role and consequences of diversity initiatives, within the context of a creative industry.

Don't go with your gut: Exploring the role of motivation in aesthetic experiences.

2019 ◽  
Author(s):  
Christian C. Steciuch ◽  
Ryan D. Kopatich ◽  
Daniel P. Feller ◽  
Amanda M. Durik ◽  
Keith Millis
Keyword(s):  
Aesthetic Experiences

A Re-Appraisal of the Role of Blood Coagulation and Platelets in the Generalized Shwartzman Phenomenon

1966 ◽  
Vol 15 (03/04) ◽  
pp. 519-538 ◽  
Author(s):  
J Levin ◽  
E Beck
Keyword(s):  
Blood Coagulation ◽  
The State ◽  
Coagulation System ◽  
Renal Lesions ◽  
Intravascular Coagulation ◽  
Renal Glomeruli ◽  
Coagulation Mechanism ◽  
Shwartzman Phenomenon ◽  
Do So

SummaryThe role of intravascular coagulation in the production of the generalized Shwartzman phenomenon has been evaluated. The administration of endotoxin to animals prepared with Thorotrast results in activation of the coagulation mechanism with the resultant deposition of fibrinoid material in the renal glomeruli. Anticoagulation prevents alterations in the state of the coagulation system and inhibits development of the renal lesions. Platelets are not primarily involved. Platelet antiserum produces similar lesions in animals prepared with Thorotrast, but appears to do so in a manner which does not significantly involve intravascular coagulation.The production of adrenal cortical hemorrhage, comparable to that seen in the Waterhouse-Friderichsen syndrome, following the administration of endotoxin to animals that had previously received ACTH does not require intravascular coagulation and may not be a manifestation of the generalized Shwartzman phenomenon.

‘Wheels have been set in motion’: Geocentrism and Relativity in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2018 ◽  
Author(s):  
Liliane Campos
Keyword(s):  
20Th Century ◽  
Film Adaptation ◽  
Frames Of Reference ◽  
Quantum Uncertainty ◽  
Galilean Relativity ◽  
Modern Physics ◽  
20Th Century Physics ◽  
Time Specific ◽  
Do So

By decentring our reading of Hamlet, Stoppard’s tragicomedy questions the legitimacy of centres and of stable frames of reference. So Liliane Campos examines how Stoppard plays with the physical and cosmological models he finds in Hamlet, particularly those of the wheel and the compass, and gives a new scientific depth to the fear that time is ‘out of joint’. In both his play and his own film adaptation, Stoppard’s rewriting gives a 20th-century twist to these metaphors, through references to relativity, indeterminacy, and the role of the observer. When they refer to the uncontrollable wheels of their fate, his characters no longer describe the destruction of order, but uncertainty about which order is at work, whether heliocentric or geocentric, random or tragic. When they express their loss of bearings, they do so through the thought experiments of modern physics, from Galilean relativity to quantum uncertainty, drawing our attention to shifting frames of reference. Much like Schrödinger’s cat, Stoppard’s Rosencrantz and Guildenstern are both dead and alive. As we observe their predicament, Campos argues, we are placed in the paradoxical position of the observer in 20th-century physics, and constantly reminded that our time-specific relation to the canon inevitably determines our interpretation.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

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