A Study on Ways to Structure Moral Education Classes as an Aesthetic Experience - Centered on John Dewey’s Art Theory -

Author(s):  
Sang Wook Park ◽  
2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder

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.


2012 ◽  
Vol 2 (4) ◽  
Author(s):  
Maryam Ansary ◽  
Nasrabadi Hassanali ◽  
Leyaghatdar Javad ◽  
Bagheri Khosro

Author(s):  
Catherine M. Soussloff

This transformation of one’s self by one’s own knowledge is, I think, something rather close to the aesthetic experience. Why should a painter work if he is not transformed by his own painting? MICHEL FOUCAULT, “An Ethics of Pleasure,” in Foucault Live (Interviews, 1961–1984) In 1982 when Michel Foucault (1926–1984) spoke to an interviewer about the transformative effects of his writing on his being or existence, he compared himself to a painter. As Foucault well knew, the transformation of the self through one’s creation had a history in art theory that extended as far back as the late 1400s in Italy....


Author(s):  
Denis Dutton

The applications of the science of psychology to our understanding of the origins and nature of art is not a recent phenomenon; in fact, it is as old as the Greeks. Plato wrote of art not only from the standpoint of metaphysics, but also in terms of the psychic, especially emotional, dangers that art posed to individuals and society. It was Plato's psychology of art that resulted in his famous requirements in The Republic for social control of the forms and contents of art. Aristotle, on the other hand, approached the arts as philosopher more comfortably at home in experiencing the arts; his writings are to that extent more dispassionately descriptive of the psychological features he viewed as universal in what we would call ‘aesthetic experience’. Although Plato and Aristotle both described the arts in terms of generalizations implicitly applicable to all cultures, it was Aristotle who most self-consciously tied his art theory to a general psychology.


2021 ◽  
Author(s):  
Xiaofeng Wang

Aesthetics is the study of people's perception and experience of heaven, earth and man and all things. Environment and landscape are the most important perceptual manifestation of ecosystem. How this perceptual manifestation affects human mind needs to be answered by aesthetics. It is not only possible but also necessary to study ecosystem from the perspective of aesthetics. Taking the ecological aesthetics of the English world as the main research object, this paper studies the three main approaches to the construction of western ecological aesthetics, which are philosophical speculation, ecological art theory and environmental practice. This study shows that: the interaction between ecological aesthetics and ecological art makes ecological aesthetics become the universal aesthetics of all aesthetic objects (including environment and Art), so as to distinguish it from environmental aesthetics more clearly. Strengthening the interaction between aesthetics and ecological aesthetic experience can make the connotation of ecological aesthetics more profound and clear. The results of this study have a certain reference value for the study of modern western ecological aesthetics from the perspective of aesthetics.


2019 ◽  
Vol 7 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Stefan A. Ortlieb ◽  
Claus-Christian Carbon

Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.


Sign in / Sign up

Export Citation Format

Share Document