scholarly journals The Aesthetic Experience of Time, in between the Hourglass and the Self

2017 ◽  
Vol 8 (1) ◽  
Author(s):  
Hans Dieleman ◽  
Francesca Cozzolino ◽  
Anne Bationo
Keyword(s):  
Aesthetic Experience ◽  
The Self ◽  
Experience Of Time ◽  
The Aesthetic

scholarly journals Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach

Kepes ◽  
2021 ◽  
Vol 18 (24) ◽  
pp. 197-231
Author(s):  
Miguel A. Romero-Ramírez ◽  
Duncan Reyburn
Keyword(s):  
Aesthetic Experience ◽  
Daily Life ◽  
The Self ◽  
Third Way ◽  
Original Intention ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
The Subject ◽  
The Aesthetic ◽  
The One

This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.

Preface

2017 ◽  
Author(s):  
Catherine M. Soussloff
Keyword(s):  
Michel Foucault ◽  
Aesthetic Experience ◽  
The Self ◽  
Art Theory ◽  
The Aesthetic

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....

scholarly journals Confidence Forced-Choice and Other Metaperceptual Tasks*

Perception ◽  
2020 ◽  
Vol 49 (6) ◽  
pp. 616-635 ◽  
Author(s):  
Pascal Mamassian
Keyword(s):  
Computational Models ◽  
Aesthetic Experience ◽  
Forced Choice ◽  
The Self ◽  
Self Control ◽  
Self Monitoring ◽  
Perceptual Decision ◽  
Perceptual Confidence ◽  
The Aesthetic ◽  
Confidence Ratings

Metaperception is the self-monitoring and self-control of one’s own perception. Perceptual confidence is the prototypical example of metaperception. Perceptual confidence refers to the ability to judge whether a perceptual decision is correct. We argue that metaperception is not limited to confidence but includes other judgments such as the estimation of familiarity and the aesthetic experience of sensory events. Perceptual confidence has recently received a surge of interests due in particular to the design of careful psychophysical experiments and powerful computational models. In psychophysics, the use of confidence ratings is the dominant methodology, but other paradigms are available, including the confidence forced choice. In this latter paradigm, participants are presented with two stimuli, make perceptual decisions about these stimuli, and then choose which decision is more likely to be correct. One benefit of confidence forced choice is that it disregards confidence biases to focus on confidence sensitivity. Confidence forced choice might also be a paradigm that will allow us to establish whether confidence is estimated serially or in parallel to the perceptual decision.

scholarly journals Magical Aspects in Chandra Shyam Dangol's Stone Sculptures

2021 ◽  
Vol 2 (4) ◽  
pp. 55-65
Author(s):  
Yam Prasad Sharma
Keyword(s):  
Research Method ◽  
Aesthetic Experience ◽  
Research Area ◽  
The Self ◽  
Surface Level ◽  
The World ◽  
Thesis Statement ◽  
The Aesthetic ◽  
The Individual ◽  
The Universe

Chandra Shyam Dangol's stone sculptures are magical and mystical suggesting supernatural and spiritual aspects related to wisdom and enlightenment. Unusual images and symbols have been put together. On the surface level, the combination appears strange and contrary but as we go through the myths related to the artworks, we find the underlined logic and coherent composition. The recurrent icons, images and symbols are the figures of deities, lotus, mudras (gestures) and asanas (postures) of meditating characters that are combined in an unusual manner.  They provide a sense of miraculous and thrilling spiritual experience. Breaking the monotony of mundane material existence, the works renew our perception. The aesthetic experience leads toward the awareness of the self and the universe and inspires for the harmonious existence of the individual in the world. Because of the mythical and spiritual contents, the sculptures appear to be mystical. The research area covers the stone sculptures of Chandra Shyam Dangol. About a dozen sculptures have been observed for the research but only four works have been interpreted in this paper. The paper attempts to trace the magical elements in his compositions and throw light on their significance. The study follows the qualitative research method to support the thesis statement since the interpretation of artworks may be multiple depending on viewers, time and place.

scholarly journals Cosmic Narcissism: Self-Image and the Contemplation of Nature in Gaston Bachelard’s Thought

2021 ◽  
Vol 41 ◽  
pp. 36-44
Author(s):  
Luz Aída Lozano Campos ◽  
Keyword(s):  
Aesthetic Experience ◽  
Active Role ◽  
The Self ◽  
Gaston Bachelard ◽  
Self Image ◽  
The Aesthetic

"The mythical image of Narcissus has served to explore, both in art and in psychoanalysis, topics such as reflection, selfishness, contemplation and autoeroticism. Gaston Bachelard had a thorough reading of this mythological being, which we propose to reflect upon with a view to exploring the question of “self-image”. Our objective will be to clarify the notion of “cosmic narcissism” that Bachelard suggests, to analyze the “self” that emerges in the aesthetic experience. Through the image of Narcissus, Bachelard highlights the active role of Nature in shaping the artist’s self-image. He proposes a “cosmic narcissism” as an “idealizing” path of the self, which we will contrast with the “neurotic narcissism” suggested by Freud."

Piktoriale Reflexivität–(Nach-)Denken über Bilder als Denken in Bildern

2010 ◽  
Vol 55 (2) ◽  
pp. 101-113
Author(s):  
Simone Mahrenholz
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
The Self ◽  
States Of Affairs ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
20Th Century Art ◽  
Self Reference

Der Text untersucht, inwiefern wir von »bildlichem Denken« sprechen können, insbesondere mit Bezug auf Kunst: Denken in Bildern also statt allein in Worten. Er verbindet diese Frage mit dem Konzept der konstitutiven Reflexivität der Kunst. Hierfür werden drei Bedeutungen von ästhetischer Reflexivität unterschieden und zu einander in Bezug gesetzt (Teil I): Reflexivität der Kunst im Sinne des Bezugnehmens und damit des Thematisierens, Reflektierens von etwas außerhalb des Werks: der Welt und./.oder des Selbst (R1), ferner Reflexivität im Sinne des materialen Selbst-Rückbezugs des Werks auf Züge seiner selbst (R2) sowie Reflexivität im Sinne des Selbst-Rückbezugs in Form einer Transformation des Subjekts im Prozeß der künstlerischen Erfahrung (R3). Die nähere Erläuterung an Beispielen zeigt, daß und inwiefern diese drei Formen zwar immer interagierend präsent sind, jedoch in verschiedenen Epochen und Stilen mit deutlich unterschiedlichen Akzentuierungen (Teil II). Abschließend wird die These aufgestellt (Teil III), daß diese Folge von Reflexivitäts-Akzenten Entwicklungen in der Kunst des 20. Jahrhunderts spiegelt.<br><br>The text examines forms of »pictorial thinking«, in particular with regard to artworks: thinking »in pictures« as analogous to thinking in words. It relates this topic to the concept of reflexivity in art. Three forms of aesthetic reflexivity are distinguished and related to each other (part I): reflexivity in the sense of reflecting, thematizing states of affairs outside the work: the world and./.or the self (R1), second: reflexivity as material self-reference within the artwork (R2), third: reflexivity as transformation of the subject in the process of the aesthetic experience (R3). The subsequent elucidation makes evident, that these forms of reflexivity never occur alone, but interact. Nevertheless, depending on the epoch and style of the work in question, distinctive emphases and accentuations arise, one of which generally dominates the others: (part II). As an upshot, the text suggests that this succession of reflexivity-forms from R1 to R3 mirrors developments in 20th century art (part III).

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.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Exploring Tourist Behavior in a Reused Heritage Site

2021 ◽  
pp. 109634802110200
Author(s):  
Yi-Ju Lee ◽  
I-Ying Tsai ◽  
Te-Yi Chang
Keyword(s):  
Behavioral Intention ◽  
Structural Equation ◽  
Aesthetic Experience ◽  
Equation Modeling ◽  
Tourist Behavior ◽  
Heritage Site ◽  
Modeling Analysis ◽  
Heritage Buildings ◽  
The Aesthetic ◽  
The Relationship

This study investigated the relationship among tourists’ perceived sustainability, aesthetic experience, and behavioral intention toward reused heritage buildings by employing stimulus–organism–response theory. There were 354 valid questionnaires collected from the Sputnik Lab in Tainan, Taiwan. A positive correlation was found between tourists’ perception of sustainability and aesthetic experience. When tourists perceived higher aesthetic experience, they also had stronger behavioral intention. Structural equation modeling analysis verified that the aesthetic experience of tourists had mediating effects between perceived sustainability and behavioral intention in the reused heritage space. The reuse of space should be attached significantly to the aesthetic display of space and service so as to promote such scenic spots and increase tourists’ intention to revisit through word of mouth.

Sign in / Sign up

Export Citation Format

Share Document