scholarly journals Can there be a negative aesthetic judgement on sublime?

2020 ◽  
Vol 63 (4) ◽  
pp. 175-187
Author(s):  
Igor Cvejic
Keyword(s):  
Positive Answer ◽  
Aesthetic Judgment ◽  
Main Question ◽  
Specific Kind ◽  
Aesthetic Judgement ◽  
The Sublime ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Content Object ◽  
The Way

When we talk about the aesthetic judgement in Kant, certainly the main example is the judgement of taste, that is, beautiful and ugly. However, in addition to the judgement of taste, Kant speaks of another kind of aesthetic reflexive judgments - sublime. The main question addressed in this paper is whether in the case of the sublime we can speak of a negative aesthetic judgment, a judgment of what would be contrary to the sublime in the way that the ugly is opposite to the beautiful. After considering the similarities and differences of the ugly and sublime and outlining the formal problems of thinking at all about the aesthetic judgment of what is contrary to sublime, we will try to give a positive answer. The content (object) argument will be considered first, then the argument based on the relation of faculties, which will prove to be insufficient. The closest solution will be to consider in the specific kind of ridiculous.

scholarly journals The Influence of User Interface Attributes on Aesthetics

i-com ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 41-55 ◽  
Author(s):  
Thomas Schmidt ◽  
Christian Wolff
Keyword(s):  
User Interface ◽  
Interface Design ◽  
Visual Complexity ◽  
Aesthetic Judgment ◽  
Aesthetic Judgement ◽  
Subjective Impression ◽  
Presentation Time ◽  
Set Up ◽  
The Aesthetic ◽  
The One

Abstract In this paper we present an empirical study among 40 participants which investigates the relationship between various factors of user interface aesthetics on the one hand, and the influence of the user interface attributes, symmetry, colorfulness as well as visual complexity on user interface aesthetics on the other hand. The user interface aesthetics will be classified in intuitive aesthetics (1st impression with a presentation time of 500 ms) and reflective aesthetics (reflective long-term impression after a longer presentation). Reflective aesthetics is further classified in classical aesthetics (common attractiveness) as well as expressive aesthetics (creativity). For this study we have set up a corpus of 30 websites which are used as stimulus material. In a multi-step lab experiment, participants rate aesthetics and their subjective impression concerning user interface attributes using questionnaires. We are able to show that the intuitive aesthetic judgment correlates strongly with the reflective judgment. The symmetry of a website positively correlates with all definitions of aesthetics, especially with the classical or traditional interpretation in the sense of attractiveness. Visual complexity can be seen as the strongest predictor for the aesthetic judgement of users and it negatively correlates with all definitions. Concerning colorfulness, a preference for websites of a medium degree of colorfulness for the intuitive as well as the classical aesthetics can be stated. Concerning expressive aesthetics, websites of moderate to high colorfulness receive the best judgments. The relationships which we have found are finally discussed in the context of previous research and some implications for future user interface design are given.

Beauty is in the eye of the beholder: Evidence from a common mnemonic advantage between aesthetics judgement and self-reference

2020 ◽  
Author(s):  
Hyojun Lee ◽  
Amélie Jacquot ◽  
Dominique Makowski ◽  
Margherita Arcangeli ◽  
Jérôme Dokic ◽  
...  
Keyword(s):  
Sense Of Self ◽  
Subjective Evaluation ◽  
Aesthetic Judgment ◽  
Aesthetic Judgement ◽  
Aesthetic Experiences ◽  
Referential Processing ◽  
The Aesthetic ◽  
Judgment Condition ◽  
Physical Features ◽  
Self Reference

A long-lasting and unresolved debate in the field of aesthetics is whether beauty is inherent to the object of appreciation or to the subject contemplating it. Several studies suggest that physical features (e.g., symmetry, contrast) of an artwork influence aesthetic rating. Nevertheless, this objectivist approach fails to explain the idiosyncratic nature of aesthetic experiences (AE). Recent models propose a multi-process account of AE, integrating a subjective evaluation based on self-referential processing. This proposition seems coherent with neuroimaging studies showing activation of a common neural network during AE and self-reference. Nevertheless, behavioural data supporting this hypothesis is missing. We took advantage of the self-reference effect (SRE) in memory – the mnemonic advantage for material encoded in a self-related mode - to test the hypothesis that aesthetic judgement is based on self-related processes. We predicted that if aesthetic judgement recruits self-referential processing, incidentally encoding artworks in this condition should produce a similar mnemonic advantage as the SRE. To test this hypothesis, 30 participants incidentally encoded 60 painting in three conditions: self-reference, judgement of beauty and judgement of symmetry (control condition). We found that items encoded in the aesthetic judgment condition were as well recognized as those encoded in self-reference condition when participants gave extreme judgements on the beauty scale during encoding. These findings suggest that at least intense AEs activate an individual’s sense of self.

scholarly journals THE KANTIAN NOTION OF AESTHETIC JUDGMENT: THE BEAUTIFUL, THE SUBLIME, AND IMPORT FOR AESTHETIC LEARNING

2015 ◽  
Vol 16 (1) ◽  
pp. 8
Author(s):  
Ike P Aghaosa
Keyword(s):  
Conceptual Framework ◽  
Aesthetic Judgment ◽  
The Sublime ◽  
Philosophical Methods ◽  
The Aesthetic

This paper is sequel to “Philosophical, Professional and Epistemological Aesthetics: Nexus and Fundamental Issues and Arguments” (Aghaosa, 2014). Using the philosophical methods of language and logical analyses and arguments by analogy; and the methods of documentary inspection, the paper explored what should critically count as aesthetic judgment. Immanuel Kant’s aesthetic judgment of the beautiful and the sublime provided the conceptual framework of analysis .Schopenhauer and Nietzsche’s different hypothetical accounts from the phenomenological perspectives of these aesthetic categories helped to illustrate the effects of the beautiful and the sublime on the aesthetic spectator.

scholarly journals Maximum Effect for Minimum Means: The Aesthetics of Efficiency

Design Issues ◽  
2016 ◽  
Vol 32 (1) ◽  
pp. 41-51 ◽  
Author(s):  
Odette da Silva ◽  
Nathan Crilly ◽  
Paul Hekkert
Keyword(s):  
Design Theory ◽  
Sensory Properties ◽  
Aesthetic Judgment ◽  
Future Research ◽  
Maximum Effect ◽  
Aesthetic Appreciation ◽  
Effect Relationship ◽  
The Aesthetic ◽  
Principle Of Maximum ◽  
The Way

The aesthetic judgment of an artifact is usually interpreted as an assessment of the artifact's sensory properties. But an artifact can also be appreciated, and still aesthetically, for the way it fulfills its purpose. Existing design theory does not provide the concepts required for describing this aspect of aesthetic appreciation and so cannot fully explain what people mean when they say a product is beautiful. In this paper, we develop an understanding of the aesthetic judgment based on the principle of maximum effect for minimum means. We explain how a means–effect relationship can be established between a product and its purpose or effect, and how the product and the effect can be perceived to be minimal and maximal. We also explain how the appreciation of this relationship depends on a set of assumed alternatives for both the product or means and the effect. Finally, we provide some directions for future research into design aesthetics.

Through the Lens of Gadamer’s Hermeneutics: In comparison between Amina Wadud’s and Mohammed Talbi’s Interpretations of Q. 4:34

SUHUF ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 193-214
Author(s):  
Afifur Rochman Sya'rani
Keyword(s):  
Gender Inequality ◽  
Married Couple ◽  
Contextual Approach ◽  
The Status ◽  
Similarities And Differences ◽  
The Difference ◽  
Muslim Scholars ◽  
The Way

Most of traditional Muslim exegetes interpret Q. 4:34 in terms of maintaining the superiority of men over women. Some progressive Muslim scholars then insist a contextual approach to the verse to criticize gender inequality. Among some progressive Muslim scholars, this article comparatively examines the interpretations of Amina Wadud and Mohammed Talbi of Q. 4:34. Although both of them propose a contextual reading of the verse, they have different intellectual background, approach and method in interpreting the Qur’ān. The questions are to what extent the similarities and differences of both Wadud’s and Talbi’s interpretation of Q. 4:34 and how far their interpretations reflect their respective intention and perspective? Applying Gadamer’s hermeneutical approach, the article concludes that [1] Both Wadud and Talbi argue that the verse does not establish the superiority of men over women, but acknowledges duties division among married couple; [2] the difference among their interpretations is on the status of relationship among married couple; [3] Wadud’s and Talbi’s interpretations represent their respective hermeneutical situations and the way they define ontologically the nature of  interpretation and Qur’anic hermeneutics affect on producing the meanings of the verse.

Normative Concepts

2017 ◽  
Author(s):  
Matti Eklund
Keyword(s):  
Positive Answer ◽  
Thick Concepts ◽  
Normative Concepts ◽  
The Right ◽  
The Way

What is it for a concept to be normative? Some possible answers are explored and rejected, among them that a concept is normative if it ascribes a normative property. The positive answer defended is that a concept is normative if it is in the right way associated with a normative use. Among issues discussed along the way are the nature of analyticity, and there being a notion of analyticity—what I call semantic analyticity—such that a statement can be analytic in this sense while failing to be true. Considerations regarding thick concepts and slurs are brought to bear on the issues that come up.

Seeing Depicted Space (Or Not)

2018 ◽  
Author(s):  
Mikael Pettersson
Keyword(s):  
Empty Space ◽  
Material Objects ◽  
Pictorial Perception ◽  
The Aesthetic ◽  
Pictorial Experience ◽  
The Way

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

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.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

scholarly journals Fuel Station Valuation under Polish and RICS Standards

2017 ◽  
Vol 25 (2) ◽  
pp. 20-32
Author(s):  
Mirosława Czaplińska ◽  
Małgorzata Rymarzak ◽  
Dariusz Trojanowski
Keyword(s):  
United Kingdom ◽  
Market Structure ◽  
Comparison Analysis ◽  
Specific Approach ◽  
Valuation Methods ◽  
Property Valuation ◽  
The United Kingdom ◽  
Income Approach ◽  
Similarities And Differences ◽  
The Way

Abstract In the last few years, there has been a visible change in the structure of the fuel station market in both Poland and the United Kingdom. The changes taking place both in the fuel station market structure and the management forms of fuel stations, along with the increasing significance of convenience goods sales, result in the necessity of verifying the existing Polish valuation standards of the income approach. Moreover, there is an urgent need to develop specific fuel station valuation guidelines. Fuel station valuation requires both the specific approach and profits method adjustment to be able to account for the specificity of the valuation. The universal character of property valuation in Poland cannot result in ignoring the specificity of fuel station valuation and the market where it operates. Property valuers undertaking valuations of this type of facilities must be familiar with the rules operating on the fuel station market. This paper focuses on the comparison analysis of the fuel station market structure in Poland and the United Kingdom along with the specificity of the way fuel stations operate. Its emphasis is on the comparison analysis of fuel station valuation methods under Polish and RICS standards in order to show their similarities and differences. The aim of the paper is to present the methods of fuel station valuation in Poland and the United Kingdom, though mainly to show the areas of changes in the Polish valuation standards with regards to the profits method under the income approach that would take into account the specificity of fuel stations and their market.

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