scholarly journals El conceptualismo y la estética del significado

2015 ◽  
Vol 19 (1) ◽  
Author(s):  
Matilde Carrasco Barranco
Keyword(s):  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Artistic Production ◽  
The Core ◽  
Aesthetic Properties

RESUMENDesde que en los años 60 la producción artística más relevante rechazara la teoría estética modernista, se ha cuestionado si la estética tenía realmente algo que ver con el arte. Diversas formas de cognitivismo en filosofía del arte han acompañado al conceptualismo que, en un sentido amplio, ha fundamentado la mayoría de las prácticas neovanguardistas. Sin embargo, la relación entre el arte y la estética ha sido redefinida sobre distintas bases. Este artículo se centra en la reciente «estética del significado» de Danto para contestar la tesis conceptualista que afirma que la estética es irrelevante para la crítica y el valor del arte actual.PALABRAS CLAVECONCEPTUALISMO ARTÍSTICO, PROPIEDADES ESTÉTICAS, BELLEZA INTERNA, DANTOABSTRACTSince the most relevant artistic production rejected modernist aesthetic theory in the 60s, there has been discussion about the question of whether aesthetics had really anything to do with art at all. Various forms of cognitivism in the philosophy of art developed accompanying the conceptualism that, broadly speaking, has been at the core of most neo-avantgarde practices. However, the interrelationship between art and aesthetics has been reviewed on different basis. This paper focuses on recent Danto’s «aesthetics of meaning» in order to dispute the conceptualist thesis which states that aesthetics is irrelevant for the criticism and the value of contemporary art.KEYWORDSARTISTIC CONCEPTUALISM, AESTHETIC PROPERTIES, INTERNAL BEAUTY, DANTO

Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty

2021 ◽  
Vol 48 (2) ◽  
pp. 107-123
Author(s):  
J. M. Bernstein
Keyword(s):  
Immanuel Kant ◽  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Natural Beauty ◽  
Living Nature

Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natural beauty. The article tracks the development of this thought from Kant’s account of “wild beauties” through Adorno’s chapter “Natural Beauty” to its actualization in Robert Smithson’s Spiral Jetty.

ICT and Imagination

2014 ◽  
pp. 198-215
Keyword(s):  
Design Education ◽  
Visual Images ◽  
Western Civilization ◽  
Philosophy Of Art ◽  
Formal Representation ◽  
Ancient Athens ◽  
The Core ◽  
Mental Power ◽  
European Renaissance ◽  
Core Activity

At the end a recurring question remains: What good are ICTs to design education and practice? To answer that, it is necessary to focus on imagination and the production of visual images as the core activity of design. What is imagination? And can ICTs “think” imaginatively and see visions? No, they cannot. Imagination is a concept with a long and shifting course of progression through Western civilization. In ancient Athens both Plato and Aristotle regarded imagination as mimesis or imitation of nature. For neither of these philosophers does imagination directly apprehend reality – only reason, they argued, can do that. But for Aristotle, imagination is necessary to intelligent thinking because imagination links sensation to reason, even more than memory, which can only look backward in time, is capable of doing. For Aristotle, imagination is a formal representation of both sensation and reason, and it is therefore an important mental power. The Classical conceptualization of imagination as imitation or “holding a mirror up to nature” dominated the philosophy of art until the European Renaissance in the 15th and 16th centuries. Then in the Romantic Age of the late 18th and early 19th centuries a new conceptualization of imagination claimed that imagination is not so much a mirror as a light that can actually apprehend and illuminate ultimate reality. The poet’s mind, the great Romantics believed, creates images of truth and beauty and goodness. Moreover, the modern philosopher Nietzsche in the late 19th century claimed that not only does imagination create visions of reality but it actually creates reality itself.

The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics

2012 ◽  
Vol 598 ◽  
pp. 8-11
Author(s):  
Shen Qi Gan ◽  
Hong Zhang
Keyword(s):  
Sustainable Development ◽  
Aesthetic Theory ◽  
Aesthetic Value ◽  
The Core ◽  
Natural Beauty ◽  
Man And Nature ◽  
Environment Perception ◽  
Basic Concepts ◽  
Ecological Architecture ◽  
The Aesthetic

This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.

Impressionism (Painting)

2018 ◽  
Author(s):  
Jeremy Spencer ◽  
J. Matthew Huculak ◽  
Carmenita Higginbotham ◽  
Anita Callaway ◽  
Eksuda Singhalampong
Keyword(s):  
Modern Art ◽  
New Products ◽  
Compositional Techniques ◽  
Modern Life ◽  
Trade Routes ◽  
Artistic Production ◽  
The Core ◽  
Natural Landscapes ◽  
The World ◽  
Woodblock Printing

Impressionism is an artistic movement that flourished in France between 1860 and 1890. The term has been widely adopted around the world to describe artistic production that follows the principles and methodologies of the "Impressionists." Opposing Realism, a technique that valued accurate renderings of a scene ("to copy nature"), Impressionists sought to "observe nature" and to capture its transitory states of light and feeling. Impressionists produced paintings of natural landscapes as well as the spectacle of modern life to express an essence of modernity. They took advantage of technological innovations like collapsible paint tubes and synthetic colors, which allowed them to work quickly en plein air and use bright palettes. Modernity also brought in new products to Paris. The opening of trade routes between Japan and Europe exposed French artists to different compositional techniques through Japanese woodblock printing, specifically the ukiyo-e print. Monet claimed that Japanese artists "taught us [impressionists] to compose differently." The original movement fractured in the mid-1880s and the core artists no longer painted or exhibited together. Originally criticized for artistic incompetence that did not reflect prevailing norms in the artistic academy, Impressionist paintings are among the most reproduced and sought after popular works of modern art.

Conclusion

2019 ◽  
pp. 302-306
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Aesthetic Pleasure ◽  
The World

Hegel’s wide-ranging philosophy of art allows us both to assess the expression of different worldviews in art and the ways in which individual arts—architecture, sculpture, painting, music, and poetry—allow us to sense ourselves and become aware of the world around us. His aesthetic theory elucidates crucial components of philosophical idealism generally, and his description of how art gives us joy illuminates modern aesthetic experience as well. This chapter connects Hegel’s “aesthetics of truth,” and so his idealism, to a description of aesthetic pleasure, then briefly speculates on how Hegel’s theory of art can be applied and extended to our experiences of contemporary art today.

scholarly journals "Seni Teks" Dalam Prespektif Dunia Virtual

2021 ◽  
Vol 4 (2) ◽  
pp. 258-268
Author(s):  
Rahmat Jabbaril
Keyword(s):  
Two Dimensions ◽  
Basic Theory ◽  
Philosophy Of Art ◽  
Artistic Value ◽  
The Core ◽  
The Mind ◽  
Aesthetic Values ◽  
The Universe

If that is the priority in weighing the mind and exploring the core of the perspective of thinking, of course, will move on to a "statement". Where the platform of thought will be the entrance and open a gap for other thoughts, because the thinking perspective finds the value of "abstract". The context of thinking is more about extracting the essence of thinking, so the value of art becomes abstract. The reality of the meaning of art is not only a question of form, but more than that, art will play freely about form. The basic theory of writing, using a qualitative frame of mind, using a curatorial approach. The form of virtue in art is actually not based on purely aesthetic values, but the depth of ideas as a way of "enlightenment" to determine the direction where we should be oriented. The result of this thought is, the continuity of artistic value is certainly constructed by; Awareness of the value of intensity, ethics-technique, psychology and full awareness of the essence of ideas (philosophy of art). So the perspective of virtue in art is the awareness of thinking about the abstraction of the universe itself, which is manifested in the form of works, namely the work of two dimensions of Text Art.

scholarly journals Disjecta Membra: Althusser’s Aestethics Reconsidered

2020 ◽  
Vol 41 (1) ◽  
Author(s):  
Banu William Bargu S Lewis
Keyword(s):  
Art Criticism ◽  
Aesthetic Theory ◽  
Critical Approach ◽  
Louis Althusser ◽  
Independent Contribution ◽  
The Core ◽  
Original Contribution ◽  
Political Project

This essay takes a synthetic and critical approach to the scattered pieces of art criticism and aesthetic theory authored by Louis Althusser. Connecting these texts to his larger philosophical and political project, we argue that these reflections make an independent contribution to its worth and that they offer different perspectives on lingering theoretical problems. We piece together the insights that form the core of the Althusserian approach to aesthetics and show how these are formulated (in connection with the work of Pierre Macherey as well as the dominant controversies of the time) and trace how their formulations take shape in relation to the work of different authors and artists. In addition to helping us better understand his overall project, Althusser’s aesthetic theory is, we argue, a powerful and original contribution to Marxist aesthetics. Specifically, it points us to the idea that we need to take aesthetic production seriously as a practice with its own specificity – one that has its own logics of determination, rituals of production, circulation, and consumption, one that commands effects that need to be theorized on their own terms.

scholarly journals Canadian Architecture and Nationalism: From Vernacular to Deco

2010 ◽  
Vol 11 (1) ◽  
pp. 28-42
Author(s):  
Alla Myzelev
Keyword(s):  
Residential Buildings ◽  
European History ◽  
John Ruskin ◽  
British Isles ◽  
Art Deco ◽  
Gothic Revival ◽  
Avant Garde ◽  
Artistic Production ◽  
The Core ◽  
Architectural Tradition

The debates about national and local architecture in Canada go as far as the construction of the first permanent structures. The young country had to invent its native architectural tradition and at the same time to mitigate European influences. Introducing the notion of longing – or nostalgia – into the debate on Canadian design and architecture this study argues that European grandeur, innovations as well as financial and cultural magnitude often played an important role in the desire to create artistic projects including public and residential buildings. The interest in the Gothic revival and the forging of the Neo-Gothic style can be tied to a nostalgic feeling for the British Isles (their land of origin) and also for the utopian notions of unalienated artistic production during the Romanesque and Gothic periods championed by British philosophers Augustus Welby Pugin (1812-1852) and John Ruskin (1919-1900). The cultural horizons of those who participated in the forging of the national style included both the notion of modernity and its opposite (the anti-modern), the dream of the new but also the dream of the old. The article argues that such a complex inspiration is at the core of any modernist production, for it brings together and blurs the modern and anti-modern, the old and the new, and by doing so, it generates constant innovation. At the core of forging the nationalist style, there is also a desire to incorporate European history and heritage, not to negate or reject it. Finally, it argues that Art Deco became the vehicle that helped to popularize the ideas of modernity propagated by avant-garde artists and architects.

scholarly journals Jogja Fashion Week Carnival Costume in The Context of Locality

2015 ◽  
Vol 15 (2) ◽  
Author(s):  
Deni Setiawan
Keyword(s):  
Costume Design ◽  
Point Of View ◽  
Creative Industry ◽  
Aesthetic Theory ◽  
The Core ◽  
International Scale ◽  
Balance Principle ◽  
The Rich ◽  
The Government

<p>Jogja Fashion Week Carnival (JFWC) is held in order to promote the development of costume creative industry in Indonesia, especially in Yogyakarta. Woven and <em>batik </em>(Javanese traditional fabric) as products of Indonesia is reproduced into art costumes. It may add the value of both the product and the price of the product itself as the core of the continuity of the creative industry economy in Indonesia. The eastern value of the costume design worn during the carnival may reflect the traditional value of society. The concept of the costume making is rooted from Indonesia folklores, legends and myths that are still being developed in present society. Throughout the event, exploration done by the artists is seen as a genuine attempt to support the Government in promoting costume industry both in national and international scale. Costumes worn in JFWC were analysed using aesthetic theory by adopting the point of view of DeWitt Henry Parker. The point of view comprises three main aesthetic principles, i.e.: an intact unity, thematic principle, as well as balance principle. Those three concepts can be used to find out the basic locality value of a costume that later can be used as the art education’s source of material. Finally, it is concluded that the theme of JFWC costume creation concept is sourced from the rich tradition of Indonesian society. </p>

scholarly journals THE UNTRANSLATABILITY OF SHAKESPEARE’S POETRY ON LOVE

2018 ◽  
Vol 10 (10) ◽  
pp. 45
Author(s):  
Rachid Acim
Keyword(s):  
English Language ◽  
Contrastive Analysis ◽  
It Projects ◽  
Figures Of Speech ◽  
Rhetorical Devices ◽  
The Core ◽  
Aesthetic Properties ◽  
Poetic Text ◽  
Discursive Power

Translating Shakespeare’s poetry has been one of the most arduous questions that has pained many translators, researchers and academics worldwide. As this poetry involves many rhetorical devices, alternating between the use of keen imagery and intertextuality, it not only lends itself to ambiguity but also to untranslatability; moreover, the use of figures of speech such as similes, synecdoche and metaphors accord this poetry a discursive power that does not recede despite the evolution of the English language and the death of the poet many centuries ago. And while this poetry addresses a whole galaxy of themes, it projects Shakespeare himself as a cosmopolitan figure not limited to time or even space. The present study seeks to assess and evaluate the translation solutions given as concerns Shakespeare’s poetry on the theme of “love”. To achieve this aim, I suggest employing a contrastive analysis between the English and Arabic poetic text, with a view to exploring whether or not the core of this poetry has been preserved. My assumption is that the stylistic aspects and aesthetic properties of the original poetic text are lost due to the intentional or unintentional intervention of the translator.

Sign in / Sign up

Export Citation Format

Share Document