scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

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.

scholarly journals Embodied Mind and Neural Underpinnings of the Aesthetic Experience. A Case Study from the German Eighteenth Century: 4E Cognition Theories Forecasted by Johann Gottfried Herder

2021 ◽  
pp. 13-30
Author(s):  
Renata Gambino ◽  
Grazia Pulvirenti
Keyword(s):  
Aesthetic Experience ◽  
18Th Century ◽  
Johann Gottfried Herder ◽  
Scientific Debate ◽  
Late 18Th Century ◽  
4E Cognition ◽  
Neural Underpinnings ◽  
The Aesthetic ◽  
Core Issues

Recent theories within the avenue of the bio-cultural turn, and particularly about embodied cognition are forecasted in the anthropological, philosophical, physiological and scientific debate of the late 18th century in Germany. Philosopher and theologian Johann Gottfried Herder contributed to this discourse sigificantly, opening up new perspectives on the link among thought and language and body. In this paper we aim at highlighting some core issues of Herders’s discourse about knowledge, perception and cognition, that seem to anticipate some of the most recent 4E Cognition issues.

scholarly journals Considerazioni su arte francese e arte italiana: da Luigi XII e Francesco I alla Maison de Gondi di Saint-Cloud e agli Orléans

2020 ◽  
pp. 269-285
Author(s):  
Medardo Pelliciari
Keyword(s):  
18Th Century ◽  
French Art ◽  
French Court ◽  
The Relationship ◽  
Early 18Th Century

The paper retraces the relationship between Italian and French art from the late 15th to the early 18th century, by focusing on some relevant episodes related especially to the Pio di Savoia and the Medici families and their connections with members of the French court.

scholarly journals Los vaivenes del canon Traducción y puesta en escena de la comedia áurea en Rusia

2020 ◽  
Author(s):  
Veronika Ryjik
Keyword(s):  
18Th Century ◽  
Special Focus ◽  
Performance History ◽  
The Past ◽  
History Of ◽  
And Performance ◽  
The Relationship ◽  
Golden Age Spanish Theatre ◽  
Early 18Th Century ◽  
Past 300 Years

This chapter surveys the history of Russian translations of Golden Age Spanish theatre from the early 18th century until now, with a special focus on the relationship between translation trends and performance history. Our main goal is not only to document all known Russian translations of Spanish classical plays completed in the past 300 years, but also to elucidate the processes by which translation took part in the development and transformation of a specifically Russian comedia canon.

scholarly journals The Parallels between Kantian Aesthetics and the Presence of Tibetan Art in the Yuan-Ming Era (1279–1644)

Philosophia ◽  
2021 ◽  
Author(s):  
Andrei-Valentin Bacrău
Keyword(s):  
Social Organization ◽  
Aesthetic Experience ◽  
The Political ◽  
Conceptual Distinction ◽  
Central Argument ◽  
Primary Focus ◽  
The Aesthetic ◽  
State Of Affairs ◽  
The Relationship

AbstractThis paper will look at Kant’s views of the aesthetic experience, in relationship to Buddhist philosophical and political discussions of art and social organization. The primary focus in Kantian literature explores the relationship between free and dependent beauty, as well as Kant’s paradox of taste. The central argument of the Kantian portion is going to navigate the paradox of taste via Graham Priest’s epistemic and conceptual distinction pertaining to the limits of thought. Secondly, I shall contextualize the debate with similar argumentation found in medieval Tibetan literature, by thinkers such as Tsongkhapa and Drakpa Gyaltsen. Lastly, I shall look at the political and artistic state of affairs in Yuan and Ming Dynasties and assert the applicability of both Kantian and Tibetan discussions of effibility in the context of Tibetan poetry and Thangkas.

scholarly journals Modernism and “Aesthetic Experience”: Art, Aesthetics – and the Role of Modernism

2017 ◽  
Vol 25 (51) ◽  
Author(s):  
Morten Kyndrup
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
18Th Century ◽  
High Modernism ◽  
Modern System ◽  
The Aesthetic ◽  
General Conditions

The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a “divorce” after the long-lived marriage between the two, installed by Romanticism. Furthermore so-called postmodernism and today’s contemporary art have in fact not, as often assumed, really broken with high Modernism. What we see is rather a transformation of a time-based modus into a more spatially defined approach. The interpretations of Modernism itself are thus being altered, when regarded with a postmodern awareness of its surrounding enunciative space. The interrelationship between the modernisms, and what followed, is therefore achieving the character of an entanglement rather than that of a straight and clear development. Modernism’s influence, it is finally asserted, is seemingly not at its conclusion, but rather at its reoccurring beginning.

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