scholarly journals Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience

2019 ◽  
Vol 20 (1) ◽  
pp. 46-81
Author(s):  
Carlos Lobo

The author explores Ingarden’s aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden’s position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden’s refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.

Author(s):  
Leemon B. McHenry

What kinds of things are events? Battles, explosions, accidents, crashes, rock concerts would be typical examples of events and these would be reinforced in the way we speak about the world. Events or actions function linguistically as verbs and adverbs. Philosophers following Aristotle have claimed that events are dependent on substances such as physical objects and persons. But with the advances of modern physics, some philosophers and physicists have argued that events are the basic entities of reality and what we perceive as physical bodies are just very long events spread out in space-time. In other words, everything turns out to be events. This view, no doubt, radically revises our ordinary common sense view of reality, but as our event theorists argue common sense is out of touch with advancing science. In The Event Universe: The Revisionary Metaphysics of Alfred North Whitehead, Leemon McHenry argues that Whitehead's metaphysics provides a more adequate basis for achieving a unification of physical theory than a traditional substance metaphysics. He investigates the influence of Maxwell's electromagnetic field, Einstein's theory of relativity and quantum mechanics on the development of the ontology of events and compares Whitehead’s theory to his contemporaries, C. D. Broad and Bertrand Russell, as well as another key proponent of this theory, W. V. Quine. In this manner, McHenry defends the naturalized and speculative approach to metaphysics as opposed to analytical and linguistic methods that arose in the 20th century.


Janus Head ◽  
2011 ◽  
Vol 12 (1) ◽  
pp. 203-221
Author(s):  
David D. Dillard-Wright ◽  

Descriptions of “aesthetic arrest,” those ecstatic moments that lift the common sense subject-object dichotomy, abound in Merleau-Ponty’s writings. These special experiences, found in both artistic and mystical accounts, arise from the daily life of ordinary perception. Such experiences enable the artist, philosopher, or mystic to overturn received categories and describe phenomena in a creative way; they become dangerous when treated as the sine qua non of aesthetic experience. Aesthetic arrest, though rare in consumer society, need not be overwhelmed by the flood of information and can still provide fresh glimpses into the world as lived.


Author(s):  
Filip Pierzchalski

The aim of this paper is to conduct meta-analysis. The author will focus on explaining the multi-dimentional mechanism of aesthetisation of politics. In this understanding, the starting point for scientific explanation of the phenomenon of aesthetisation in public sphere is the mechanism of internalization, expression and sharing aesthetic values for individual and collective political actors. Therefore, aesthetic values in political practices will be defined as crucial factor of political change and meaningful element of shaping social structure. In this matter the article undertakes the following issues: the notion of aesthetic experience; aestethis values and their political functions of public sphere; the mechanism of politicization of aesthetic values.


Author(s):  
Budiyatmi Budiyatmi

Competition in all sectors and of human life : in local, national and global, requires the role of art education as a strategic choice. Arts education as part of character education is to obtain aesthetic experience and discover the value of beauty. Tomohon as one of the tourist city has a natural potential and very interesting to visit. Predicate ‘city of flowers’ is an attraction in itself too. Business opportunities in the field of Flora, make businessmen and investors keep to develop business in the field of this industrial. Then training dercoration art or art flower arrangement, became a media that needs to be selected in the creation of quality works. Media is easily obtained and if they supported with a design concept, this is can be interesting artwork in the middle of the competition and the development of applied arts. The charm of the plant is able to present the beauty of the room decor. They can complete by combining various types of flowers in a container, and inserted along with a variety of foliage. Set of parts of the plant will appear more attractive if they knew about the art of stringing. The problem is, there have some basic things who can make wild flowers or leaves to make it look attractive. Based on these ideas, skills need to be provided in an attempt to tackle the problem a lack of interest to pursue business in the field of art is one of the alternatives to bring in additional revenue source. Keywords: art education, aesthetic values, flora, flower, decoration.


Author(s):  
Md. Mahadi Hassan

Some separate aesthetics and philosophy of art, claiming that the former is the study of beauty while the latter is the study of works of art. However, most commonly Aesthetics encompasses both questions around beauty as well as questions about art. It examines topics such as aesthetic objects, aesthetic experience, and aesthetic judgments. For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.


Author(s):  
Heather Dyke

Perhaps the most important dispute in the metaphysics of time is over the passage of time. There are two basic metaphysical theories of time in this dispute. There is the A-theory of time, according to which the common sense distinction between the past, present and future reflects a real ontological distinction, and time is dynamic: what was future, is now present and will be past. Then there is the B-theory of time, according to which there is no ontological distinction between past, present and future. The fact that we draw this distinction in ordinary life is a reflection of our perspective on temporal reality, rather than a reflection of the nature of time itself. A corollary of denying that there is a distinction between past, present and future is that time is not dynamic in the way just described. The A-theory is also variously referred to as the tensed theory, or the dynamic theory of time. The B-theory is also referred to as the tenseless theory, or the static, or block universe theory of time. The A-theory comes in various forms, which take differing positions on the ontological status granted to the past, present and future. According to some versions, events in the past, present and future are all real, but what distinguishes them is their possession of the property of pastness, presentness or futurity. A variation of this view is that events are less real the more distantly past or future they are. Others hold that only the past and present are real; the future has yet to come into existence. Still others, presentists, hold that only the present is real. Events in the past did exist, but exist no longer, and events in the future will exist, but do not yet exist. According to the B-theory, all events, no matter when they occur, are equally real. The temporal location of an event has no effect on its ontological status, just as the spatial location of an event has no effect on its ontological status, although this analogy is controversial. The A-theory has a greater claim to being the theory that reflects the common sense view about time. Consequently, the burden of proof is often thought to be on the B-theorist. If we are to give up the theory of time most closely aligned with common sense, it is argued, there must be overwhelming reasons for doing so. However, the A-theory is not without its problems. McTaggart put forward an argument that an objective passage of time would be incoherent, so any theory that requires one cannot be true. The A-theory also appears to be, prima facie, inconsistent with the special theory of relativity, a well-confirmed scientific theory. Although the B-theory is less in line with common sense than the A-theory, it is more in line with scientific thinking about time. According to the special theory of relativity, time is but one dimension of a four-dimensional entity called spacetime. The B-theory sees time as very similar to space, so it naturally lends itself to this view. However, it faces the problem of reconciling itself with our ordinary experience of time. Because the two theories about time are mutually exclusive, and are also thought to exhaust the possible range of metaphysical theories of time, arguments in favour of one theory often take the form of arguments against the other theory. If there is a good reason for thinking that the A-theory of time is false, then that is equally a good reason for thinking that the B-theory of time is true, and vice versa.


Nature ◽  
1921 ◽  
Vol 106 (2677) ◽  
pp. 791-793 ◽  
Author(s):  
J. H. JEANS

2021 ◽  
Author(s):  
ALISYAH PUTRI RAMADHINA ◽  
Diyah Setiyowati ◽  
Krisnayanti Nur Syahbani ◽  
Febrinda Setyo Damayanti ◽  
Moses Glorino Rumambo Pandin

In the 21st century, the existence of the digital world continues to experience modernity, especially in changes to literacy with digital media through the Wattpad application. Wattpad is an online reading and writing platform with the essence for the value of goodness and beauty that can be viewed from the aesthetics of axiology. This study aims to explore the role of Wattpad in the world of modern literature and its relevance to ethical and aesthetic perspectives in axiology. This study uses a qualitative descriptive method by conducting interviews with ten students from the Wattpad application and reviewing literature with references to databases, journals, and articles from other relevant researchers. The results show that Wattpad acts as a forum for reading millions of stories from all kinds of writers. And according to ethical and aesthetic values in axiology, it also acts as a medium to write stories with beauty for the common good. The researcher suggests that Wattpad can be installed by all teenagers and used to understand the importance of literacy and have the ability to analyze beauty in a literary work. This research only focuses on the Wattpad platform as a medium to support literacy and the limited number of respondents.


2021 ◽  
Vol 13 (2) ◽  
pp. 169-179
Author(s):  
Marina V. Loginova

Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.


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