Aesthetic Conflict in the Couple

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Barbara Bianchini

At the basis of the union between two partners is the aesthetic turmoil that derives from the manifest beauty of the object, which is unknowable internally, and which arouses both love and hate simultaneously. The tension between love, hate, and knowledge stems from their apparent incompatibility. It is almost impossible to sustain this constellation of intense and contradictory emotional ties with the object; attempting to do so can prove unbearable. This is what Meltzer calls the aesthetic conflict, highlighting that the tragedy of the aesthetic experience lies not in its transience, but in the object's enigmatic quality. The inability to assimilate sufficiently the resulting affective ambivalence means exposing oneself to potentially overwhelming emotions. Trying to erase these emotions deprives one of the vital knowledge and motivation they bring. If, however, the ambiguity of the object is tolerated, the dread of uncertainty of the partner's intentions stimulates psychic growth and creativity, transforming it into compassion for the frailty of human life and all things. I believe that the experience of being in an intimate relationship can be the stage on which these aspects of the aesthetic conflict are played out—crucial aspects for the development of both the couple relationship and the individual. This paper examines and develops aspects of the aesthetic conflict within a couple relationship.

1986 ◽  
Vol 62 (2) ◽  
pp. 531-539 ◽  
Author(s):  
Leonard Zusne

A reconceptualization of some of the ideas associated with the aesthetic experience is proposed. The problems that arise in defining the terms ‘beautiful’ and ‘perfect’ may be overcome by substituting the term ‘fittingness.’ The core of the aesthetic experience is the experience of some degree of fit between the specimen (the aesthetic object or event) and the corresponding standard. The degree of fit determines the intensity of the experience. The essential element of the aesthetic experience is the process of collation between specimen and standard, but the nature of the experience must be sought in the realm of motivation. To every instance of an extrinsive motive that begins with a deficiency, stimulation, or conflict and ends in homeostasis, there corresponds an intrinsic motive that is self-reinforcing. Cognitive conflicts lead to cognitive dissonance, and cognitive equilibrium is achieved by various cognitive means. There is also a state of cognitive consonance, which is sought for its own sake. The aesthetic experience is the experience of cognitive reinforcement that occurs upon the realization that the aesthetic specimen approximates or fits the model of perfection currently held by the individual. This reinforcing experience of cognitive consonance is the core of the aesthetic experience. This view is compared with Berlyne's theory.


Author(s):  
Dalius Yonkus

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction.


2016 ◽  
Vol 9 (1) ◽  
pp. 160-167
Author(s):  
Camilla Pagani

Background: According to the Latin poet Virgil, art is capable of revealing to us what no science can ever reveal to a human mind. The main thesis of this paper is that art can play an extremely beneficial role in society as it can strongly foster humans’ efforts to attain a deeper and broader comprehension of reality. Objective: The experience of art can provide a powerful contribution to the efforts to avoid resorting to violence and to address conflicts constructively. Violence or, more exactly, unjustified violence, basically rests on an irrational and short-sighted analysis and interpretation of reality. Results: The psychological processes relating to the aesthetic experience and to its connections with violence are described. It is also pointed out that this theoretical perspective does not fully coincide with the theoretical theses underpinning art therapy. In fact, in this paper art is not considered as a mere therapeutic instrument. Instead, an attempt has been made to consider art and our relationship with art in their more complex and partly still unexplored aspects, where neither art or the individual is “at the service” of the other. Conclusion: Art can provide the possibility to experience a new dimension, where no power relations exist and where new ways of seeing and feeling are made possible. It can hence foster the development of less primitive and richer personalities. In this way violence should lose its raison d’être. So it appears that this theoretical approach might be particularly helpful in order to better understand and countervail violence.


Author(s):  
N. E Mitin ◽  
V. E Tikhonov ◽  
Maksim Igorevich Grishin

The aesthetic problems associated with defects in appearance and wearing orthodontic appliances in the malocclusion, the negative impact on the psyche of the patient in all age groups. Malocclusion disturb the aesthetic appearance of the patient, causing functional disorders and pathological changes. The problem ofprevention and treatment ofdentoalveolar anomalies has not only medical, but also a social value. Many patients understand the needfor timely treatment to the dentist. Beautiful and straight teeth have become part of modern life, his well-being, health and social status. Any abnormalities always affect the psyche. Patients with dental system pathology suffer from changes in appearance, violations of phonetics, chewing function and this formed the difficulties in communication. Mental and emotional state plays an important role in human life, which affects the predictions of success and the development of treatments. Do not unimportant role in the treatment plays a dentist, his mood affects the man, and he has concluded on the basis of suggestion or self-hypnosis. The mood doctor can specifically change the whole picture of the disease, and set up a patient in a positive way. Therefore, the physician should become familiar with the individual characteristics of the patient and adjust it to the correct understanding of the disease that would yield results.


2012 ◽  
Vol 1 ◽  
pp. 22-40
Author(s):  
Zoltán Varga

The paper tries to analyse how the irruption of history was transformed into an artistic and intellectual challenge in the autobiographical works of Sándor Márai. Márai who started to keep his diary in 1943 inspired by his readings of the diaries of André Gide sought to construct an authentic space of presence, safe from historical time and from the discourses of public opinion, in order to devote himself to researching the singularity of his existence and his “lived time”. But the programme of his diary was progressively changed: although Márai had started recording his daily observations and reflections with a similar detachment from public affairs as Gide, during the course of the war, his diary became more and more determined by public discourses. The Hungarian writer shifted his perspective from the individual to the collective, the aphoristic discourse giving way to passionate accusations. His reflection, which earlier belonged to the order of cognition, turned later into the order of ethic, in a mixture of moral reflection, political commitment, expression, and performative verbal action. But the overshadowing of the aesthetic experience of the world during the chaotic years of his intellectual and artistic confusion also had its dangers, namely the incursion of semi-public political and ideological discourses in Márai’s wartime diaries. In the reformulation of his wartime experiences thirty years later – in the Memoir of Hungary – Márai succeeded in finding a new artistic form to represent his past. The complexity of narrative structures and temporal composition, the dramatic and metaphorical correlation of the changing social, national and psychological components of identity represented in the Memoir of Hungary creates a particular literary (aesthetic) effect, which in turn intensifies our reading experience and encourages the reader to go beyond the ideological constructions of official historical writing.


Author(s):  
José Quaresma ◽  

In this article we share the conviction that any aesthetic judgement is compounded of extreme spontaneity (I); communicated share (and not a presumed share) - the demands set by the Other of the communication and the conflict of two distinct claims (II); the personal synthesis between the individual spontaneity and the results of the share done with the Other of the aesthetic communication (III). We also admit that these three aesthetic occurrences are equally needed to the aesthetic communication, but we lay stress on the first occurrence - extreme spontaneity - as the “touch stone” of both aesthetic experience and judgement’s communication. What we corne to emphasize is that the occurrence “extreme spontaneity” is not just the very basis of the aesthetic experience, but as well, the “touch stone” of the aesthetic communication that never fades away of the discussion, even when the most rational arguments are present. As a mater of fact, this occurrence is there at the very first moment, persists secretly and strategically at the second one - moment of the communicated share - and reappears openly at the synthetic occurrence. We also defend that the “extreme spontaneity” is the occurrence that generates the suspicion’s exercise about the excesses of the communication’s rationality; that makes the suspicion something permanent (sometimes visible others latent); and finally, allows us to say that without its craft and the sensitive suspecting power the communication of the aesthetic judgement loses its authenticity and becomes empty in its universal claiming and tensional life.


Author(s):  
Tu Wei-Ming

Chinese philosophy may be viewed as disciplined reflections on the insights of self-cultivation. Etienne Balazs asserted that all Chinese philosophy is social philosophy and that, even if Chinese thinkers dwell upon metaphysical speculation, they will sooner or later return to the practical issues of the world here and now. This concern for the concreteness of the life-world gives the impression that the social dimension of the human condition features so prominently in the Chinese world of thought that the idea of the group takes precedence over conceptions of the individual self. The anthropological studies that contrast the Chinese sense of shame with the Western sense of guilt further enhance the impression that external social approval, rather than internal psychological sanction, defines the moral fabric of Chinese society. The prevalent sociological literature on the mechanism of ‘saving face’ as a key to understanding Chinese interpersonal relationships also stresses the centrality of external conditioning in Chinese ethics. If we follow this line of thinking, it is easy to assume that Chinese philosophers are preoccupied with neither the transcendent referent nor the inner psyche. They are not particularly interested in questions of ultimate reality such as the creator, the origin of the cosmos or the existence of God. Nor are they engrossed in problems of the mind such as consciousness, self-identity or moral choice. Indeed, Chinese philosophy as social philosophy seems exclusively immersed in issues of correct behaviour, familial harmony, political order and world peace. Even strands of thought that emphasize the aesthetic experience of the self are all intimately bound up with the highly ritualized world of human-relatedness. Actually the spirit of spontaneity, as a liberation from social constraints, should be appreciated in terms of a conscious reflection on and critique of society and thus inherently sociological. However, this widely held opinion of Chinese philosophy is seriously flawed. While it offers a common-sense picture of where the strength of Chinese thought lies, it does not address the underlying reasons or the actual processes that define the main trajectory of the Chinese modes of thinking. Wing-tsit Chan suggests a more comprehensive characterization of Chinese philosophy as humanism: ‘not the humanism that denies or slights a Supreme Power, but one that professes the unity of man and Heaven’ (Chan 1963: 3). It is crucial to note that ‘humanism’ so conceived is diametrically opposed to secular humanism as a distinctive feature of the Enlightenment mentality of the modern West. Western humanism emerged as a thorough critique of spiritualism and a radical departure from naturalism, or a sense of affinity with nature; it was the result of secularization. Chinese humanism, on the other hand, tends to incorporate the spiritual and naturalist dimensions in a comprehensive and integrated vision of the nature and function of humanity in the cosmos. The advantage of characterizing Chinese philosophy as humanistic rather than sociological is to open the possibility of allowing aesthetic, religious and metaphysical as well as ethical, historical and political perspectives to shape the contours of the Chinese reflective mind. This synthetic approach better captures the spirit of Chinese thought because it was historical and social change, rather than speculation, which was instrumental in the outgrowth of humanism as a defining characteristic of Chinese philosophy.


2017 ◽  
Vol 22 (1) ◽  
pp. 51-60 ◽  
Author(s):  
André G. Pinto

In this article I outline the idea of an empirical/experiential reconnection to the natural non-human world through the practice of deep listening. I believe that the aesthetic experience is central to a more ecological positioning of the human being on earth and that aesthetic experience should involve a ‘rewilding of the ear’. To discuss this concept, I build an argument from Edgard Varèse’s music as ‘organised sound’ and approach it from a perceptual point of view. This leads to the discussion of other concepts, such as David Dunn’s ‘grief of incommunicability’ (Dunn 1997) and Jean-François Augoyard and Henry Torgue’s ‘sharawadgi effect’ (Bick 2008). Further to this I discuss parallels between Truax’s continuum (Speech–Music–Soundscape) and Peirce’s semiotic system. Taking points from these theories, we can discuss the possibility of the re-tuning of our ears to the wider sound palette of the world. I consider George Monbiot’s concepts of ‘rewilding’ and ‘rewilding of the human life’ (Monbiot 2014), in order to create a parallel to our relationship with the soundscape.


Author(s):  
Shiqiao Li

Instead of yearning for absolute freedom as in the Western city, human agency as an idea seems to be generally understood as conditional in the Asian city. This chapter discusses the obscuring of indigenous urban traditions in Asia, the role of human agency in relation to the meanings of property ownership, conceptions of human labor, and the aesthetic experience of contingency, in an attempt to explore alternative ideas and practices of the place of human life in the environment. Human agency in Asian cities contains elements of intellectual and urban insights that have potential for future cities. However, these potentials and insights must be excavated and reformulated in order to gain theoretical and political efficacy in our fast-changing world today.


2021 ◽  
Author(s):  
Rebekah Rodriguez ◽  
Anna Fekete ◽  
Paul Silvia ◽  
Katherine N. Cotter

The aesthetic experience of a collection of works—such as a sculpture garden, a neighborhood filled with street art, or an afternoon spent wandering in a museum—is not simply the sum of experiences of the individual works. In the present research, we explored visit-level aesthetic experiences in a field study of 298 visitors to a museum of modern and contemporary art. In particular, we focused on emotional diversity: the richness, complexity, and heterogeneity of the emotions that people experienced during their visit. After their visit, participants reported the degree to which they experienced, if at all, 10 emotions, for which we calculated diversity metrics reflecting their emotional variety (the number of emotions experienced) and emotional balance (the relative evenness between emotions or dominance of a single emotion) during the visit. Overall, the sample reported a rich aesthetic experience, but there was wide and predictable variability. Among other findings, emotional variety was higher for people with greater openness to experience and among first-time visitors to the museum; emotional balance was higher among people high in openness to experience and people with greater interest in art. The concept of diversity—the richness and complexity of someone’s emotional experience of the arts—appears promising for understanding holistic aesthetic experiences, such as entire museum visits rather than single works, as well as for many other questions in empirical aesthetics.


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