scholarly journals Aesthetical Quality & Artistic Values of Beauty of Tagore and Seal

2018 ◽  
pp. 50-61
Author(s):  
Md. Mahadi Hassan
Keyword(s):  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
Art Object ◽  
Significant Distinction ◽  
Works Of Art ◽  
Artistic Values ◽  
Aesthetic Judgments

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.

scholarly journals Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noël Carroll

MELINTAS ◽  
2017 ◽  
Vol 32 (2) ◽  
pp. 148
Author(s):  
Mardohar B. B. Simanjuntak
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Experience ◽  
Historical Narrative ◽  
Philosophy Of Art ◽  
Simple Matter ◽  
Works Of Art ◽  
Definition Of ◽  
Recurrent Theme

Defining what an artwork is has been a recurrent theme in aesthetics, or to be more specific, in the philosophy of art. Yet this is proven to be no simple matter. Thus finding the definition of art has proven to be an elusive undertaking as works of art have always kept on eluding one definition after another. A strong definition might have proven to be illusory. An analytic aesthetician, Noël Carroll has undertaken a complex, if not ambitious, project opting to refute this conundrum in aesthetics by proposing another perspective that stems not from metaphysics but an epistemological one. He managed to show analytically that the epistemological approach is far less problematic and even offers a string of advantages at the praxis level. Carroll completed his proposal by revising two of the most powerful definition of art, that is, the Kantian aesthetic experience and the Levinsonian historical definition of art in those he emancipated the most essential foundation disinterestedness coined by Immanuel Kant, and set the modified definition in a trail of historical correctness. The mix between these two strong elements has amalgamated in a new breed proposed by Carroll in that he labels it historical narrative. This, for Carroll, is a better option over endless disputes over the speculated essence of an artwork and its criticism.

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
Keyword(s):  
Physical Theory ◽  
Aesthetic Experience ◽  
Transcendental Phenomenology ◽  
Theory Of Relativity ◽  
Phenomenological Interpretation ◽  
Value Judgements ◽  
The Common ◽  
Artistic Values ◽  
Aesthetic Values

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.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

Literature and Knowledge

Philosophy ◽  
1983 ◽  
Vol 58 (226) ◽  
pp. 489-496 ◽  
Author(s):  
Catherine Wilson
Keyword(s):  
Philosophy Of Art ◽  
Complete Understanding ◽  
Cognitive Value ◽  
Science And Art ◽  
Works Of Art ◽  
The Universe

There is probably no subject in the philosophy of art which has prompted more impassioned theorizing than the question of the ‘cognitive value’ of works of art. ‘In the end’, one influential critic has stated, ‘I do not distinguish between science and art except as regards method. Both provide us with a view of reality and both are indispensable to a complete understanding of the universe.’ If a man is not prepared to distinguish between science and art one may well wonder what he is prepared to distinguish between, but in all fairness it should be pointed out that the writings of anti-cognitivists contain equally strenuous statements of doctrine. For I. A. Richards, poetry consists of ‘pseudo-statements’ which are ‘true’ if they ‘suit and serve some attitude or link together attitudes which on other grounds are desirable’.

Aesthetic Judgments and Their Cultural Grounding

2019 ◽  
Vol 2018 (3) ◽  
pp. 269-281
Author(s):  
Stefan Majetschak
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Object ◽  
Theoretical Approaches ◽  
Complex Approach ◽  
Cultural Grounding ◽  
The Aesthetic ◽  
Aesthetic Judgments

Abstract At present, the theoretical approaches of Baumgarten and Kant continue to constitute the framework for discussing the nature of aesthetic judgments about art, including the question of what such judgments are really articulating. In distinction to those two eighteenth-century theorists, today we would largely avoid an assumption that aesthetic judgments necessarily attribute beauty to the objects being judged; we would as a rule take a far more complex approach to the topic. But whatever we say about art, even today many theorists wish to ground aesthetic judgments in particularities of the aesthetic object, like Baumgarten, or in specific moments of the aesthetic experience, like Kant.

A picture is worth a thousand words! How visual storytelling transforms the aesthetic experience of novel designs

2020 ◽  
Vol 29 (7) ◽  
pp. 913-926 ◽  
Author(s):  
Christin Seifert ◽  
Veena Chattaraman
Keyword(s):  
Aesthetic Experience ◽  
Visual Design ◽  
Cognitive Responses ◽  
Holistic Model ◽  
Significant Interaction Effect ◽  
Visual Storytelling ◽  
Content Type ◽  
Holistic Understanding ◽  
The Aesthetic ◽  
Aesthetic Judgments

Purpose This study aims to provide a holistic understanding of how visual storytelling influences the objective and subjective cognitive responses of consumers, namely objective aesthetic impression and subjective aesthetic association, and aesthetic judgments in response to differing levels of novelty in design innovations. Design/methodology/approach A mixed-factorial experimental study manipulating the novelty of chair designs (moderate/high) and visual design stories (present/absent) was conducted among 263 female US consumers to test the proposed research model. Findings With respect to the main effects of novelty and visual design stories, consumers had more positive cognitive responses and aesthetic judgments to: product designs with moderate (vs high) novelty; and products with visual design stories than without. A significant interaction effect uncovered that visual design stories particularly aided products with high (vs moderate) design novelty with respect to objective aesthetic impressions. Examination of the structural relationships between the variables revealed that subjective aesthetic associations mediate the relationship between objective aesthetic impressions and aesthetic judgments. Practical implications To mitigate risk in radical design innovations, marketers should use visual storytelling to communicate product form associations and enable consumers to successfully decode the meaning of novel designs during initial encounters. Originality/value By examining a holistic model involving both perceptual and conceptual product concepts, this study fills a critical research void to develop insightful implications on bridging the gap between novel product designs and consumer understanding.

Understanding Art and Understanding Persons

1984 ◽  
Vol 17 ◽  
pp. 43-60
Author(s):  
Frances Berenson
Keyword(s):  
Aesthetic Experience ◽  
Cross Cultural ◽  
Present Series ◽  
Aesthetic Judgments

I have been asked to contribute a paper to the present series of lectures on culture, specifically on whether it is possible to understand the art of other cultures. What I find intriguing is why this question arises; why is such understanding seen as a problem needing discussion?These are significant questions. How they are answered will be important for any possibility of cross-cultural aesthetic judgments and aesthetic experience. In order to deal with them it is necessary to see how they got purchase, what background they emerged from.

Knowledge Of God

Philosophy ◽  
1958 ◽  
Vol 33 (124) ◽  
pp. 56-56
Author(s):  
Constance I. Smith
Keyword(s):  
Religious Experience ◽  
Aesthetic Experience ◽  
Knowledge Of God ◽  
Interesting Discussion ◽  
Way Of Knowing ◽  
Objective Reference ◽  
Aesthetic Judgments

In his interesting discussion of Mr. C. B. Martin's Mind article “A Religious Way of Knowing,” Mr. W. D. Glasgow (PHILOSOPHY, July i957);“Knowledge of God”), agrees with Martin that emotions and feelings are part of what we call an aesthetic experience, and also that emotions and feelings are part of what we call a religious experience. “In this sense, at any rate,” Glasgow writes, “there is an analogy between aesthetic experience and religious experience. But...” he goes on, “are aesthetic statements more than statements about emotions and feelings? Are statements about religious experience anything more than statements about emotions and feelings? A person could accept the analogy and yet maintain that for him aesthetic judgments have an objective reference. In this case the analogy confirms rather than destroys the existential claim of the theologian.”

scholarly journals Against a “Life Hack” Approach to Art Education

2016 ◽  
Vol 43 (1) ◽  
pp. 199
Author(s):  
Claudia W. Ruitenberg
Keyword(s):  
The Netherlands ◽  
Art Education ◽  
Aesthetic Experience ◽  
Museum Education ◽  
Art Museums ◽  
Pedagogical Intervention ◽  
Works Of Art ◽  
Making Art

Abstract: This paper critiques de Botton and Armstrong’s Art as Therapy project (2013-2015), a collaboration with art museums in Canada, the Netherlands, and Australia, in which labels in the gallery, as well a catalogue and website, explain how viewers might use works of art to serve therapeutic purposes in their lives. The paper argues that, instead of making art more accessible to those who, allegedly, do not find access to art on their own, the Art as Therapy project undermines the force and richness of art by first declaring it useless and inaccessible and then repurposing it as therapeutic life hack.KEYWORDS: Museum education; aesthetic experience; pedagogical intervention; interpretive freedom.Résumé: Cet article se veut une critique du projet Art as Therapy (2013-2015) de Botton et Armstrong, mené en collaboration avec des musées des beaux-arts canadiens, néerlandais et australiens, dans le cadre duquel les affichettes des musées, ainsi que catalogues et sites Web, expliquent aux visiteurs comment utiliser les œuvres d’art à des fins thérapeutiques dans leur quotidien. Dans cet article, je prétends que, plutôt que rendre l’art davantage accessible à ceux qui ne peuvent supposément y accéder de leur propre chef, le projet Art as Therapy sape la force et la richesse de l’art en le déclarant à prime abord inutile et inaccessible pour le transformer par la suite en « astuces de vie » thérapeutiquesMOTS CLES: Éducation muséale; d’expérience esthétique; intervention pédagogique; la liberté interprétative

scholarly journals THE BORDERS OF ART

2017 ◽  
pp. 5-9
Author(s):  
I. A. Bondarevska
Keyword(s):  
Human Life ◽  
Main Idea ◽  
Aesthetic Judgment ◽  
Point Of View ◽  
Philosophy Of Art ◽  
Aesthetic Judgement ◽  
National Anthem ◽  
Cultural Field ◽  
Social And Cultural Factors ◽  
Tv Show

The paper examines delimitation art and non-art as a crucial issue in contemporary philosophy of art. This thesis is developed with a special reference to Thierry de Duve’s nominalistic theory and is argued that this theory traces some opportunity for seeking answer the question indicated in the title. The author agrees with the main idea that name of an art is a performative, which makes changes in our mind and transform a mere thing into a work of art. This is an actual way to create the borders of art, which means to accept a unique point of view witha unique attitude to the world. The article states that the provocative statement "all can be art, but not all is art" gives us necessary tension to overcome the traditional essentialist mode of thinking. However, the author puts in question the ideas, which have implicit essentialist connotations. Duve’s theory argues that aesthetic judgement is a main condition for establishing the borders of art. The theory explores a crucial change of judgement about art. The judgment "this is art"is functioning like the judgment “this is beautiful” in the previous time and they two have equivalent attributes in the art and human life. I refute these ideas as not convincing and prove the alternative theses: the name of art performative power is determined primarily with social and cultural factors (not aesthetic judgment). The author offer the TV show episode The National Anthem (Black Mirror) as a model for testing the theory.It is evident that modern notion of art is tied to existence of the autonomous social "artworld" (Arthur Danto), or cultural field (Pierre Bourdieu) or social system (Niclas Luhmann). Any judgment about art cannot escape its destiny to divide people and social opinion. As a result, we have at least two subjects (instead of one) withdifferent statuses and authority to say and to be heard. The author concludes that judgment “this is art”is political as such but judgment “this is beautiful” is not.

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