scholarly journals Complex ekphrasis of the Hermitage moving in the latest russian poetry

2021 ◽  
Vol 6 (2) ◽  
pp. 34-45
Author(s):  
Alexander Viktorovich Markov
Keyword(s):  
Aesthetic Experience ◽  
Formal Analysis ◽  
Close Reading ◽  
Self Awareness ◽  
Aesthetic Perception ◽  
Three Solutions ◽  
Mental Work ◽  
Sensory Experiences ◽  
Works Of Art ◽  
The Aesthetic

Poetic ekphrasis may be not only simple, like a description of a work of art as a system of images that naturally come to life in an artistic description, but also complex, meaning the stay of exhibits in a museum or gallery. Complex ekphrasis is used also be different, in contrast to the type of contextualization of exhibits in the space intended for them, and a special ekphrasis of movement can be distinguished, where it is not the delay in front of the exhibits that is important, but the experience of the museum space itself as strange, existentially significant and associated with key existential moments in the life of a lyric character. In such a subspecies of ekphrasis, it is not the action of the imagination that is essential, but the skills of orientation in a value-marked space, with signs of up and down, openness and closeness, due to which the return of aesthetic experience in a complex existential situation is thought. The article offers a close reading of several examples of such an ekphrasis of gallery movement. In the poetry of Mikhail Eremin, the Saint Petersburg Hermitage turns out to be, first of all, a place of various forms of reflection, and the overlap between the metaphorical (reflection and attention to the phonetics of speech) and literal (mirror) understanding of reflection forms a mechanism for the quickest transition from spatial confusion to the aesthetic experience of the Hermitage collection. In the poetry of Sergei Stratanovsky, on the contrary, the Hermitage is shown through the eyes of a conventional character, immune to culture, where the mechanisms of such a transition are absent, and any attempt to simplify spatial self-awareness turns into a total immunity to art. In the poetry of Asya Veksler, the Hermitage turns out to be a hero with its own subjectivity, modeled on Petersburg in Anna Akhmatova's Poem Without a Hero, and this allows the episodes of a love drama to be developed as confirmed by various formal decisions and to erase the border between the aesthetics of space premises and the aesthetics of works. All three solutions imply the general properties of a complex ekphrasis of displacement: 1) a presence of an existential basis of a poetic utterance, detached from the usual modes of relations with time, partially blocking the usual modes of aesthetic perception of works of art, 2) a constant search for means of overcoming this blocking, which can be successful, if associated with the acceleration of sensory experiences, and unsuccessful if associated with frustration and/or routine admiration, 3) a situation in which architectural and design decisions are perceived as deeply symbolic and valuable, while works of art remain mysteries among other mysteries, and only the correctly found speed of mental work with the past and the present allows them to be perceived, 4) uses of the names of artists and plots of works not as symbols, but as part of the route, with the ambiguity of this route, the lack of sufficient motivation for it in the plot, but partial support from the book explications or educational habits, 5) an attention to the formal components of both the interior and individual works, as the only key to integrating these solutions into large value oppositions. A close reading of these poems allows for a better understanding of the importance of formal analysis for a comprehensive understanding of fine art and plastics and their reflection in literature as an art that deals with different modes of sensing time.

scholarly journals El arte y la desapropiación del mundo

2021 ◽  
Vol 18 ◽  
Author(s):  
Sergio Espinosa Proa
Keyword(s):  
Aesthetic Experience ◽  
Three Dimensions ◽  
One Dimension ◽  
Material Objects ◽  
Human Being ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic

Las obras de arte son objetos materiales que al mismo tiempo y de modos misteriosos son objetos espirituales (a saber: inmateriales). Utilizando a Kant y a Schiller, en este artículo se opone a la calificación platónica y aristotélica una concepción distinta del arte, que sería una manufactura humana no sometida a la lógica de la apropiación, sino de su contraria. El hombre es un ser racional, pero Kant le otorgó tres dimensiones a esta idea: la razón es conocimiento, mas también compasión y contemplación. Un ser humano tiene intereses teóricos, intereses prácticos... y desintereses múltiples. El "temple estético" al que Schiller hace referencia apunta a esta facultad de no hacer nada, a este aflojamiento de las tensiones, ocupaciones y preocupaciones, al puro deleite (o pavor) de estar meramente en el mundo. La experiencia o la emoción estética aflora cuando no esperamos nada —ni bueno ni malo— de las cosas. Es paradójico que una dimensión de nuestra racionalidad sea la facultad de no esperar, de no buscar, de no modificar o sustituir, de no mover un dedo, de simple y llanamente no hacer nada: es la facultad de dejar llegar, de dejar aparecer (y desaparecer), de dejar ser a las cosas; es la facultad de desactivar —momentáneamente— nuestras otras facultades. Works of art are material objects that at the same time and in mysterious ways are spiritual objects (i. e. immaterial). Using Kant and Schiller, this article opposes the Platonic and Aristotelian qualification with a different conception of art, which would be a human manufacture not subject to the logic of appropriation, but of its opposite. Man is a rational being, but Kant gave this idea three dimensions: reason is knowledge, but also compassion and contemplation. A human being has theoretical interests, practical interests… and multiple interests. The “aesthetic temper" to which Schiller refers points to this faculty of doing nothing, to this loosening of tensions, occupations and worries, to the pure delight (or dread) of being merely in the world. Aesthetic experience or emotion comes to the surface when we expect nothing —neither good nor bad— from things. It is paradoxical that one dimension of our rationality is the faculty of not waiting, of not seeking, of not modifying or substituting, of not moving a finger, of simply doing nothing: it is the faculty of letting come, of letting appear (and disappear), of letting things be; it is the faculty of deactivating —momentarily— our other faculties.

scholarly journals La fenomenología de la razón y la experiencia estética. Edmund Husserl y Vasily SesemanNN

2021 ◽  
pp. 129
Author(s):  
Dalius Yonkus
Keyword(s):  
Aesthetic Experience ◽  
Edmund Husserl ◽  
Necessary Conditions ◽  
Intentional Object ◽  
Phenomenological Reduction ◽  
Phenomenological Method ◽  
Aesthetic Perception ◽  
Aesthetic Object ◽  
The Aesthetic ◽  
Do So

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.

Aesthetic perception of a small office with different daylighting systems

2017 ◽  
Vol 27 (9) ◽  
pp. 1187-1202 ◽  
Author(s):  
Claudia Moscoso ◽  
Barbara Matusiak
Keyword(s):  
Aesthetic Experience ◽  
Semantic Differential ◽  
Aesthetic Perception ◽  
Significant Interaction Effect ◽  
Clear Sky ◽  
Single Side ◽  
The Aesthetic ◽  
Sky Conditions ◽  
Overcast Sky

The quality of a lit environment cannot be deduced solely from the quantity of light. Therefore, daylighting studies should not only be focused on the usage of lighting metrics but should also consider the aesthetic experience. This paper examines the influence of daylighting systems on the aesthetic perception of a small office. One single side lit office was equipped with four different daylighting systems (white blinds, high-reflecting blinds, hybrid light shelf and mirror light shelf) under two sky conditions (clear sky and overcast sky). In total, eight stimuli were captured and presented via stereoscopic images. Fifty participants evaluated the images using the semantic differential scale to rate nine architectural quality attributes. The results from MANOVA indicated that both the daylighting systems and the type of sky had an effect on the aesthetic attributes, and that the significant interaction effect suggested that the aesthetic perception of a daylighting system depends on the type of sky. Subsequent statistical findings showed that the high-reflecting blinds comprised the daylighting system that scored highest in nearly all attributes under both clear and overcast sky conditions.

scholarly journals BEING STRUCK: GADAMER ON THE CONTEMPORANEITY OF ART

2021 ◽  
Vol 10 (1) ◽  
pp. 286-304
Author(s):  
PATRICK MARTIN ◽  
Keyword(s):  
Aesthetic Experience ◽  
Sense Of Self ◽  
Second Step ◽  
Close Reading ◽  
The Aesthetic

With this article I offer a close reading of Gadamer’s Aesthetics and Hermeneutics. The reason I draw attention to this essay is as a response to criticism aimed at Gadamer’s hermeneutic account of art. In its reception, it has occasionally been viewed as too hermeneutical, too focused on understanding. I maintain that Aesthetics and Hermeneutics can be considered exempt from this critique. Here, Gadamer offers us the hermeneutic experience in its most aesthetic guise: in being struck by the significance of the artwork. The main purpose of this article is to clarify this experience. This task I undertake in two steps. First, I emphasize the aesthetic nature of this experience of “being struck” by the artwork in an answer to Figal’s critique. As a supplement to Gadamer’s theoretical remarks in Aesthetics and Hermeneutics, I consider the performance piece Faust by Anne Imhof. The second step of my argument intends to show that Gadamer does not “reduce” the aesthetic experience to a hermeneutic experience of meaning but grounds the experience of art hermeneutically. I will argue for my thesis by closely reconstructing Gadamer’s argument in Aesthetics and Hermeneutics. The guiding question is, what is the significance of this aesthetic experience for Gadamer’s hermeneutics? Gadamer conceptually clarifies the experience of “being struck” in terms of the notion of contemporaneity. In my interpretation, the experience of art shakes us with a sense of self-implication.

scholarly journals Artistic Reception as a Field of Implementation of the Aesthetic Component of Advertising

2015 ◽  
pp. 29-33
Author(s):  
Anastasia F. Zaytseva
Keyword(s):  
Comparative Analysis ◽  
Complex Phenomenon ◽  
Aesthetic Perception ◽  
Works Of Art ◽  
New Perspective ◽  
The Aesthetic

In this article, the author examines the perception of art as a field of implementation of the aesthetic function of advertising. Being based on research works in the field of receptive aesthetics and phenomenology, the author analyzes the relevance of the aesthetic perception of advertising communications. The article examines the advertising communications as a complex phenomenon; there is presented a comparative analysis of the values of perception of works of art and of advertising samples. The article opens a new perspective on the aesthetic component in advertising. The author goes beyond the classical idea of its implementation through artistic techniques and shows a vast field of actualization of the aesthetic component in advertising.

scholarly journals ARCHITECTURAL COMPONENTS OF THE PARK ENVIRONMENT AS INDICATORS OF THE SOCIO-CULTURAL FACTORS’ IMPACT ON AESTHETIC PREFERENCES

2021 ◽  
pp. 191-204
Author(s):  
Nadiia Gatalska ◽  
Matyna Kolenkina
Keyword(s):  
Aesthetic Experience ◽  
Negative Impact ◽  
Age Groups ◽  
Positive Influence ◽  
Cultural Factors ◽  
Aesthetic Perception ◽  
The Aesthetic ◽  
Neutral Effect ◽  
Aesthetic Preferences ◽  
Ideological Context

The article presents outlines the importance of architectural components of the park environment as indicators of the influence of socio-cultural factors on aesthetic preferences. The study involved 60 people, ranging in age from 22 to 74 years, which were divided into two age groups of 30 people: young people - 22-34 years (mean age 23.9 years); Mature people are 46-74 years old (average age 58.9 years). The study used a free associative experiment in which respondents distributed 45 photos of park landscapes from 18 world parks into three, equal in number, groups according to their own preferences and independently determined the factors that influenced the decision to refer them to the group of attractive, neutral or unattractive landscapes. Positive influence on aesthetic preferences was found on the part of historical buildings and structures on mature respondents, together with its neutral effect on young ones. At the same time, there was a neutral attitude of a group of mature respondents to the monuments of the Soviet era and a negative one on the part of the youth. Similar is the influence of abstract sculptures on the aesthetic perception of both young and mature respondents, which is negative. However, the negative impact of these elements on the aesthetic preferences of mature respondents is more significant. Summarizing the results of studies of aesthetic preferences and factors that influence their formation, it is advisable to note the importance of architectural components, as well as the importance of their ideological context. Along with the similarity of influence on aesthetic preferences of features of park environment, differences related to sociocultural influence on the formation of aesthetic experience were revealed due to the results of the analysis of the perception of architectural components.

scholarly journals Art, experience and alterity: reflections in the horizon of ethical and aesthetic education

2021 ◽  
Vol 14 (33) ◽  
pp. e15315
Author(s):  
Maria Regina Johann
Keyword(s):  
Creative Process ◽  
Aesthetic Experience ◽  
Theoretical Perspective ◽  
Aesthetic Education ◽  
Moral Action ◽  
Self Awareness ◽  
Philosophical Hermeneutics ◽  
Artistic Experience ◽  
The Arts ◽  
The Aesthetic

Oriented by the theoretical perspective of philosophical hermeneutics, this text addresses the ethical and aesthetic dimension of education, and it has the arts teaching as a reflexive field, emphasizing the artistic experience as a possibility for knowledge and self-awareness beyond the instrumental rationality frameworks. I emphasize, therefore, the artistic experience as an opportunity of (re) approximation among the student, the work and the artist as a way of self-investigation in the field of authorship, with reference to the experimentation of the artistic game and the tensions of the creative process. This creative process triggers a dialogue, which would be in the basis of ethics, since the moral action would be based in the process of co-creation of the aesthetic experience in relation to the work of art.

scholarly journals The Factor of Visual Symmetry Perception in Aesthetic Experience

2018 ◽  
Vol 11 (1) ◽  
pp. 166-177 ◽  
Author(s):  
S.L. Artemenkov ◽  
G.V. Shookova ◽  
K.V. Mironova
Keyword(s):  
Visual Perception ◽  
Cognitive Processes ◽  
Aesthetic Experience ◽  
Ecological Context ◽  
Aesthetic Perception ◽  
Multiscale Representation ◽  
Aesthetic Sense ◽  
Physical Symmetry ◽  
The Aesthetic ◽  
Symmetry Perception

The article deals with the formation of aesthetic experience in connection with the perception of physical symmetry of objects and their images. An overview of modern works on the psychology of aesthetic perception in the context of the problem of the perception of symmetry is presented. The phenomenon of symmetry preference in visual perception is illustrated by arguments in its favor and data on its situationality. The ecological context of symmetry in animals and plants is touched in connection with the phenomenon of fluctuating asymmetry as an undirected deviation in the symmetry of a two-sided structure normally distributed in the population. Mathematical models of symmetry of forms and their multiscale representation are discussed. The analysis of the study of the Zen stone garden perceptual peculiarities from the position of the medial axes’ model is carried out.On the basis of the provisions of the transcendental psychology of perception, a hypothesis is advanced about the meta-sensory origin of the aesthetic sense, based on the process of interrelation of the internal symmetrical mechanisms of visual perception and the cognitive processes of creating figurative representations. The relation to the principle of symmetry in the context of the transcendental psychology of perception is shown.

Intent in Practice

2019 ◽  
pp. 150-184
Author(s):  
Leonard Diepeveen
Keyword(s):  
Aesthetic Experience ◽  
General Point ◽  
Avant Garde ◽  
Turn On ◽  
Works Of Art ◽  
Aesthetic Autonomy ◽  
The Aesthetic

This chapter begins with an account of the Blind Man’s defense of Duchamp’s Fountain, using it to make a more general point that inferring intent is central to the aesthetic experience and meaning of art in general, and in highly particular ways in modernist works of art. Inferring intent is inevitable, and it is always uncertain and messy. Modernist works of art highlighted that tension, presenting unclear signs of intent and making uncertainty central to the value of their aesthetic experience. Particularly at modernism’s avant-garde edges, readers and viewers uncertainly perform intent in modernist artworks, an experience which implies a particular argument about the place of intent and fraud in aesthetic experience. The chapter ends with an inductive turn on the basis of this argument, presenting a theory of intent’s function in aesthetic experience, and its relation to ideas of aesthetic autonomy.

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