A Gravidade do Consenso sob Suspeita

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.

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.


2020 ◽  
Author(s):  
Jesús Ramé López

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.


2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.


Author(s):  
María Rosa Palazón

There are no a-moral texts, even though amorality may be described by them: an amoral author would not dare into the search of beauty; it depends on a game of faculties that, also, play with the form. A moralizing literary text is not due to a game of author's faculties, but only to the author's conscience. Thus, it rebounds heavy and ugly. An ugly immoral literary text assaults on a redundant and calculated way some moral rules in favor of the "forbidden". Then, it is not a beautiful text. The aesthetic function is the one treating the stimulus as a purpose and not only as a means. This spontaneous behavior is condition of possibility for the moral act (the follower of the second kantian imperative). The one who spontaneously has the attitude that considers the other (alter) as a purpose and not only as a means, is a beautiful person. Its argued that it is not yet a morally good person. Anyway, "beau-ty" on its Latin etymologies (beau-t‚ and bello) means good, which involves a project that is dialoguing, truthful, respectful and advantageous for the community. It also means that the decision of using the proper means for the goal, has been taken. Once accepted the project, the individual shall act spontaneously on a ludicrous way so that the project may become real. He will be a more meritorious beautiful person if his spontaneous goodness means the overcoming over the experiences that have hurt hi. The matter is: is the moral beauty the highest point of morality? I will work on this topic on the basis of Schiller, Kant, Gadamer, and Sartre.


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.


Psihologija ◽  
2017 ◽  
Vol 50 (3) ◽  
pp. 319-339
Author(s):  
Ivan Stojilovic

It is often neglected that the experience of artwork is a creative act, and one which requires the audience to be creative. This exploratory study aimed to examine whether creative activity and measures of pe rson`s creativity are correlated with the aesthetic experience of paintings. Eighty-two participants rated 21 paintings, including 7 figural traditional paintings, 7 semi-abstract works, and 7 abstract works. Participants were randomly assigned to one of two experimental groups. One group first created collages and then rated the paintings on five aesthetic preference scales, while the other group first rated the paintings and then created collages. Multilevel regression analysis with two crossed random effects (participants and paintings) was used. Results showed that performing a creative activity prior to rating artwork positively influenced ratings of artwork creativity. In addition, collage creativity was positively correlated with ratings of (semi)abstract paintings as beautiful. It is hypothesized that people become more open to new, unusual experiences, are more flexible and act more freely in their decisions when performing a creative activity, which reflects positively on stronger preferences of paintings.


2012 ◽  
Vol 57 (2) ◽  
pp. 98-110
Author(s):  
Fabian Dorsch

In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere möchte ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; solcher, die sich der empirischen Methoden der Psychologie und der Soziologie bedienen, um unsere ästhetischen Beurteilungen einzelner Werke oder Werkgruppen zu untersuchen; und schließlich solcher, die unser allgemeines ästhetisches Urteilsvermögen einer kognitionswissenschaftlichen Überprüfung unterziehen.<br><br>In recent years, it has become rather popular to rely on the results of empirical studies in trying to answer some of the traditional questions in philosophical aesthetics, such as the one concerning the nature and justification of aesthetic evaluation. In opposition to this very empiricist approach, I would like to put forward a more rationalist picture of the aesthetic experience and evaluation of artworks. More specifically, I aim to critically discuss the aesthetic relevance of three kinds of empirical studies: of those that examine particular artworks by means of scientific or historical investigations; of those that use the empirical methods of psychology and sociology in order to examine our aesthetic evaluations of single works or groups of work; and finally of those that scrutinize our general faculty for aesthetic judgement by means of the cognitive sciences.


Psihologija ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 465-481
Author(s):  
Maja Vukadinovic ◽  
Slobodan Markovic

The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers? aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.


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):  
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.


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