scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

Creative Engagement in Everyday Life – Learning from Aesthetic Experience

2015 ◽  
Vol 2 (2) ◽  
pp. 212-226 ◽  
Author(s):  
Anna K. Pałęga
Keyword(s):  
Everyday Life ◽  
Lived Experience ◽  
Aesthetic Experience ◽  
Research Study ◽  
Phenomenological Approach ◽  
Ordinary People ◽  
Art Galleries ◽  
Aesthetic Experiences ◽  
The Everyday ◽  
The Aesthetic

Abstract In recent years the concept of aesthetics has become broader and more focused on the aesthetic experience resulting from the interaction between the person and the environment. A lot has been written about the way people experience settings that are explicitly designed as sites for aesthetic engagement, such as museums and art galleries, but very little attention has been given to ordinary people and how they make sense of such experiences in their everyday lives. This research study explores the everyday aesthetic experiences that lay people find meaningful in their daily encounters through a phenomenological approach. The findings indicate that everyday aesthetic experiences result from being open to creatively engage, are a blend of serendipitous events and planned encounters and a significant dimension of lived experience.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

scholarly journals Género y juventus: primeras médicas argentinas que honraron el género desde su juventud: actuales implicancias

2010 ◽  
pp. 371
Author(s):  
Larisa Ivon Carrera Fernández ◽  
Alberto Enrique D'Ottavio Cattani
Keyword(s):  
Latin American ◽  
Medical Practice ◽  
Medical Schools ◽  
University Education ◽  
Clear Link ◽  
Siglo Xix ◽  
Xix Century ◽  
Siglo Xx ◽  
De Medicina

Uno de los campos en los que la ligazón entre género y juventud resulta notoria es el de la educación universitaria. Considerando previamente lo ocurrido a nivel latinoamericano, se destacan las vidas de las primeras médicas argentinas (Cecilia Grierson, Elvira Rawson Guiñazú, Adelma Gossweiler, Francisca Montaut y María Beljover) quienes, en la segunda mitad del siglo XIX y en la primera del siglo XX, se sobrepusieron a obstáculos para su matriculación, cursado y egreso en las Facultades de Medicina así como para su condicionada práctica médica, excediendo este quehacer y bregando en favor de varios derechos femeninos. Su evocación adquiere actuales implicancias.<br /><br />University education is a field exhibiting a clear link between gender and youth. As concern former Latin American experiences, the first Argentinean medical women (Cecilia Grierson, Elvira Rawson Guiñazú, Adelma Gossweiler, Francisca Montaut and María Beljover) should be considered. During a period running from the second half of the XIX century to the first half of the XX century, they managed to overcome drawbacks dealing with matriculation, their study and qualification in medical schools as well as with their conditioned medical practice. They also struggled for many feminine rights. Their evocation acquires current implications.<br /><br />

scholarly journals "¡Eu tamén son vella e recordo!". La fuente oral en la recuperación del pasado: reflexiones metodológicas para una historia sociocultural

1998 ◽  
Author(s):  
María José López Álvarez ◽  
Xoán Xosé Jardón Pedras ◽  
Raúl Soutelo Vázquez
Keyword(s):  
Social Sciences ◽  
Cultural Background ◽  
Interdisciplinary Exchange ◽  
Siglo Xix ◽  
Xix Century ◽  
Subjective View ◽  
Siglo Xx

Este trabajo pretende reflexionar sobre las limitaciones y posibilidades de intercambio interdisciplinar de métodos e tiipótesis de trabajo entre las diversas ciencias sociales a partir de la experiencia empírica de recopilación, elaboración y análisis de documentos personales de naturaleza cualitativa, que nos permitan construir una Historia cultural de la vida cotidiana de la gente corriente. Para ello hemos aplicado esta metodología a las líneas de investigación que estamos desarrollando sobre la Galicia rural de fines del siglo xix y de la primera mitad del siglo XX, comprobando que la reelaboración racional que hacen los entrevistados de su experiencia individual refleja su percepción subjetiva de la realidad vivida en redes y espacios microsociales concretos y que precisamente por ello, esos recuerdos reflejan una identidad colectiva que trasciende a la sociedad rural gallega de la época.This paper intends to reflect about the limitations and posibilities of interdisciplinary exchange of methods and hipothetical research among the different social scíences. This has been done from the empirical experience of compilation, elaboration and the analysis of cualitative-natured personal documents that allow as tho buíld a cultural background of ordínary people's everyday Ufe. In order to achieve it, this methodology has been aplied to the research Unes that are being developed on the rural Galicia in the late XIX century and first half of the XX c. Whe noticed that the rational reelaboration dore by the interviewees on their own experience reflects their subjective view of the reality lived in particular nets and microsocial spaces. This is the reason why those memories reflect a colective identity reaching the rural Galician of that time.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

ANTECEDENTES AL TÉRMINO DESARROLLO EN EL ECUADOR. REVISIONES TEÓRICAS.

2015 ◽  
Vol 3 (3) ◽  
Author(s):  
Narcisa Ullauri Donoso ◽  
René Nivelo Cabrera
Keyword(s):  
Latin America ◽  
The United States ◽  
The Other ◽  
The Enlightenment ◽  
Palabras Clave ◽  
Siglo Xix ◽  
America Latina ◽  
América Del Sur ◽  
Xix Century ◽  
Siglo Xx

El presente artículo debate la idea de cambio en el siglo XIX y la primera mitad del siglo XX en América Latina y el Ecuador. Partiendo del imaginario de progreso, entendido a partir de dos corrientes distintas; por un lado las élites enmarcadas dentro de la filosofía de la Ilustración, cuyo ideal es la europeización de América Latina y por otro, la corriente indigenista que busca reivindicar la imagen del indio, como víctima de la opresión. Los  antecedentes del desarrollo se encuentran en las propuestas de progreso, basadas en la idea de modernización en  el siglo XX, que parte de los  Estados Unidos, quienes inician la campaña “panamericanista” que buscaba consolidar su influencia geopolítica en América del Sur.   Palabras Clave: Progreso,  desarrollo, modernización, panamericanismo, indigenismo   ABSTRACT   This paper debates the idea of change in the XIX century and the first half of the XX century in Latin America and Ecuador.  Beginning at the imaginary of progress, understood by two lines of thinking; on one hand, an elite population following the enlightenment philosophy, whose ideal is the Europeanization of Latin America, and on the other hand, the indigenist current which claims for the vindication of the indian’s image, as a victim of oppression.  Backgrounds of development are found inprogress propositions, based on the idea of modernization in the XX century, that began in the United States, who begin the “panamericanist” campaign which looked for the consolidation of their geopolitical  influence  in South Ämerica.   Keywords: progress, development, modernization, panamericanism, indigenism   Recibido: Julio de 2015Aprobado: octubre de 2015

scholarly journals Musikalsk-estetisk erfaring som tilsynekomsthendelse

2020 ◽  
pp. 41-60
Author(s):  
Hanne Rinholm
Keyword(s):  
Aesthetic Experience ◽  
Musical Experience ◽  
Work Of Art ◽  
Late Modernity ◽  
The Status ◽  
The Subject ◽  
The Aesthetic

The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.

scholarly journals Conversation as a Work of Art: Will it Hang in a Museum?

2008 ◽  
Vol 9 (4) ◽  
pp. 297-305 ◽  
Author(s):  
Jeanne Marie Iorio
Keyword(s):  
Early Childhood ◽  
Young Children ◽  
Visual Art ◽  
Aesthetic Experience ◽  
Art Music ◽  
Human Response ◽  
Work Of Art ◽  
Aesthetic Experiences ◽  
Music Drama ◽  
The Aesthetic

Arts are an expectation in early childhood classrooms — traditionally, visual art, music, drama, and movement. The variety of understandings of art and aesthetic experiences shape approaches to arts education, particularly with young children. Attempts to define the aesthetic experience refer to the presence of an object, most commonly a work of art. The object becomes central to the human response within the aesthetic experience. Through the analysis of data documenting conversations between a child and an adult, the author have previously proposed child — adult conversations as aesthetic experiences. In this article, she re-examines excerpts from child—adult conversations from her research, negotiating the possibility of naming child—adult conversation as art, in order to recognise child—adult conversation as an aesthetic experience. This article continues the conversation around thinking of conversation as art, and the art of conversation — an integral component of pedagogy with young children.

A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’

2016 ◽  
Vol 47 (1) ◽  
pp. 21-33
Author(s):  
Ahmet Süner
Keyword(s):  
Significant Contribution ◽  
Aesthetic Experience ◽  
Critical Evaluation ◽  
Work Of Art ◽  
Alternative Approach ◽  
Subjective Element ◽  
The Aesthetic

This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

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