The Current Problems of Aesthetic Creation in Chinese Film Art

Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.

Baudelaire's Two Cosmopolitanisms

In his text on the ‘Exposition Universelle 1855’, Baudelaire upholds what he calls ‘cosmopolitisme’ as the antidote to the constraining influence of universalizing principles of taste that are meant to define beauty for all times and places. Baudelaire’s view is that such aesthetic systems close off the possibility of beauty, which, he maintains must contain an element of novelty. Accordingly, the proper attitude for the viewer (or reader or spectator) to take before a work of art is one that remains always open to novelty and to the ‘universal vitality’ out of which it springs. This attitude is the cosmopolitan one. Yet Baudelaire characterizes this attitude in ways that seem fundamentally incompatible if not diametrically opposed. On the one hand, cosmopolitanism as described in this text seems to involve the slow, lived apprenticeship in the values, ways of life, and criteria of judgement of those in other places, the better to be able to appreciate the beauty of the objects produced in them. On the other, he speaks of the appropriate attitude toward an aesthetic object — indeed toward any object that presents itself to our senses — as one resulting solely from the spectator’s exertions on his or her own mind and will, exertions by which the spectator refrains from imposing criteria of judgement upon the putative aesthetic object in order, instead, to derive one’s criteria from it. While the text on the ‘Exposition’ provides the reader with no way of resolving this contradiction, Baudelaire’s remarks on fashion in ‘Le Peintre de la vie moderne’ (1863) provide a dialectical resolution.

Od własności bytu do przedmiotu estetycznego: studium piękna w "Gottfried Künstler: A Mediæval Story" Vity Sackville-West

Vita Sackville-West was an English Modernist writer, poet and gardener. In her short narrative Gottfried Künstler: A Mediæval Story (1932), a skater-artist Gottfried loses his memory due to an accident on ice and, as a result, becomes some-body else. The aim of this article is to prove that the work explores the development of the philosophy of beauty: negating classic theories, according to which beauty is grounded in being or nature, the story heads towards the contemporary concept of the aesthetic object, saying that beauty stems from art. The analysis of the story is divided into three parts: the exploration of being, the study of nature, and the discussion of the concept of the aesthetic object.

The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser

The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.

WESTERN NOMADIC DISCOURSE AND THE DISCOVERY OF THE OTHER

Max Weber was concerned with aestheticism within the framework of the sciences of sociology and philosophy. He explained its effect on communication among different societies, on the one hand, and looked at it as a state that aimed to demonstrate beauty in a certain matter, on the other hand. Therefore, it is known as the quality that makes a thing an aesthetic object, in other words, the relationship which links the beautiful thing with its perception. Thus, Max set it out by defining it with the voluntary relationship in which he expresses the perception of ideas that are created and chosen by the individual

The Surreal Technics of André Breton and Gilbert Simondon

This article brings together two apparently unnatural bedfellows: Gilbert Simondon, France’s major (re)thinker of technology and ontology, and André Breton. The two thinkers have never been brought together, yet in his ‘Note complémentaire sur les conséquences de la notion d’individuation’ — a coda to his doctoral thesis ‘L’Individuation à la lumière des notions de forme et d’information’ (1958) — Simondon turns explicitly to surrealism to think technology. A first section explores how the interaction of technics, aesthetics, and affects contributes to the emergence and transformation of communities in Breton’s Les Vases communicants (1932) and Simondon’s ‘L’Individuation’. The article then moves to tease out how Simondon’s deployment of the surrealist object in the ‘Note’ relates to Breton’s evolving theorizations of the surrealist object, from the major statements of the mid-1930s with which Simondon would have been familiar, to its ultimate conceptualization in Breton’s lesser-known L’Art magique (1957). Bringing together Simondon and Breton’s visions of how the technico-aesthetic object mediates our relation to the universe, this article will endeavour to pinpoint a ‘surreal technics’ — and to suggest its relevance today, amid the increasing imbrication of technological objects into human life and society.

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

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.

Sublime in the aesthetics of Nicolai Hartmann and Edmund Burke

This article is dedicated to the interpretation of the aesthetic thought of Nicolai Hartmann and Edmund Burke, that is, the interpretation of their different understandings of the sublime, and its relation to the beautiful. While Hartmann?s sublime is an aesthetic value that is subordinate to the beauty, Burke defines the sublime as a form of aesthetic experience that is on the same level as beautiful. Burke forms an understanding of the sublime based on his analysis of the aesthetic experience, which includes his understanding of passions, states of the soul and the analysis of the sensible qualities of the aesthetic objects, while Hartmann formally considers sublime as one kind of beautiful, and reaches his understanding of it based on his inquiry of the aesthetic object and his definition of beautiful.

The Potential of Integrating User Experience (UX) and Aesthetic Experience (AX) in Augmented Reality Comic (AR Comic)

The purpose of this paper is to explore the potential of synergising of two major theories that sprang from two entirely different disciplines, namely the human-computer interaction (HCI) and the arts. Indeed, there are vast and diverse gaps when two different theories, such as technology and art, are to be combined to develop a new element that complements to both disciplines. In this paper, the proposition is to measure the user experience when dealing with an art object that infuses with digital technology. Augmented reality (AR) derived from the HCI discipline and customarily to UX as a measurement tool. On the other hand, a comic is an aesthetic object that requires an aesthetic-friendly method as its measurement tool. Ultimately, this paper proposes an integration of the UX and AX theories to evaluate an AR comic.