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Books on the topic 'Aesthetic contemplation'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Idleness, contemplation and the aesthetic, 1750-1830. Cambridge University Press, 2011.

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2

La Contemplation du monde: Figures du style communautaire. B. Grasset, 1993.

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3

Maffesoli, Michel. The contemplation of the world: Figures of community style. University of Minnesota Press, 1996.

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4

Spiro, Audrey G. Contemplating the ancients: Aesthetic and social issues in early Chinese portraiture. University of California Press, 1990.

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5

(autograph), Siskind Aaron, Torosian Michael 1952-, and Lumiere Press, eds. The Siskind variations: A quartet of photographs & contemplations. Lumiere Press, 1990.

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6

Adelman, Richard. Idleness, Contemplation and the Aesthetic, 1750-1830. University of Cambridge ESOL Examinations, 2014.

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7

Cheyne, Peter. Coleridge's Contemplative Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.001.0001.

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‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.
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8

Kirwan, James. Coleridge on Beauty. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0004.

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Chapter 3 examines Coleridge’s analysis of beauty in the ‘Principles of Genial Criticism’ (1814), which aimed to establish a religious dimension to aesthetic experience. Coleridge’s argument is traced through his Kantian account of aesthetic judgement, and his assertion of unity-in-multiplicity as the formal condition of beauty, to his grounding beauty in that which is ‘pre-configured’ to our faculties. Coleridge’s depends on eighteenth-century aesthetic axioms, despite deliberately avoiding explicit reference to such accounts, electing Plotinus instead as a precursor. It is suggested that Coleridge is therefore reluctant to explain aesthetic experience in purely psychological and, potentially, exclusively naturalistic terms. The appeal to Plotinus’s traditional notion of beauty as the soul’s recognition of its divine origin grounds aesthetic experience in religion. Concomitantly, in Coleridge’s reassertion of the claims of religion in the wake of the Enlightenment, aesthetic experience as contemplation of the world as it is becomes proof of the existence of the divine.
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9

Winner, Ellen. Can This Be Art? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0002.

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While philosophers have tried to define art by necessary and sufficient features, this effort has failed. Art is a socially constructed, open concept that eludes formal definition. While art cannot be tightly defined, we can loosely define art by listing possible characteristics of works of art—recognizing that this list must remain an open one. We may not be able define art, but philosophers and psychologists together have revealed the difference between observing something with or without an aesthetic attitude. While any artifact may be used as a work of art, we respond differently to that artifact when we believe it is was created intentionally as a work of art rather than a non-art artifact. We adopt an aesthetic attitude, paying attention to the surface form and the expressive properties of the object. This conclusion is consistent with Kant’s idea of the aesthetic attitude being a form of disinterested contemplation.
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10

Brown, David. Anselm. Edited by William J. Abraham and Frederick D. Aquino. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199662241.013.1.

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Anselm’s acceptance of three sources for knowledge of God (in reason, the teaching authority of the Bible and church, and experience) is used to try to overcome the conventional opposition between philosophers and theologians on how Anselm should be interpreted. In particular, due note is taken of aesthetic aspects to his search for understanding and also the various ways in which these might contribute to the holding of his three epistemic sources in creative tension and all within an ideal of monastic contemplation. This aesthetic perspective is explored well beyond its customary location in Cur Deus Homo to include other writings such as On Truth, the Proslogion, and On the Procession of the Holy Spirit. This chapter ends by acknowledging the limitations inherent in Anselm’s approach.
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11

Maffesoli, Michel. La contemplation du monde. LGF, 1996.

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12

Contemplating Art. Oxford University Press, USA, 2006.

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13

Levinson, Jerrold. Contemplating Art. Oxford University Press, USA, 2006.

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14

Higgins, Kathleen. Comparative Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0040.

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One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.
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15

Hamilton, G. Rostrevor. Poetry and Contemplation: A New Preface to Poetics. University of Cambridge ESOL Examinations, 2014.

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16

Poetry, Beauty, and Contemplation: The Complete Aesthetics of Jacques Maritain. The Catholic University of America Press, 2011.

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17

1927-, Katz Ruth, and Dahlhaus Carl 1928-, eds. Contemplating music: Source readings in the aesthetics of music. Pendragon Press, 1987.

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18

Contemplating music: Source readings in the aesthetics of music. Pendragon Press, 1986.

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19

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Substance (Aesthetics in Music Series). Pendragon Pr, 1987.

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20

Katz, Ruth, and Carl Dahlhaus. Contemplating Music: Source Readings in the Aesthetics of Music : Import (Aesthetics in Music Series). Pendragon Pr, 1990.

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21

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Essence (Aesthetics in Music Series). Pendragon Press, 1992.

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22

Rabinowitz, Stanley J., ed. And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.001.0001.

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Here for the first time in English are freshly translated essays on famous women in the arts, in contemporary Russian life, and especially in the world of classical dance written by Russia’s foremost ballet critic of his day, Akim Volynsky (1861–1926). Volynsky’s depiction of the body beautiful onstage at St. Petersburg’s storied Maryinsky Theater is preceded by his earlier writings on women in Leonardo da Vinci, Dostoevsky, and Otto Weininger, and on such illustrious female personalities as Zinaida Gippius, Liubov Gurevich, Ida Rubinstein, and Lou Andreas-Salome. Volynsky was a man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation, which crossed over into the personal and libidinal. His career looks ahead to another Petersburg-bred “high priest” of classical dance, George Balanchine; indeed, with their undeniable proclivity toward ballet’s female component, Volynsky’s dance writings, illuminated here by examples of his earlier “gendered” criticism, invite speculation on how truly groundbreaking and forward-looking this understudied critic is.
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23

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Community of Discourse (Aesthetics in Music Series). Pendragon Press, 1993.

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24

Wheeler, Kathleen. Coleridge, John Dewey, and the Art of Contemplation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0005.

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Chapter 4 reads Dewey’s Art as Experience as steeped in Coleridge, a constant reference throughout this foundational pragmatist aesthetics. Indeed Dewey said he found ‘spiritual emancipation’ in Coleridge’s Aids to Reflection, calling it ‘my first Bible’ (qtd in John Beer Aids to Reflection cxxv). Coleridge’s account of perception as active and creative, not passively receptive, gave Dewey profound insight into human experience, helping him articulate his philosophy of ‘art as experience’ whereby art originates in imaginative ordinary life. For Coleridge, ‘act’ and ‘activity’ ground both mind and matter in the same natural powers of production/creation: ‘a repetition in the finite mind of the eternal act of creation in the infinite I AM’. Dewey’s analogy between the error of separating art from ordinary life, and divorcing imaginativeness from ordinary perception, shows how memories of prior acts of imaginative perception usurp the place of actual acts, as dead metaphors do in language.
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25

Pryce, Paula. Choir. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680589.003.0005.

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Expanding on the notion of “keeping intention,” introduced in Chapter 2, Chapter 5 shows how contemplative Christians refine their capacity to “keep attention” and cultivate “contemplative senses” through formal group rituals, body awareness techniques, and the construction of aesthetic environments. It notes the contemplative Christian concept of the Body of Christ in which individual bodies and the collective body are perceived as interconnected entities with expandable and contractible boundaries. The chapter describes the monastic Daily Office and how non-monastic contemplatives adapt monastic rites to their lives outside monasteries. Introducing the important relationship between agency and habitus in contemplative practice, the chapter also develops a model that explicates the process of changing perception, called “contemplative transformation,” as an ever-moving ritualization between “posture” (intentional cataphatic ritual action and positive knowledge) and “flow” (apophatic, ambiguous “inner gestures” and “unknowing”).
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26

Hawkins, Stan. Aesthetics and Hyperembodiment in Pop Videos. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.002.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.
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27

Berchman, Robert M. Origen of Alexandria. Edited by William J. Abraham and Frederick D. Aquino. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199662241.013.38.

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Three philosophical questions guide this chapter: what is mind, what is language, and what is reference (or meaning)? Emphasis centres upon Origen’s episteme of ‘ultimate presuppositions’, first principles, philosophy of mind and language, theory of intentionality, aesthetics of scriptural exegesis, and prayer. His approach to self-knowledge and subjectivity is key to his claims concerning the limits of thought and language, the intentionality of mental acts, and distinctions made between ordinary and ideal languages. As a focusing mechanism, contemplative prayer is examined as an intentionally aesthetic episteme-noesis that gives a logos access to Logos. Here prayer maps ideal types of thought and speech that non-propositionally, discursively, and non-discursively allow for a noesis and praxis of the logikoi, epinoiai, and theoremata of the Logos-Christ. Such mapping denotes Origen’s epistemology of theology as a ‘sigetic-discursive’ model of negative theology.
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28

Hallett, Nicky. Female Religious Houses. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.23.

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Nuns in early modern convents formed a discerning group of writers whose interpretive skills were distinctly shaped by their devotional discipline. This chapter explores their use of particular biblical passages that expose their contemplative concerns, aesthetic impetus, and wider mission to advance the spiritual state of their own readers. Among other material, the women drew on the Psalms, on Thomas à Kempis, the work of Teresa of Ávila and of other contemporary nuns, many of whom wrote anonymously and have only recently been identified. Nuns’ writing shows detailed knowledge of a wide range of secular and devotional material. Their use of quotation in private papers, publication, and around the convent building reveals a semi-sacramental, intercessional interest, to further their readers’ experience of the holy at a bodily as well as spiritual level. These authors seek to ‘infuse’ devotional feelings, simultaneously instructing and effecting change through the process of textual encounter.
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29

Voyatzaki, Maria, ed. Architectural Materialisms. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420570.001.0001.

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This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge. The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ecological context of pervasive computer simulations. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs, leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come. The reader, through the various approaches presented by the authors’ perspectives, will appreciate that creativity can come from allowing matter to take the lead in the feedback loop of the creative process towards a relevant outcome evaluated as such by a matter of concern actualised within the ecological milieu of design. The focus is on the authors’ speculative dimension in their multifaceted role of discussing materiality by recognising that a transdisciplinary mode is first and foremost a speculative praxis in our effort to trace materiality and its affects in creativity. The book is not interested in discussing technicalities and unidirectional approaches to materiality, and retreats from a historical linear timeline of enquiry whilst establishing a sectional mapping of materiality’s importance in the emergent future of architecture.
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