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1
Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.
Testo completoAbstract (sommario):
In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.
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Jansen, F. J. Billeskov. "The Aesthete's Aesthetics." Orbis Litterarum 52, no. 6 (December 1997): 373–86. http://dx.doi.org/10.1111/j.1600-0730.1997.tb00038.x.
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Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 66. http://dx.doi.org/10.4995/var.2021.13812.
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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
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Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.
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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.
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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.
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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–17. http://dx.doi.org/10.26443/glsars.v1i1.137.
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The aesthetics of law appears as one of the parts of the philosophy of law that focuses on the relationship between law and aesthetical values, in their broadest sense. The aesthetics of law can be closed in its three dimensions: external, internal and the approach defined as "law as a tool of aestheticization”. This division was made from the perspective of the subject of research, which is the law. The third dimension refers to the law as "tool of aestheticization” of everyday life, which indicates the aesthetic function of law, implemented mainly by legal regulation and the legal norms they contain, which are the determinants of what is aesthetic. We can distinguish three basic fields in which the law can affect the aestheticization of everyday life: 1) legal norms that set and promote certain aesthetic standards, 2) legal norms that serve to protect and preserve aesthetic values and 3) the field where law, as an instrument of politics, can be used to fight against certain aesthetic values that are inconsistent with the ideology promoted by the ruling class – the so-called art in the service of state power. The first group of norms is used to make the overall „pretty” but when interpreting such legal regulations, can be concluded that there’s something more than only this - that it’s promoting aesthetic standards and values through legal norms. The policy of many countries focuses on introducing legal regulations aimed at ensuring the aesthetics of the landscape of their cities. The article aims to present the implementation of the third approach to the aesthetics of law in Poland and discussing legal measures and activities undertaken to ensure the aesthetics of the landscape.
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Kirwan, James. "Aesthetics Without the Aesthetic?" Diogenes 59, no. 1-2 (February 2012): 177–83. http://dx.doi.org/10.1177/0392192112469478.
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Hickman, Rechard, and Fraser Smith. "Reviews Editorial: Aesthetics, aesthetic." Journal of Art & Design Education 13, no. 1 (June 1994): 87. http://dx.doi.org/10.1111/j.1476-8070.1994.tb00361.x.
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Greiman, Jennifer. "Democratic Aesthetics, Aesthetic Democracy." American Literary History 35, no. 1 (February 1, 2023): 400–410. http://dx.doi.org/10.1093/alh/ajac234.
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Abstract This essay reviews four new books, each of which assesses the prospects of contemporary democracy in the face of wide-ranging crises—from the legacies of settler colonialism to the resurgence of right-wing nationalism—and finds possibilities for democratic renewal in aesthetic orientations and practices. Taken together, Jason Frank’s The Democratic Sublime (2021), Andrés Fabián Henao Castro’s Antigone in the Americas (2021), Michael Steinberg’s The Afterlife of Moses (2022), and Elisabeth Anker’s Ugly Freedoms (2022) suggest that the aesthetic turn in democratic theory most closely associated with the work of Jacques Rancière has been decisive. But if democratic theorists now fully embrace the centrality of creativity, performative assembly, and affective attachment and aversion to democratic renewal, they do not fully agree on the more fundamental question of whether democracy is a stable form that has aesthetic features or whether it is constitutively aesthetic—in other words, whether its people comes into being in moments of materialization with no prior referent.If contemporary political theorists . . . have found better prospects for the revitalization of democratic politics in collective performance and creative resistance than in . . . legal and political institutions, this shows how seriously . . . democratic thought has come to take democracy’s aesthetic dimensions.
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Berleant, Arnold. "Objects into Persons: The Way to Social Aeshetics." Espes 6, no. 2 (May 3, 2017): 9–18. https://doi.org/10.17613/M6MC6S.
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This essay traces the steps to a social aesthetics. I begin by affirming the central place of sense experience for aesthetics and its refinement in the perceptual acuity of a developed sensibility. This leads to associating aesthetic appreciation with such perceptual experience. Rejecting the identification of disinterestedness with such appreciation, I propose the full participatory involvement in the experience of appreciation as expressed by the concept of aesthetic engagement. This describes the appreciative situation as an aesthetic field in which the perceptual, creative, focusing, and activating factors are in reciprocal interaction. It characterizes not only appreciation in the arts but occurs as well in appreciating natural, built, and social environments. Aesthetic engagement in social aesthetics is exemplified by the gaze in the experience of four well-known paintings I shall consider. Following these I shall develop a series of related ideas that lead to the concept of a social aesthetics. Finally, I shall return to the paintings for an enhanced understanding of social aesthetics.
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Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (April 1, 2022): 311. http://dx.doi.org/10.3390/rel13040311.
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In this text, I explore what I have termed “aesthetic theology”. After noting the transference of religious content, function, etc., to art in Modernity, an act that has made art a locus theologicus once again, I analyse one of the main consequences of this phenomenon: art is progressively being considered through what was once purely theological categories, thus giving rise to aesthetic theology. The implication is that some of the solutions that have arisen from theological debate might be useful in the philosophy of art. I also suggest that aesthetic theology can provide theology with a generalized way of reasoning based on aesthetic judgments—judgements formed by postulated consensus instead of forced judgements formed on conceptual grounds. I defend that the formulation of religious judgement has always been of the former sort, such that aesthetic theology may prove itself a useful tool for theologians in developing their thinking about, depiction of, representing, or approaching God.
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Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.
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Stige, Brynjulf. "The Aesthetic or Multiple Aesthetics?" Nordic Journal of Music Therapy 17, no. 1 (January 2008): 25–29. http://dx.doi.org/10.1080/08098130809478193.
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Meng, Fanjun, and Yushui Liang. "A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology." Journal of Aesthetic Education 56, no. 4 (December 1, 2022): 97–120. http://dx.doi.org/10.5406/15437809.56.4.07.
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Abstract In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the subjective and objective attribute of experience remains unclear, and the material base of aesthetics is not solid enough. In this regard, cognitive neuroscience and anthropology provide new ways to understand aesthetic experience. From the perspective of aesthetic anthropology, the study on aesthetic experience is rooted in a broad field and serves as a solid material basis for its objectification. Cognitive neuroaesthetics explains the psychological mechanism of aesthetic experience. Together, they provide an opportunity for the study on aesthetic experience to enter a new realm. Moreover, the new interpretation of the essence of aesthetic experience will help to improve the theory and practice of aesthetic education.
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Sattler, Janyne. "Middleway aesthetics: an aesthetical way to say nothing about aesthetics." Revista de Filosofia Aurora 27, no. 40 (April 28, 2015): 375. http://dx.doi.org/10.7213/aurora.27.040.ao06.
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This is a very brief sketch on Wittgenstein’s “middle” writings about aesthetical appreciation and aesthetical attitude concerning the objects of art. Even if it takes the Tractarian conception of ‘aesthetics’ as a starting point, the paper is focused on Wittgenstein’s (second-hand) class-notes taken from his Lectures on Aesthetics and a very specific remark reported by Moore, brought from the Philosophical Occasions, where “reasons” for aesthetical persuasion and correction are said to be like those offered in “discussions in a court of law”. At the end, not much is left for aesthetical appreciation and for aestheticsitself but a certain kind of contextual, circumstantial “appeal to the judge”.
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John, Eileen. "Can Aesthetics Be Global?" Royal Institute of Philosophy Supplement 93 (May 2023): 209–30. http://dx.doi.org/10.1017/s1358246123000061.
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AbstractPhilosophical aesthetics is to some extent beholden to what I will call personal aesthetics. By personal aesthetics, I mean the phenomena of individual aesthetic sensitivity: how each of us discerns and responds to elements of experience. I take that sensitivity to be finely woven into feeling to some degree at home in the world. There is something extremely local, and in a certain sense unreflective, about personal aesthetics – it is hard to notice one's own, historically specific aesthetic formation. Philosophical aesthetics, meanwhile, aspires to understand aesthetic life in a more reflective and general way. Aesthetic theories in the Western tradition, like most philosophical theories, try to articulate universally relevant and illuminating theoretical concepts and values. But can a theory of this kind acknowledge what is important at the level of personal aesthetics? Can aesthetic theories find fruitful application while also respecting the locality and variability of aesthetic sensitivity? What kinds of theoretical ambition and humility are called for in philosophical aesthetics?
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Song, Yeon-Min. "Study of Organizing a System for the Establishment of Tea-Aesthetics: Focusing on the 18th Century Tea Culture Space of the Joseon Dynasty." Korean Tea Society 29, no. 2 (June 30, 2023): 13–23. http://dx.doi.org/10.29225/jkts.2023.29.2.13.
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An analysis system was established through perceptual characteristics in aesthetic experiences related to Korean tea culture around the 18th century when aesthetics were established as a study and tea-aesthetics were established as a detailed branch of Korean aesthetics. A literature review and case analysis of the tea culture space were conducted based on Gernot Böhme's ‘Atmosphere Aesthetics’. As a result of this study, an aesthetic proposition called the “space” of physical detection that combines the natural environment, external aesthetic elements, and perceptual characteristics of the aesthetic category was presented. Second is the “human” existential values that synthesize the aesthetic background of humanistic ideas, philosophical and aesthetic elements, and perceptual characteristics of aesthetic categories. Third is “vigor”, which is the utterance of intention that combines the aesthetic background of social culture, relational aesthetic elements, and perceptual characteristics of aesthetic categories. Through this analysis system of the tea-aesthetics, it is expected that tea-aesthetics can be established as a study for self-understanding and empathy education by freely interpreting the perceptual experiences of individual perceptual subjects.
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Saito, Yuriko. "The Ethical Dimensions of Aesthetic Engagement." ESPES. The Slovak Journal of Aesthetics 6, no. 2 (December 30, 2017): 19–29. https://doi.org/10.5281/zenodo.6377955.
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This paper explores the ethical dimensions of aesthetic engagement, the central theme of Arnold Berleant’s aesthetics. His recent works on social aesthetics and negative aesthetics explicitly argue for the inseparability of aesthetics from the rest of life, in particular ethical concerns. Aesthetic engagement requires overcoming the subject-object divide and adopting an attitude of open-mindedness, responsiveness, reciprocity, and collaboration, as well as the willingness and readiness to expose negative aesthetics for what it is. These requirements characterize not only the nature of aesthetic experience but also, perhaps more fundamentally, our mode of being in the world and the accompanying ethical responsibility. Among the present paper’s principal aims is to show how this view of aesthetic and ethical stance is also shared by the important aspects of the Japanese worldview, aesthetics, and artistic practices.
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Wildt, Franziska. "Aesthetics of Resistance: On the Politics of Aesthetic Thought in Hegel’s Theory of Art and Peter Weiss’ Novel The Aesthetics of Resistance." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 1–13. http://dx.doi.org/10.25038/am.v0i22.385.
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hrough a confrontation of Hegel’s Lectures On Aesthetics and Peter Weiss’ novel The Aesthetics of Resistance this paper criticizes the theory of aesthetics for its lack of aesthetic thinking. Hegel’s theory of aesthetics is introduced as a paradigmatic case of this problem, while The Aesthetics of Resistance is read as an attempt to “re-aestheticize” the thought of aesthetics. Following a brief introduction and contextualization of the problem within the theoretical discourse on “aestheticization”, Hegel’s theory is analyzed and then contrasted to The Aesthetics of Resistance. The analysis is carried out in three steps, which correspond to three forms in which Hegel’s lectures represent the movement that leads from the aesthetic form of art to the – in his view – no longer aesthetic form of aesthetics. This analysis is finally confronted with a reading of The Aesthetics of Resistance that reverses the movement delineated by Hegel’s theory through aestheticizing aesthetics. Article received: April 28, 2020; Article accepted: June 23, 2020; Published online: September 15, 2020; Original scholarly paper
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Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (July 12, 2021): 169–79. http://dx.doi.org/10.15507/2076-2577.013.2021.02.169-179.
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Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.
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Okulov, Jaana. "Artificial Aesthetics and Aesthetic Machine Attention." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 13–28. http://dx.doi.org/10.25038/am.v0i29.534.
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The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdisciplinary discussion; however, according to perceptual psychology, it fundamentally constructs the human experience. Machine attention is an emerging technique in machine learning that is most often used in tasks like object detection, visual question answering, and language translation. Modern use of technology most often focuses on creating object-based attention through linguistic categories, although the models could also be utilized for nonverbal attention. This paper proposes the following perceptual conditions for aesthetic machine attention: 1) acknowledging that something appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition); and 3) making the incident explicit with expression (aesthetic identification and amplification). These aspects are developed through an interdisciplinary reflection of literature from the fields of aesthetics, perceptual psychology, and machine learning. The paper does not aim to give a general account of aesthetic perception but to expand the interdisciplinary theory of aesthetics and specify the role of aesthetics among other disciplines at the heart of the technological development of the human future. Article received: May 10, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
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DOLGOVA, Elena D. "AESTHETICS OF ANONYMOUS ARCHITECTURE." Urban construction and architecture 6, no. 2 (June 15, 2016): 91–95. http://dx.doi.org/10.17673/vestnik.2016.02.17.
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The article examines the anonymous architecture in terms of aesthetic knowledge. A parallel between the categories of classical aesthetics - a beautiful / ugly, and the categories of architectural activity in the Vitruvian paradigm professional / anonymous is drawn. Traced the background and process of incorporating objects anonymous architecture in non-classical aesthetic field through poetization everyday life, the emergence of technical aesthetics, aesthetics and functionalism of modernism. Non-classical aesthetics characterize objects anonymous architecture using parakategory daily, physicality, thing. We present the aesthetic characteristics of the anonymous architecture using the categories developed in the traditional aesthetics of eastern cultures - wabi, sabi, sibui and eugen. A parallel between the perception of the aesthetics and simplicity of anonymity is drawn.
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Kiianlinna, Onerva. "Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (January 24, 2022): 79–91. http://dx.doi.org/10.36253/aisthesis-13054.
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Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt plastically to changing conditions and that there is no «innate» aesthetic module in the mind. What has not been examined is that modularity itself is often considered a condition for plasticity of mind. My main argument is that aesthetic inference is a metarepresentational module without direct fitness-increasing functions. Coevolutionary and evolutionary psychological aesthetics are thus more complementary than contradictory. Combining modular and coevolutionary thinking is the most consilient way forward in evolutionary aesthetics.
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Fokeeva, Mariia Petrovna. "Sublime in the aesthetics of trauma." Философская мысль, no. 3 (March 2020): 68–73. http://dx.doi.org/10.25136/2409-8728.2020.3.32311.
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The subject of this article is the concept of sublime. The author examines which transformations has experiences the aesthetic theory of sublime since the XVIII century. In the context of aesthetics of trauma, sublime is a specific form of aesthetical experience that emerges in the context of encountering traumatic experience of the history, where the key concomitant affect is horror. The forms of sublime, associated with encountering the historical trauma, are immeasurable by their influence, as the scales of catastrophe cannot be assessed rationally, and the experience of historical violence discredits the possibility of subjective routine. Research methodology is structured on the philosophical-aesthetic approach. Which is based on analysis of the concepts of sublime and negative sublime. The author comes to the conclusion that sublime in the XX century experiences crisis related to reconsideration of the modernistic values. However, discipline associate with the aesthetic reconsideration of traumatic historical events &ndash; the aesthetics of trauma, rehabilitates the concept of sublime, because representation of the traumatic through referring to sublime, opens an opportunity to comprehend the traumatic experience and overcome it.
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Zhang, Xin, and Jian Chen. "The expression of "Balanced Harmony" aesthetic paradigm in aesthetic and artistic concepts." Journal of Education, Humanities and Social Sciences 38 (September 28, 2024): 213–16. http://dx.doi.org/10.54097/vvckk176.
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The so-called "Balanced Harmony" aesthetic paradigm simply means that Chinese aesthetics emphasizes the reconciliation and unity between two conflicting and confronting aspects of aesthetic things and aesthetic systems, or between two extremes and two ends. The so-called "neutral" aesthetic paradigm simply means that Chinese aesthetics, when interpreting the ontology of "beauty is harmony", puts emphasis on the reconciliation and unity between the two conflicting and confronting aspects of aesthetic things and systems, or between the two poles and the two ends of the …… system, which are balanced and neutral. The so-called "neutral" aesthetic paradigm simply means that Chinese aesthetics interprets the ontology of "beauty is harmony" and regards this state of reconciliation and unity, which is balanced and neutral, as the highest ideal, principle, goal and realm of aesthetics and art. The so-called "neutral" aesthetics paradigm simply means that Chinese aesthetics pays special attention to the coupling structural relationship between things of beauty and within artistic events, pays special attention to thinking between two opposing aesthetic contradictions, and is particularly good at using the simple and dialectical "dichotomous" method to understand and explain the aesthetic world.
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Khrenov, Nikolay A. "Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming." Koinon 2, no. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.
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The article aims to correlate aesthetics with the science of culture, which is increasingly attracting attention at the turn of the XX–XXI centuries. This correlation can give rise to a whole scientific direction, which could be called cultural aesthetics. In this case, arguments are needed. The fact is that the science of culture today attracts other humanities with its universality and ability to integrate knowledge existing in other sciences. It would seem that this trend in integration does not correspond to the processes of modern science, in which, at the later stages of history, the emphasis was placed not on integration but differentiation. Aesthetics is no exception here. Both philosophy and aesthetics of the twentieth century fragmented into several directions. Nevertheless, as the article proves, in the history of aesthetics and, more precisely, at its early stages, there was an aesthetic system that defined all kinds of aesthetics. This is an ontological aesthetic that excludes the separation of the aesthetic into a separate sphere. Having arisen in antiquity, ontological aesthetics became the aesthetics of being. The aesthetic did not have independence, as it would be in the aesthetics of the New Time, and was a sign of being itself. It was this aesthetic system that had an exceptional universalism. In the history of culture, such a manifestation of the aesthetic constantly returned but still did not become decisive. However, the closer to the twentieth century, the more evident the need for the integration of isolated trends becomes. Having an advantage in integration processes, ontological aesthetics becomes consonant with the science of culture, or rather, with the integrative potential that this science contains. It is this circumstance that should be taken into account by enthusiasts who develop the problems of cultural aesthetics.
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Woods, Walter A. "Parameters of Aesthetic Objects: Applied Aesthetics." Empirical Studies of the Arts 9, no. 2 (July 1991): 105–14. http://dx.doi.org/10.2190/7d3x-03g1-aguv-w417.
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Cova, Florian, and Nicolas Pain. "Can Folk Aesthetics Ground Aesthetic Realism?" Monist 95, no. 2 (2012): 241–63. http://dx.doi.org/10.5840/monist201295214.
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Rancière, Jacques. "The Aesthetic Dimension: Aesthetics, Politics, Knowledge." Critical Inquiry 36, no. 1 (January 2009): 1–19. http://dx.doi.org/10.1086/606120.
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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.
Testo completoAbstract (sommario):
On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.
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Diuzheva, Kateryna. "Media Aesthetics As A University Educational Component." Obraz 47, no. 1 (2025): 144–52. https://doi.org/10.21272/obraz.2025.1(47)-144-152.
Testo completoAbstract (sommario):
Introduction. The article deals with the university discipline “Media Aesthetics”, reveals the problem of forming and improving students’ ideas about the general laws of aesthetic activity and aesthetic development of the world, and substantiates the need to outline the specifics of the social nature of beauty, art as a mechanism of human socialization, aesthetic information as an integral part of the mass media. Relevance and purpose. The study of media aesthetics at the university is relevant because of the need to analyze the aesthetic aspects of media materials, especially in wartime. Media aesthetics is closely related to the concepts of cultural and social values and harmony. The development of social media and artificial intelligence should support the human factor, in which aesthetics plays an important role. The purpose of this study is to highlight the importance of media aesthetics for the development of critical thinking, understanding of aesthetic principles, and professional activity in the field of social communications. Media aesthetics develops creativity, adaptability, flexibility of thinking and artistic taste of students. Methodology. The research methods used were the analysis of scientific and methodological material on aesthetics and journalism, generalization of teaching experience, and interpretation of the research results. Results. The article analyzes the peculiarities of teaching the discipline “Media Aesthetics”, in particular, the thematic content, the approximation of aesthetic theories to the latest modern media technologies. The question of the formation of students’ ideas about the laws and categories of aesthetics, which is fundamental for world perception and communication with the world, is revealed. The study substantiates the importance of the educational component for the formation of skills to understand the specific nature of beauty, culture and art in the process of human socialization. It is about aesthetic information as an integral part of the media space. Conclusions. The tasks set out in the article are realised: media aesthetics as an educational component is considered; the problem of the level of development of media aesthetics in the information space as a projection of basic training of media professionals is revealed; the need to improve journalistic skills in terms of the specifics of aesthetic information is substantiated. It is substantiated that the educational component ‘Media Aesthetics’ within the educational process helps to form and develop the flexibility of thinking, creative abilities of future media professionals based on aesthetic categories, encourages self-realisation of specialists, activates cognitive interests in combination with the formed aesthetic tastes, ethical level of development, and implements heuristic abilities as crucial for the formation of professional skills and competitiveness of a modern media specialist.
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Siraj, Fuad Mahbub, and Zikraini Alrah. "The Concept of Islamic Aesthetic of Abdul Hadi WM." KALAM 16, no. 2 (December 31, 2022): 157. http://dx.doi.org/10.24042/klm.v16i2.14648.
Testo completoAbstract (sommario):
This study aims to see how the concept of Islamic aesthetics in the thought of Abdul Hadi WM. Aesthetics is an interesting discourse to study because aesthetics is one of the five branches of philosophy that relate to values that are contained in something or arise from human actions. Although the values contained in aesthetics are very important and are always relevant in human life, the fact is that aesthetics receive less attention in philosophical studies. One reason is the narrow view that aesthetics is only related to art. Abdul Hadi WM sees an important aesthetic in the realm of philosophy and is related to human aesthetic experience. Islamic aesthetics essentially refers to the expression of religious values and can bring awareness to the spiritual realm
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Szyszkowska, Małgorzata Anna. "Reconsidering Ingarden's Contribution to European Aesthetics: Aesthetic Experience and the Concept of Encounter." ESPES. The Slovak Journal of Aesthetics 7, no. 1 (July 2, 2018): 47–56. https://doi.org/10.5281/zenodo.6377915.
Testo completoAbstract (sommario):
Entering the discussion about European Aesthetic traditions, their aspirations and achievements, their metamorphosis and developments, author argues in favor of acknowledging the importance of what in her opinion should be seen as milestone in Polish tradition of aesthetics. One such important element of European Aesthetic tradition that author wishes to acknowledge is the phenomenological aesthetics developed by Roman Ingarden (1893-1970) in the 30-ties and especially two concepts which best show lasting power of Ingraden’s contributions. Author describes the concept of aesthetic experience used by Ingarden in his lectures on aesthetics (Ingarden, 1958-70) and its persuasive application to the field of music and literature. She suggests that its meaning deserves to be further explained and appreciated. It is argued that contemporary cognitive theories of aesthetic experience come very close to what Ingarden discovered and outlined in this writings without ever acknowledging preceding examples of complex approaches to aesthetics experience. Author suggests that one more concept from Ingarden’s aesthetics should be appreciated. It is the concept of aesthetic encounterbetween author, performer and the listener/recipient (spotkanie) that Ingarden tried to introduce as the important category for aesthetic research. These concepts where meant to be discussed and researched across different areas. Underling the differences and developments within European aesthetics in the last century author stresses the achievements and aspirations of axiologically orientated aesthetic theory of Ingarden and purports to affirm its lasting contribution to the European tradition.
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Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.
Testo completoAbstract (sommario):
Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless? Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world. In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.
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Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.
Testo completoAbstract (sommario):
Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
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Süner, Ahmet. "A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’." Journal of European Studies 47, no. 1 (November 1, 2016): 21–33. http://dx.doi.org/10.1177/0047244116676686.
Testo completoAbstract (sommario):
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.
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Stepanova, Anna A., and Ilona V. Dorohan. "AESTHETIC VS ARTISTIC CONSCIOUSNESS: TYPOLOGY OF AESTHETICS AND LITERATURE INTERACTION." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 22–32. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-2.
Testo completoAbstract (sommario):
The objective of the work is to study the specifics of aesthetic and artistic consciousness in their interaction in terms of literary comprehension of philosophical concepts; to highlight the levels of interaction between aesthetics and literature as a factor in the formation of aesthetic dominants of the literary trend and artistic method. The focus of the work determines the use of cultural-historical, historicalliterary, philosophical and aesthetic research methods. Aesthetic consciousness is understood as a mode of intellectual-sensory perception (and assessment) of empirical reality, which determines the type of artistic consciousness and is reflected in a work of fiction. Three levels of correlation between aesthetic consciousness and reality are distinguished: the syncretic, at which the aesthetic consciousness merges with the empirical, dissolving into reality, and the ideal of beauty corresponds to scientific ideas about the surrounding world and man; the discrete level emphasises a certain autonomy of aesthetic consciousness from empirical one, its orientation towards the expression of some ideological or ideal essence; the synthetic, representing dialectical interaction and mutual influence, giving rise to harmony and aesthetic value of the unity of content and form. The specificity of the relationship between aesthetic and artistic consciousness is determined. The process of interaction between aesthetic and artistic consciousness as the interaction between aesthetics and literature takes place at two levels. The first level represents the transformation of the system of aesthetic-philosophical theories and characterises the state of aesthetic consciousness as a set of aesthetic views of the epoch. The second level is characterised by the process of “the transition of the artistic to the general cultural”, involving a change in worldview stereotypes when literature, producing its own spiritual values and anti-values, turns out to be able to reorient public consciousness (in some instances, even scientific) and public psychology, to shape the mindset, tastes, and specifics of everyday culture. The findings note that the convergence of aesthetic consciousness and literature, along with the actualisation of the principle of possibilities that began in the Romantic era, largely predetermined the development of aesthetic consciousness at the turn of the 19th and 20th centuries, when their interaction became so intertwined that it formed a unity. The distinction between aesthetics and literature practically disappeared, ushering in a new stage of cultural reorientation for aesthetics and art.
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Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics." Philosophies 7, no. 4 (June 21, 2022): 71. http://dx.doi.org/10.3390/philosophies7040071.
Testo completoAbstract (sommario):
There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are not determined by them. Sometimes, philosophers are wary of the evolutionary framework. Does the research program of evolutionary aesthetics presuppose an intrinsic aesthetic instinct that would determine the way we form aesthetic judgments, regardless of the environment with which we interact? I argue that it does not. Imitation and mindreading are considered to be central features of the aesthetic module. Recently, and contrary to the prior view, it has been shown that imitation and mindreading are not likely to be innate instincts but socially learned, yet evolved patterns of behavior. Hence, I offer grounds for the idea that the cognitive aesthetic module(s) is socially learned, too. This outcome questions the need for the traditional differentiation between empirical and philosophical aesthetics.
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Gulertekin Genc, Seray, and Saadet Pinar Temizkan. "Destination aesthetics: An empirical study of aesthetic judgment and aesthetic distance among tourists in Turkey." European Journal of Tourism Research 33 (January 20, 2023): 3308. http://dx.doi.org/10.54055/ejtr.v33i.2221.
Testo completoAbstract (sommario):
Aesthetics constitute a fundamental element of the tourist experience and contribute to tourists’ behavioral intention. Yet, empirical research on destination aesthetics is very limited. This study explores whether destination aesthetics affects behavioral intention and whether there is a difference between tourists’ aesthetic judgment and aesthetic distance. Destination aesthetics are determined by comparing the perceived difference between the home environment of the tourist and the destination. Gestalt theory has been adopted to understand the impact of destination aesthetic judgment and aesthetic distance on behavioral intention. Structural equation modeling was the main analytical tool used to assess the results. A t-test was also performed. In this research, the behavioral intention of tourists (word-of-mouth intention, willingness to pay, and revisit intention) is positive when tourists perceive environments of holiday locations to be better kept than their accommodations. It has been determined that aesthetic distance only significantly and negatively affects willingness to pay. Among tourists coming to Istanbul, the research found locale characteristics, scope, and perceived age to be important determining factors of destination aesthetics, whereas with tourists coming to Antalya, the research defined destination aesthetics in terms of scope, upkeep, accord, perceived age, and shape. This study shows how destination managers could leverage the aesthetic experiences of tourists.
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Konanchuk, Svetlana. "MODERN AESTHETIC EDUCATION: CURRENT PROBLEMS AND MAIN TRENDS." Man and Education, no. 2 (75) (2023): 86. http://dx.doi.org/10.54884/s181570410026348-7.
Testo completoAbstract (sommario):
The article discusses the main problems and trends in the development of modern aesthetic education in Russia. It is noted that Russian aesthetic education is currently undergoing a number of positive innovative transformations associated with the processes of strengthening the virtual component in artistic culture and the social sphere. A number of scientific events, such as international conferences and the Russian Aesthetic Congress, held over the past five years, have served as an active incentive for the development of theoretical and practical aesthetics and aesthetic education. The current trends of modern aesthetics are identified: neuroesthetics, cultural aesthetics, environmental aesthetics, somaesthetics and synesthetic area, which have a stimulating effect on the development of aesthetic education. The special role and prospects of using synesthetic methodologies in modern aesthetics and aesthetic education are indicated, since in the conditions of digitalization of culture, synesthesia as a phenomenon of nonverbal associative thinking becomes one of the main means of preserving the integrity of world perception, an important method of developing flexibility of thinking and the ability of imagination.
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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (January 25, 2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.
Testo completoAbstract (sommario):
Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
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Hermerén, Göran. "Notions of the Aesthetic and of Aesthetics: Essays on Art, Aesthetics and Culture." British Journal of Aesthetics 58, no. 2 (November 28, 2017): 212–15. http://dx.doi.org/10.1093/aesthj/ayw093.
Testo completo
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Kordas, O. M. "Lutheran aesthetics." Herald of Omsk University 28, no. 3 (2023): 57–61. http://dx.doi.org/10.24147/1812-3996.2023.28(3).57-61.
Testo completoAbstract (sommario):
The article discusses the features of the aesthetic expression of religious art in Protestantism. The main features of Lutheran aesthetics are highlighted, which include restraint, expressive simplicity, minimalism, functionality, the prevalence of verbal and musical arts over fine art, the tolerant attitude of Lutherans to the combination of religious and secular aesthetics. Particular attention is paid to the transmission of religious traditions through the active use of the aesthetic possibilities of contemporary art in Lutheran liturgical practice.
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P, Theertharaman, and Siluvaimuthu A. "Aesthetics in Ilandevan Poems." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 155–59. http://dx.doi.org/10.34256/irjt22s224.
Testo completoAbstract (sommario):
Aesthetics is the ability to explore aesthetics, to explore the race of beauty in works of art, and to create works with taste. In Tolkappiyam, the oldest grammar book in the Tamil language, both rhetoric and allegory are said to be aesthetically pleasing. The poet also gives shape to his thought. This is what we call aesthetics, which lines the imagination and injects aesthetic elements into the poem. Poet ILandevan, who is good at writing poetry with aesthetic and aesthetic elements, has used aesthetic elements in his poetry collection to strengthen his language, technique, form and thought. he has used the moon, the sky, and the milky way galaxy as his objects of natural expression.
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Pei, Lei, and Zihao Cao. "Aesthetic Appreciation Is Different: Aesthetic Pleasure in Architectural Aesthetics." Buildings 15, no. 4 (February 11, 2025): 543. https://doi.org/10.3390/buildings15040543.
Testo completoAbstract (sommario):
Architectural aesthetics is often studied with a focus on the visual properties of buildings, yet the role of individual aesthetic appreciation abilities in shaping aesthetic pleasure remains overlooked. This study challenges the traditional object-centric perspective by investigating how aesthetic appreciation ability influences architectural aesthetic pleasure through aesthetic judgment. Using Hui-style architecture, a distinctive architectural style originating from the Huizhou region in southern China, as the representative case, a questionnaire survey was conducted with 453 participants. Regression analysis was applied to examine the moderating effects of aesthetic judgment (variety, unity, novelty, and typicality) on the relationship between aesthetic appreciation ability and aesthetic pleasure. The results reveal that individuals with high aesthetic appreciation ability experience greater aesthetic pleasure when exposed to diverse and novel architectural elements. In contrast, those with low aesthetic appreciation ability respond primarily to novelty, showing limited sensitivity to other aesthetic judgments. These findings highlight the nuanced interplay between personal aesthetic capacities and architectural experience, offering valuable insights for artists, architects, and educators seeking to cater to diverse aesthetic preferences and enhance public engagement with architectural beauty.
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Zhang, Baogui, and Yanping Gao. "John Dewey's Aesthetic Legacy in China." Journal of Aesthetic Education 58, no. 4 (2024): 13–27. http://dx.doi.org/10.5406/15437809.58.4.02.
Testo completoAbstract (sommario):
Abstract Modern China's acceptance of Dewey's legacy of aesthetic thought is divided into three main periods. In 1906–49, Dewey's Art as Experience was noticed, but due to the fact that China was more concerned with the social realities and national crisis at that time, its aesthetic thought appeared as an accessory to Dewey's social philosophy and educational thought, and its rich significance was properly realized only within the practice of aesthetic education. From 1949 to 1978, Dewey's aesthetics was effectively suppressed through China's ideological storms. From 1978 to the present, benefitting through China's policies of reform and opening, Dewey's aesthetics gradually gained the attention of Chinese academics and found expression in considerable research that develops the book's legacy in distinctive forms of contemporary Chinese aesthetics: life aesthetics, somaesthetics, and ecological aesthetics.
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Yang, Kaiwei. "Perspectives on Image Aesthetic Evaluation Techniques." ITM Web of Conferences 70 (2025): 03004. https://doi.org/10.1051/itmconf/20257003004.
Testo completoAbstract (sommario):
With the advancement of technology, support of datasets, cross-fertilization of disciplines, and increasing demand for reference scenarios, image aesthetics has become an active research field and has been widely applied in real life. This paper discusses the application of deep learning in image aesthetics evaluation, including the selection of datasets and the process of image aesthetics evaluation (including aesthetics feature extraction and aesthetics evaluation decision-making), analyzes the application of aesthetics evaluation techniques, and looks forward to the technological prospect. Although deep learning technology can improve the accuracy of evaluation and has achieved some results in aesthetic evaluation tasks, the technology still faces challenges such as high subjectivity and poor diversity, and it is believed that with the progress of science and technology, these problems will be solved. This paper also provides basic information on image aesthetic evaluation, analyzes the research trends in image aesthetic evaluation, and provides insights into future research directions.
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Mohammad Nasser AL-Arifi, Tahani. "Phenomenology as an approach to seeing the aesthetics of ugliness in contemporary art designs." Al-Academy, no. 110 (December 15, 2023): 315–50. http://dx.doi.org/10.35560/jcofarts1307.
Testo completoAbstract (sommario):
With a descriptive and analytical approach, it discusses the concept of phenomenology as an approach to seeing the aesthetics of ugliness as one of the concepts associated with the aesthetic experience in contemporary art designs, as it is the result of communication between artistic production and the recipient, which leads to creating a state of aesthetic pleasure. A phenomenological method is used to uncover the aesthetics of ugly and to connect ugliness and beauty since ugliness in aesthetics incorporates beauty as a modern aesthetic vision from the phenomenological perspective. The study investigated aesthetics as a phenomenon of perception, sensory knowledge, and the aesthetic response to the production of designs in contemporary art, represented by achieving a status of aesthetic pleasure, and the phenomenological approach can be applied to see the aesthetics of ugliness in contemporary design, and there is a relationship between the aesthetics of ugliness and the aesthetic experience in producing contemporary design, and it reached the possibility of applying the phenomenological approach to appreciation and criticism with an aesthetic vision of ugliness, by transforming the influence of phenomenological thought as a method into an aesthetic concept. To build the design for a more in-depth vision in a new analytical reading, and to have a merit in the study and production of designs that began with the art of the event and ended as digital art with technical effects, with its components (intentionality).
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Grubor, Nebojsa. "The relation between the beauty and the sublime in Hartmann′s aesthetics." Theoria, Beograd 63, no. 3 (2020): 159–67. http://dx.doi.org/10.2298/theo2003159g.
Testo completoAbstract (sommario):
The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.
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Kvokačka, Adrián. "Estetická skúsenosť dnes. Skúmanie somaestetiky vo vzťahu k estetike každodennosti a estetike environmentu." ESPES. The Slovak Journal of Aesthetics 4, no. 2 (December 15, 2015): 10–15. https://doi.org/10.5281/zenodo.6387850.
Testo completoAbstract (sommario):
Title of the paper is the allusion to an article by Richard Shusterman. In the text, I trying to explore in the similar strategy the current state of aesthetic experience. Starting from The End of Aesthetic Experience I follow the notion of aesthetic experience which "will be strengthened and preserved the more it is experienced; it will be more experienced the more we are directed to such experience; and one good way of directing us to such experience is fuller recognition of its importance and richness through greater attention to the concept of aesthetic experience". Is the somaesthetics became the answer to the loss of interest in aesthetic experience? The answer lies partly in examining the relationship between aesthetic experience and aesthetics of environment and everyday aesthetics, which further analysis of the notion pointed Shusterman himself. Result of research leads us to renewed role of aesthetic experience in contemporary aesthetics beyond the aesthetics (or philosophy) of art.