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1
Du, Wei. "Aesthetic utilitarianism: heritage of modern Chinese aesthetics." Neohelicon 43, no. 2 (August 31, 2016): 529–42. http://dx.doi.org/10.1007/s11059-016-0359-4.
2
Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (May 2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.
Анотація:
Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferences. Based on concrete everyday examples and thought experiments, he demonstrates how aesthetic choices are largely shaped by the observer’s learning history (associative factors) rather than by an object’s formal properties (direct factors). Fechner’s Aesthetic Association Principle has lost nothing of its initial relevance as the role of content and personal meaning is still grossly underrated in theory and practice of empirical aesthetics today.
3
Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
Анотація:
Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
4
Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (March 6, 2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.
Анотація:
Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
5
Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
Анотація:
This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
6
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.
Анотація:
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.
7
Suwignyo, Heri. "LINTASAN PEMIKIRAN ESTETIKA PUISI INDONESIA MODERN (THE PERIOD OF ORIENTATION MINDED INDONESIAN’S MODERN POETRY AESTHETIC)." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 3, no. 2 (March 1, 2018): 210. http://dx.doi.org/10.20527/jbsp.v3i2.4554.
Анотація:
AbstractThe Period of orientation minded Indonesian’s modern poetry aesthetic. The orientationminded Indonesian’s modern poetry aesthetic leads to aesthetic theory of harmony,deviation, and emancipatory. The conception of poetry by Sanusi Pane, Rustam Effendi’spoems appearance, and the sonnets by M. Yamin which have soul about nationalism,have relation to harmony of pantun and syair’s asthetic. Mind of deviation aestheticmarked by Chairil’s free poetry that emphasized the depth of the meaning rather thanlinguistic devices. Emancipatory aesthetic found by credo Sutardji that liberating wordsfrom the hegemony of meaning. Remy Silado offering the mbeling poem’s aesthetic asan integral part of the aesthetics of Indonesian’s contemporary poetry. Those minded isvery useful for the construction of the historiography Indonesian’s modern poetryaesthetic which is until right now still through emptyness.Keywords: indonesian poetry aesthetics, aesthetic harmony, aesthetic deviation,aesthetic emancipatoryAbstrakLintasan Pemikiran Estetika Puisi Indonesia Modern. Orientasi pemikiran estetika puisiIndonesia modern mengarah pada teori estetika harmoni, deviasi, dan emansipatori.Konsepsi sajak oleh Sanusi Pane, penampilan sajak-sajak Rustam Effendi, dan sonetasonetayang berjiwa kebangsaan M. Yamin secara harmoni masih terikat pada estetikapantun dan syair. Pemikiran estetika deviasi ditandai oleh kemunculan puisi-puisibebas Chairil yang menekankan pada kedalaman makna daripada sarana kebahasaan.Pemikiran estetika emansipatori ditemukan pada kredo Sutardji yang membebaskankata dari penjajahan makna. Remy Silado menawarkan estetika puisi mbeling sebagaibagian integral dari estetika puisi Indonesia kontemporer. Itu semua sangat bergunauntuk penyusunan historiografi estetika puisi Indonesia modern yang hingga saat inimasih mengalami kekosongan.Kata-kata kunci: estetika puisi Indonesia, estetika harmoni, estetika deviasi,estetika emansipatori
8
Shuangyu, Xue. "World Relational Aesthetics: A Modern-Day Continuation of Theological Aesthetics1." Contemporary Chinese Thought 51, no. 1 (January 2, 2020): 70–78. http://dx.doi.org/10.1080/10971467.2020.1768762.
9
Draskic-Vicanovic, Iva. "Aesthetics as analysis of mind experience." Filozofija i drustvo 26, no. 3 (2015): 617–28. http://dx.doi.org/10.2298/fid1503617d.
Анотація:
The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.
10
Froy, Thomas. "Everyday Aesthetics - Review." Aesthetic Investigations 5, no. 2 (January 31, 2023): 229–31. http://dx.doi.org/10.58519/aesthinv.v5i2.13535.
Анотація:
This article reviews the volume 'Everydayness: Contemporary Aesthetic Approaches', edited by Lisa Gombini and Adrián Kvokačka. Thomas Froy assesses the relation, explored by the contributing authors, between the notion of the 'everyday' and the field of aesthetics, focussing on questions about the 'who' and the 'what' of everyday aesthetics, and its place in the modern world.
11
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.
Анотація:
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.
12
Biskoivski, Lawrence J. "Politics Versus Aesthetics: Arendt's Critiques of Nietzsche and Heidegger." Review of Politics 57, no. 1 (1995): 59–89. http://dx.doi.org/10.1017/s0034670500019938.
Анотація:
Several recent commentaries on Hannah Arendt's political thought have suggested strong connections and affinities between Arendt and Nietzsche or between Arendt and various later Nietzschean, aestheticist, or postmodernist thinkers. But a close reading of Arendt's critiques of Nietzsche and Heidegger suggests that an overemphasis on the more Nietzschean or aesthetic aspects of Arendt's work risks obscuring some vital distinctions Arendt makes or preserves concerning politics and aesthetics. More significantly, the Nietzschean or aestheticist interpretation of Arendt tends to conceal or distort Arendt's actual, highly original, and more promising response to various facets of the modern political condition.
13
Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.
Анотація:
In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.
14
Nia, Hourakhsh Ahmad, and Rokhsaneh Rahbarianyazd. "Aesthetics of Modern Architecture: A Semiological Survey on the Aesthetic Contribution of Modern Architecture." Civil Engineering and Architecture 8, no. 2 (April 2020): 66–76. http://dx.doi.org/10.13189/cea.2020.080204.
15
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.
Анотація:
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.
16
Grubor, Nebojsa. "Baumgarten‘s foundation of modern aesthetics." Filozofija i drustvo 26, no. 3 (2015): 599–616. http://dx.doi.org/10.2298/fid1503599g.
Анотація:
The paper explains Baumgarten?s foundation of modern aesthetics as the science of sensible cognition. The paper first examines mentalistic paradigm in modern philosophy as an intellectual background of Baumgarten?s philosophy and aesthetics (I). This is followed by consideration of Baumgarten?s definitions of aesthetics from Philosophical meditations of pertaining to some matters concerning poetry (1735), Metaphysics (1739) and Aesthetics (1750) (II). Finally, it considers Baumgarten?s definition of aesthetics as the science of sensible cognition starting from Leibniz?s theory of different stages of knowledge (III).
17
Turner, Frederick. "The Crisis in Modern Aesthetics." Performing Arts Journal 11, no. 2 (1988): 7. http://dx.doi.org/10.2307/3245640.
18
Rao, V. "Hindu Modern: Considering Gandhian Aesthetics." Public Culture 23, no. 2 (April 1, 2011): 377–94. http://dx.doi.org/10.1215/08992363-1161958.
19
Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (October 27, 2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.
Анотація:
Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inheritance; and their foundation and potential for modern transformations. The article makes an original Chinese contribution to the creation of a new film aesthetics for future images in the era of artificial intelligence.
20
Grubor, Nebojsa. "Hermeneutics of taste Gadamer’s critique of Kant’s aesthetics in truth and method." Theoria, Beograd 59, no. 3 (2016): 23–33. http://dx.doi.org/10.2298/theo1603023g.
Анотація:
The Article explains Gadamer?s critique of Kant?s aesthetics in Truth and Method (1960). The paper first examines basics characteristics of Kant?s foundation of modern aesthetics (I). This is followed by consideration Gadamer?s interpretations of the process of the subjectivization of aesthetics in Kant?s Third Critique (II). Finally, it considers critique of abstraction aesthetic consciousness and conception of aesthetic differentiation as Gadamer?s attempt to through analysis of Kant?s theory of taste complete its own hermeneutics of art (III).
21
Nannini, Alessandro. "Ancient or modern? Alexander G. Baumgarten and the coming of age of aesthetics." Filozofija i drustvo 26, no. 3 (2015): 629–51. http://dx.doi.org/10.2298/fid1503629n.
Анотація:
The aim of this essay is to examine Baumgarten?s conception on the history of aesthetics and on his role in it. In the first part, I analyze the way in which Baumgarten?s aesthetic innovation has been perceived by two of his disciples, namely Georg Conrad Winckelmann and Georg Andreas Will. While the former puts the emphasis on the modernity of aesthetics, Will seems more inclined to attribute the birth of aesthetics to ancient philosophers. Despite this apparent disagreement, my thesis is that the basic positions of the two authors are very similar and find their rationale in Baumgarten?s peculiar treatment of the issue. Consequently, I set out to inquire into Baumgarten?s theory, in the attempt to better understand his reconstruction of the empirical history of aesthetics. My purpose is to see how this empirical history is framed within a more systematic history which establishes its guidelines and marks its turning points. Eventually, I take into account the possible implications of this position with regard to the question of the origin of aesthetics.
22
Teukolsky, Rachel. "Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics." PMLA/Publications of the Modern Language Association of America 122, no. 3 (May 2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.
Анотація:
John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruskin and Baudelaire are shown to propose surprisingly similar aesthetic theories, in part because they negotiate the same traumas of modernity, such as the derailment of religion and the commodification of the material world. Positioned on the ruins of Romanticism, each text intimates an idea of the modern that is not quite modernism but is, in fact, eminently Victorian.
23
Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (May 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.
Анотація:
Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.
24
Ya, Song. "A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics." Studies in Linguistics and Literature 5, no. 4 (October 18, 2021): p53. http://dx.doi.org/10.22158/sll.v5n4p53.
Анотація:
The novel-Five-storied Pagoda-written by Japanese novelist Koda Rohan manifestly presents ecological consciousness from the perspective of the natural principle, the holistic principle, and the harmonious principle, which are the three principles of ecological aesthetics. By perceiving the harmonious atmosphere among man and nature, individuals themselves, individuals, and society in texts, we can learn that Koda Rohan insisted on traditional Japanese aesthetics and prospectively reflected on the modern aesthetic ideology of Japanese society after Meiji Restoration. This paper explores the aesthetic features of—Five-storied Pagoda—by analyzing text expression from a new angle, and probes into the relationship with the three principles of eco-aesthetics. It is aimed to determine the consensus between eastern aesthetics and ecological aesthetics, and it can be inferred that the consensus will, to a great extent, make a special contribution to enriching the construction of ecological aesthetics.
25
He, Guang Qing. "The Aesthetic View of the Chinese Urban Landscape Design." Applied Mechanics and Materials 584-586 (July 2014): 587–94. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.587.
Анотація:
The modern city landscape not only as a window of the image of the city, but also an important manifestation of architectural aesthetics. Concern landscape characteristics in China's development, further analysis and design point of aesthetic consciousness and aesthetic spirit. Therefore, in view of the aesthetic characteristics of traditional and modern landscape, this paper attempts to explore the sustainable development of the visual system.
26
Hales, Steven D. "AUDIOPHILE AESTHETICS." American Philosophical Quarterly 54, no. 2 (April 1, 2017): 195–208. http://dx.doi.org/10.2307/44982136.
Анотація:
Abstract What little work has been done on high fidelity/audiophile aesthetics uniformly agrees that the aesthetic aim of high fidelity is to achieve maximum transparency—the degree to which the listening experience is qualitatively identical to hearing the live instruments. The present paper argues that due to modern recording techniques, transparency is often impossible and may not be the proper aesthetic goal even in cases of documentary recordings. Instead, audiophilia should be understood as a broadly pluralist artistic endeavor that aims at an idealized generation of a musical event. This positive conception serves to explain away certain debates among audiophiles themselves.
27
Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (January 19, 2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.
Анотація:
The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This power of the aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a normative dimension to everyday aesthetics, I argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse.
28
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.
Анотація:
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.
29
Ibrahim Al asqha, Shatha. "Islamic Art Aesthetics and modern philosophy." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 7, no. 26 (April 1, 2021): 1318–87. http://dx.doi.org/10.21608/amesea.2021.178608.
30
Shalvarova, Kateryna, and Olga Sova. "Modern educational literature: Aesthetics and functionality." Art and education, no. 3 (2021): 46–51. http://dx.doi.org/10.32405/2308-8885-2021-3(101)-46-51.
31
Chell, Samuel L. "Jazz aesthetics and modern literary criticism." Popular Music and Society 15, no. 3 (September 1991): 67–74. http://dx.doi.org/10.1080/03007769108591444.
32
Kormin, Nikolai Aleksandrovich. "I. Kant: perfection within the structure of the aesthetic field of metaphysics." Философия и культура, no. 3 (March 2021): 22–55. http://dx.doi.org/10.7256/2454-0757.2021.3.35612.
Анотація:
The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the “Critique of Judgment”, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the “Critique of Judgment”, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis of which demonstrates that the idea of perfection, in essence, is conceived as the method for founding the entire aesthetics, its initial category of the beautiful that coincides with the meaning of the aesthetic perfection the beauty is genuine. The metaphysics of perfection, contained in considered Kant’s work, offers a new perspective on the categorical apparatus of Kantian aesthetics, formed in the “Critique of Judgment”, and broadens the representation on Kantian aesthetics as part of transcendental metaphysics. The concept of perfection implies various aspects of metaphysical research, retaining its immanent qualities in the aesthetics. In predication as an act of modern aesthetic expression, it is difficult to determine any stages and structures that can correlate specifically to perfectionism. The question concerning the field of such correlations remains controversial, inclusive of modern Russian philosophy.
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Braiterman, Zachary. "Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic." AJS Review 25, no. 1 (April 2001): 1–24. http://dx.doi.org/10.1017/s0364009400012228.
Анотація:
In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.
34
Koshelenko, L. V., and L. V. Toropov. "The system of education of aesthetic culture of students engaged in physical education and sports." Scientific and educational basics in physical culture and sports, no. 1 (September 27, 2021): 36–41. http://dx.doi.org/10.57006/2782-3245-2021-1-1-36-42.
Анотація:
The analysis of Russian literature, the study of work experience allow us to identify two main directions of the formation of aesthetic culture of modern student youth. The first is the education of aesthetic taste, assessments and aesthetic feelings; the second is the study and description of the experience of forming the aesthetic culture of students in the system of educational measures carried out. In educational and labor activity, students can form an aesthetic culture of appearance, tools, behavior, thinking, organization. In the household sphere aesthetics of the environment, attitudes and behavior, appearance, health. In the field of recreation aesthetics of thinking, behavior, appearance, attitudes, sports and health.
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Xin-qin, Peng. "Analysis and Apocalypse of Japanese Style Creation Aesthetics." MATEC Web of Conferences 176 (2018): 02022. http://dx.doi.org/10.1051/matecconf/201817602022.
Анотація:
Japanese style design has a good reputation in the world design community. Its elegant details, metaphorical techniques, quiet and tranquil aesthetic style, and the simplest form of the natural true design concept are praised by the world. The analysis of its aesthetic characteristics can be of great inspiration to the reference and modern construction of Chinese product aesthetics.
36
Ward, Graham. "Aesthetics, Music, and Meaning-Making." Religions 10, no. 3 (March 21, 2019): 215. http://dx.doi.org/10.3390/rel10030215.
Анотація:
The paper discusses the connection between rhythm and meaning based on Augustine’s De musica. This central topic is illuminated by the analysis of other particular aesthetic concepts that one can find in Augustine (such as sentience and desire, in its many Latin variations), as well as in reference to modern aesthetics. The result is the emergence of a relationship between aesthetics and the making of meaning in a co-creative operation between the divine and the human based upon an understanding of rhythm.
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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.
Анотація:
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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Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.
Анотація:
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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Seel, Martin. "The Career of Aesthetics in German Thinking." Royal Institute of Philosophy Supplement 44 (March 1999): 399–412. http://dx.doi.org/10.1017/s1358246100006810.
Анотація:
In German philosophy of the last 250 years, aesthetics has played a leading part. Any arbitrary list of great names contains mainly authors who either have written classical texts on aesthetics or are strongly influenced by aesthetic reflection, for instance, Kant, Hegel, Schelling, Schopenhauer, Marx, Nietzsche, Dilthey, Heidegger, Wittgenstein, Gadamer, and Adorno – the few exceptions being Husserl and Frege. It is not by chance that Frege is one of the founding fathers of modern Anglo-Saxon philosophy, where, generally speaking, aesthetics has had only marginal influence. That is not an insignificant difference. The wildest dreams of one tradition were focused on logic, those of the other on aesthetics.
40
Haitao, Zhang. "Chinese Classical Aesthetic in the View of Inter-Subjectivity." Lingua Cultura 2, no. 2 (November 30, 2008): 211. http://dx.doi.org/10.21512/lc.v2i2.312.
Анотація:
In contemporary China, the theory of intersubjectivity causes great significance to the construction of modern Chinese aesthetic theory but this kind of transverse dimensions of space on the outside of the transplantation of theory gave rise to some bad effects to traditional culture and classical Chinese aesthetics. Article presents a qualitative method. Its purpose to conduct research on intersubjectiveness spirit of Chinese aesthetics and literature from the dimensions of the longitudinal time. The discussion will also cause a vital significance to the building of contemporary Chinese aesthetics in this direction.
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Simonova, S. A., and A. N. Averyushkin. "TO THE QUESTION OF THE AESTHETICIZATION OF MODERN CULTURE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 85 (2022): 73–77. http://dx.doi.org/10.37313/2413-9645-2022-24-85-73-77.
Анотація:
In the process of retrospective analysis of cultural epochs, one can observe the movement of the pendulum of culture from aestheticism to moralizing, and vice versa. One of the first critics of aestheticization was S. Kierkegaard, who, without denying the significance of the aesthetic, placed the latter below the ethical in the spiritual hierarchy. Domestic philosophers defended the need for a synthesis of ethics and aesthetics. Researchers of the twentieth century point to the trend of total aestheticization, the transformation and deformation of basic moral ideals. In modern times, the phenomenon of aestheticization of all social spheres, including politics and economics, is being updated, which is largely due to the formation of a «consumer society», visual and digital turns in culture. The article analyzes the main features of postmodernism that contribute to aestheticization: fragmentation, massification, clip consciousness, visual turn, loss of sacredness of traditional meanings and symbols. All of the above contributes to the strengthening of the aesthetic component and the violation of the ethical and aesthetic balance. The authors reveal that the absolutization of beauty in art leads to the degradation of tragic genres based on ethical conflicts. Art is able to educate, form a value hierarchy. Thus, art has possibilities that transform a person, which are contained in the synthetic integrity of the ethical and aesthetic, therefore, it already acquires cosmological parameters. In turn, aestheticization as the dominant of culture leads to moral limitations and the destruction of the spiritual integrity of man and society.
42
Zhou, Bai Ling. "The Evolution of Architectonic Aesthetics in the Context of Globalization." Advanced Materials Research 250-253 (May 2011): 4026–29. http://dx.doi.org/10.4028/www.scientific.net/amr.250-253.4026.
Анотація:
Research the evolution of architectonic aesthetics by concentrating on politics and economics in the background of Globalization. The accelerative modernization forces the individual aesthetic needs into the opposite, from which point out the evolution of the post-modern architecture can also be traced into the process from the deviation from astriction to sensibility then to the reflection on basic rationalism and at last to the aesthetic individualism. In conclusion, the trend of individualism, personalization and pure “experience” in architectonic aesthetics will continue its evolution and exert its influence on the development of Chinese architecture.
43
Hafu, Tetiana. "CONCEPTSYSTEM OF MODERN ENGLISH GASTRONOMY ADVERTISING AESTHETIC DISCOURSE." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 833 (December 2021): 25–31. http://dx.doi.org/10.31861/gph2021.833.25-31.
Анотація:
The article presents a study that allowed us to construct a cognitive map of modern English gastronomic advertising aesthetic discourse. The main features in the understanding of gastronomic advertising discourse by the representatives of the English-speaking community – gourmet aesthetes are analyzed. The research material for the modern English gastronomic advertising aesthetic discourse was the gastronomic Internet texts of the social network Instagram, which contained a particularly expressive specific aesthetic component. It is established that the mental framework of the cognitive space of a modern English gourmet esthete is formed by 48 significant discourse-creating autochthons-concepts (sensations, emotions, recipe, ingredient, taste and others). The separation of the constants of the concept system of modern English gastronomic advertising aesthetic discourse – generative autochthonous concepts was carried out through the inventory of texts, fixation of objectifiers of concepts and their grouping into semantic areas. To verify the objectivity of the facts, a quantitative method of calculation is used, the criterion χ2. With the help of linguo quantitative methods, system connections (strong, medium and weak) between the main autochthonous concepts (RECIPE – INGREDIENT, TRADITIONAL MEAL – TEA, EXPERIENCE – SATISFACTION and others) were established and significant autochthonous concepts in modern English gastronomy were identified. The components of the conceptual system of modern English-language gastronomic aesthetic discourse and their combination builds a unique representation in the form of a cognitive map. The study allowed to construct a cognitive map of the studied type of discursive practice, which reproduces its conceptual system and, thus, explains the main mental cores of its participants – modern English gourmet aesthetes: characteristics of products, feelings and emotions they evoke, the principle of healthy eating, demonstration of their own gastronomic preferences in social networks in the form of blogs, because the modern English-speaking aesthetic and gourmet world of social network is impossible to imagine without a blog, where it is important to post on the social network Instagram, which describes the author's experience and feelings and emotions from food (first of all, pleasure and happiness), which provide the aesthetics of the advertising text. Key words: discourse; advertising discourse; gastronomic discourse; aesthetic discourse, cognitive mapping.
44
Patin, Thomas. "Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art." Prospects 26 (October 2001): 639–65. http://dx.doi.org/10.1017/s036123330000106x.
Анотація:
Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects but with the project of “reconstructing the human subject from the inside.” Autonomy, as it has been described by many theories of the aesthetic, becomes for many a desirable model of independent subjectivity and individual subjective experience. Even though aesthetics works on the subject “from the inside,” as Eagleton writes, it does so through material means. Architecture, art theory, and curatorial practices provide other instances of what Eagleton describes as “apparatuses” of power in the cultural field. One of the things I want to suggest is that cultural practices represent possibilities for subjectivity. Critical, architectural, and museological representations seem to concern artistic production, but also function as subtle suggestions about what it means to be human. These practices work to affect the formation of subjects by attempting to limit and pre-scribe the possibilities for subjectivity. Joel Fineman has similarly argued that subjectivity is constructed from “subjectivity effects” that are in turn produced in a web of discourses. One of Fineman's primary concerns is for how rhetoric can be used to establish compelling and realistic representations of subjectivity, while providing evidence of the artificial nature of the subject at the same time.
45
Livas, Christos. "The Hybrid Aesthetic Functional (HAF) Appliance: A Less Visible Proposal for Functional Orthodontics." Case Reports in Dentistry 2013 (2013): 1–7. http://dx.doi.org/10.1155/2013/298671.
Анотація:
In modern orthodontics, aesthetics appear to have a decisive influence on orthodontic appliance preferences and acceptability. This paper reports the early application of a newly emerged functional device with enhanced aesthetics in a Class II treatment. Patient perspectives and technical considerations are discussed along with recommendations for further design development. It can be assumed that the use of thermoplastic material-based appliances may meet both the therapeutic and aesthetic demands of young age groups.
46
Castro, Sixto J. "On Surprising Beauty. Aquinas’s Gift to Aesthetics." Religions 12, no. 9 (September 16, 2021): 779. http://dx.doi.org/10.3390/rel12090779.
Анотація:
The article addresses the basic elements of Thomas Aquinas’s thought on beauty by analyzing some selected texts and points out some of the debates that still exist regarding the interpretation of Thomas Aquinas’s position on various issues, such as the question of the transcendentality of the beautiful. The fundamental aim is to recover some of Aquinas’s basic intuitions for contemporary aesthetics, which no longer makes use of many of the intellectual categories that were in common use in medieval philosophy, and to show how some of Thomas Aquinas’s fundamental ideas are closer to the aesthetic thought of some fundamental contemporary authors than the modern categories with which aesthetics was forged. This article is also intended to show how the modern conception of the beautiful has meant an ontological impoverishment with respect to the medieval thought.
47
Xu, Li, Da Gang Li, Chang Yan Xu, and Zhao Yang Xu. "Research and Design on Aesthetics of Wood Grain." Advanced Materials Research 538-541 (June 2012): 3259–64. http://dx.doi.org/10.4028/www.scientific.net/amr.538-541.3259.
Анотація:
From the study on the status of wood aesthetics, firstly through analyzing the macro grain of wood in three sections, the article indicates people’s aesthetic demand that the wood's natural grain meets the visual and psychological need of people. And then, it studies the wood microstructure by the principle of form beauty which makes deeper discussion of the wood’s microstructure grain on aesthetic form. Last, through graphics processing of the wood grain, it will produce some wonderful regular tessellation patterns and apply to the design of the product, which enriches the material library of modern graphic design, and expresses the significance of the research on wood aesthetics.
48
Best, Susan. "Minimalism, subjectivity, and aesthetics: rethinking the anti-aesthetic tradition in late-modern art." Journal of Visual Art Practice 5, no. 3 (November 18, 2006): 127–42. http://dx.doi.org/10.1386/jvap.5.3.127_1.
49
Astafyeva, Olga N., and Natalia V. Kuzmina. "“Interesting” in the Aesthetic Landscape of the City." Observatory of Culture 15, no. 6 (December 28, 2018): 693–707. http://dx.doi.org/10.25281/2072-3156-2018-15-6-693-707.
Анотація:
The article examines the aesthetic category of “interesting” as a dominant of urban environment development. The authors try to comprehend this category from the point of view of cultural knowledge. The article includes a theoretical section, where, basing on well-known concepts, the authors outline the principles of embedding the “interesting”, as something aesthetics and artistic, in the postmodern fabric of modern megacities. The analytical part of the article is based on specific examples represented by urban cultural landscapes, by the postmodern clash of art and non-art in urban space, by event communications and other forms of urban culture representation. The study resulted in designation of one of the main problems of modern cities: as a result of their excessive saturation with “interesting”, there can be observed a growing cultural and aesthetic insensitivity to the “interesting” among their citizens.From the methodological point of view, the study revealed that, in interpretation of modern phenomena of socio-cultural reality, it is not enough to proceed from the basic principles of a particular science. So, the interdisciplinary approach, as a methodological resource in demand today, allows revealing, by the example of the concept of “interesting”, the interconnection and interdependence of the methodological approaches of aesthetics and culturology for studying the cultural environment of modern cities.The authors analyze the “interesting” as an instrument of influencing on the cultural environment of the city and the perception of its text. As a result, the “interesting” intensifies the nonlinearity and fractality of urban space. On the example of Russian cities development, the article reveals that the formation of a new cultural environment is always connected not only with changing of artistic design solutions or/and aesthetics trends. The authors prove that the need for “interesting” widens the frames of the subject field of aesthetics. The “interesting” is moving to the center of interdisciplinary cultural studies.
50
罗, 美云. "Taoist Ecological Aesthetics and Its Modern Value." Advances in Social Sciences 10, no. 08 (2021): 2086–91. http://dx.doi.org/10.12677/ass.2021.108289.