Dissertations / Theses on the topic 'Aesthetic judgements'

This study sought to investigate the way in which young children respond to and make aesthetic judgements about art works made by their peers. Grounded Theory was deemed to be an appropriate research methodology enabling a scrutiny of serendipitous experiences as well as structured investigation generated from those experiences. A total of 296 seven-year-old children were interviewed in small groups of three or four and asked to respond to visual art materials. These subjects were drawn from schools in the states of Queensland, New South Wales and the Australian Capital Territory. Results indicated that two factors associated with the appraisal of art works seemed to exist: a function of making aesthetic judgements and a function of gathering and interpreting information about the art works. The study found that children utilized a three-phase process in making aesthetic judgements. The first phase seemed to be pre-figured; the second and third phase seemed to occur as a outcome of prompting. This three-phase process was designated as an Aesthetic Response Model.

At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre.
En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.

This thesis considers the role of aesthetic meaning-making in elementary school science learning. Children’s aesthetic experiences are traced through their use of aesthetic judgements, spontaneous metaphors and art activities. The thesis is based on four empirical studies: the first two examining children’s language use, i.e. the role of aesthetic judgements and the significance of spontaneous metaphors while learning science and the latter two dealing with how art activities mediate what elementary school children learn in science and what a variety of art activities with different purposes afford elementary school children to learn in science. The theoretical stance emanates from pragmatist theories and includes Dewey’s definition of an aesthetic experience, Wittgenstein’s later work on language-games, and socio-cultural perspectives. The analytic approach used is a practical epistemology analysis developed by Wickman and Östman. The empirical data consists of audio- and video recordings of elementary school children’s (aged 6–10 years) discussions in pairs or small groups during science lessons and photographs of children’s pictures, sculptures and poems from a total of 14 different elementary school classes. The main findings of the empirical studies show how aesthetic meaning-making is continuous with elementary school children’s scientific learning. The thesis shows how elementary school children’s aesthetic experiences are related to whole activities and are crucial for the direction that learning takes. Aesthetic experience is important in terms of how and what elementary school children learn aesthetically and normatively in science class, which has consequences for cognitive learning, the possibility of participating in science class and learning the genre of science. Moreover, it can be seen how children’s prior experiences are recurrently reconstructed and transformed through imaginative processes.

This dissertation turns to Plato's writings on music and the law in order to delimit the relationship between the aesthetic and juridical dimensions of political order, and in particular, to show how these dimensions are manifested in citizens and are constitutive of political judgment. The central claim of my thesis is that for Plato, justice requires an affective attachment that, in turn, requires it be coextensive with a kind of musical beauty. In order for the conditions of justice to obtain, we must not only define justice, we must also desire it as we do the beautiful; this affective requirement is fulfilled by the musical dimension of the law. The ancients understood law and music to share in the same intrinsic properties of order, establishment and restoration; the ambiguity of the word nomos, which could mean both song and law, underscores this worldview according to which ethics and aesthetics are governed by the same principles. In Plato, musical desire works within this framework: music engenders in the soul a pre-rational cognitive recognition of the intrinsic order that constitutes its beauty; musical inspiration, in turn, provides the motive force for active juridical citizenship. Surprisingly little scholarly attention has been paid to Plato's treatment of music and few scholars treat Plato as committed to the rule of law. I show that Plato's attention to both music and law throughout the dialogues underscores the political importance of an aesthetic education that is also juridical; the pedagogical function of the law is to cultivate a civic ethos in which citizens are passionately engaged with, inspired by, and take ultimate pleasure in, the principles of justice.
Dans cette dissertation je m'appuie sur les écrits de Platon sur la musique et le droit pour déterminer la relation entre les dimensions esthétique et juridique de l'ordre politique et, plus particulièrement, pour montrer comment ces dimensions se manifestent chez les citoyens et entrent dans le jugement politique. Le postulat central de ma thèse est que, pour Platon, la justice requiert un attachement affectif qui, à son tour, exige qu'elle soit coextensive à une sorte de beauté musicale. Pour que les conditions de justice soient réunies, nous devons non seulement définir la justice mais la désirer, tout comme nous désirons la beauté; la dimension musicale du droit satisfait à cette exigence affective. Pour les anciens, le droit et la musique avaient les mêmes propriétés intrinsèques d'ordre, d'établissement, et de restauration; l'ambiguïté du terme nomos, voulant dire tant chanson que droit, souligne cette vision du monde selon laquelle l'éthique et l'esthétique sont régies par les mêmes principes. Chez Platon, le désir musical agit dans ce cadre: la musique engendre dans l'âme une reconnaissance cognitive pré-rationnelle de l'ordre intrinsèque qui en constitue la beauté; l'inspiration musicale, à son tour, est le moteur de la citoyenneté juridique active. Il est étonnant de constater le peu d'attention consacré dans les travaux d'érudition au traitement de la musique chez Platon et seul un petit nombre d'auteurs voient Platon comme étant engagé à l'égard de la règle de droit. Je montre que l'attention qu'accorde Platon à la musique et à la règle de droit tout au long des dialogues souligne l'importance sur le plan politique d'une éducation à la fois esthétique et juridique; la fonction pédagogique du droit est de promouvoir un éthos civique dans lequel les principes de justice sont pour les citoyens une source d'engagement passionné, d'inspiration et, ultérieurement, de plaisir.

Syftet med studie var att undersöka hur kunskap inom spelgrafik kan påverka en spelares “aesthetic experience”. ”Aesthetic experience” är en term som används för att beskriva den tankeprocess en människa genomgår när hen betraktar ett verk. Detta resulterar i en ”aesthetic judgement” och en ”aesthetic emotion”. Enligt den studie Leder m.fl. har gjort kan kunskap inom modern konst resultera i en positiv ”aesthetic emotion” när observatören betraktar modern konst. Studien undersökte om kunskap om spelgrafik kunde ge ett liknande resultat vid betraktandet av en spelmiljö. Till undersökningen skapades en artefakt i form av en 3D. Informanterna fick säga hur de mådde och vad de tyckte om scenen i början och slutet av undersökningen. Resultatet pekar på att informanterna hade en mer positiv ”aesthetic judgement” efter att ha analyserat scenen, medan deras ”aesthetic emotion” sällan ändrades. I ett framtida arbete skulle modellen kunna anpassas ytterligare till spelgrafik.

This thesis is about the similarities of process between aesthetic experience and ethical judgement. I claim that in both cases the activity is best described as a type of play in which elements interact in mutual adjustment and transformation. This conception of play has its roots in Kant's aesthetic theory. Describing aesthetic experience as play results in emphasis on three central characteristics. These characteristics become the basis of constraints on judgement. In the case of ethical judgement these are important because they save from subjectivism a moral theory, particularism, which relies on individual judgement rather than moral rules. Seeing the activity of judgement as play suggests a conception of the outcome of judgement as picturing. This conception helps to make sense of reason-giving within the particularist model. A further analogy with the grounds of aesthetic qualities is used to illuminate the problem of justifying the values put into play. These values are ultimately defended in terms of their relationship to human flourishing. Perennial problems for theories based on human flourishing are avoided by my account because prescriptions for action are not derived from the characterisation of flourishing but from the process of individual judgement which values based on flourishing merely inform. One positive effect of adopting my model of judgement as play is the reduction of problems concerning the motivation to act on ethical judgements.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação traz uma pesquisa acerca da moral evangélica que contempla o vestuário feminino como um importante elemento de distinção social. A partir da etnografia realizada em igrejas evangélicas na região metropolitana do Rio de Janeiro, procurei observar de que forma as subjetividades se manifestam nos discursos e como experiências religiosas e culturais operam nos distintos modos de vestir-se, performar-se e julgar o belo. Disso resulta que, entre o juízo de gosto e as práticas do vestir, há operações de agenciamento em que as mulheres investem na construção de uma identidade visual personalizada sem contrapor a moral evangélica, mas também evidenciando as múltiplas formas sobre como essas normas são incorporadas. Neste sentido, o diálogo entre os mecanismos de distinção e as relações entre performatividade e materialidade constroem uma ética corporal e comunal, contribuindo para o entendimento da regulação e inscrição desses corpos femininos, portadores de significados sociais.
The present work brings a research about the gospel morality, which includes women s clothing as an important element of social distinction. From the ethnography in evangelical churches in the metropolitan region of Rio de Janeiro, I tried watching how the subjectivities are manifested in speeches and how religious and cultural experiences operating in distinct ways of dress up perform and judge the beautiful. It follows that between the judgement of taste and practices of dressing there are agency operations where women invest in constructing a personalized visual identity without opposing the evangelical morality, but also showing the multiple ways on how these norms are incorporated. In this sense, the dialogue between distinction mechanisms and the relations between performativity and materiality build a corporal and communal ethics, contributing to the understanding of the regulation and registration of these female bodies carrying social meanings.

This thesis considers the status of Deleuze as a Kantian, and as such committed both to the critical destiny of philosophy, and the contestation of the sense of this destiny. The focus of Deleuze�s reading of Kant is an active conception of thought: the fundamental elements of thought are will and value rather than being or the concept. In the development of this idea we can note a progressive 'tapering' of the foundational instance of thought, in three stages: from the speculative field of being to the practical field of reason; from the intellectual category of the concept to the problematic category of the Idea; from the teleological notion of the organism to the aesthetic notion of the singular. Within each stage we can perceive a polemic between the two terms: it is in each case a question of the 'sufficient reason' of thought, its conditions of the actuality beyond its possibility. The highest expression of our reason, for Kant, is neither theoretical nor utilitarian, but moral: the realisation of our lawful freedom. For Deleuze, on the other hand, the ultimate secret of our freedom and thus all of our thought is to be found rather in the realm of the aesthetic.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
A partir da Crítica da Faculdade do Juízo, em especial da Crítica da faculdade de julgar estética, procuramos relacionar as idéias estéticas com as idéias da razão, propostas na Crítica da razão pura. Por meio da Crítica da razão pura procurou-se esclarecer o que Kant designou como idéia e, por meio da Crítica da faculdade do juízo, buscou-se esclarecer o elemento estético das idéias estéticas.
Based on the Critique of the Power of Judgement, especially the Critique of the Aesthetic Power of Judgement, I have tried to relate the aesthetic ideas to the ideas of reason, proposed in the Critique of Pure Reason. Through the Critique of Pure Reason, I have tried to clarify what Kant named as idea and, thorugh the Critique of the Power of Judgement, I have tried to clarify the aesthetic element of the aesthetic ideas.

O crítico de arte americano Clement Greenberg dedica especial atençãoà teoria estética em seus textos dos anos 1970, sobretudo ao juízo de gosto. Esta pesquisa busca evidenciar um aspecto importante na discussão estética em Greenberg, qual seja, a possibilidade de aprimoramento do gosto. Para tal, também se faz necessária uma compreensão de seu sistema crítico, articulando os Seminários por ele ministrados nos anos 70 e seus textos críticos desde os anos 30. Dentro da teoria estética moderna formulada por Greenberg, os textos reunidos em Estética Domésticaservem de base para a investigação do ponto central da pesquisa. Apesar disso, não se pode perder de vista o grande espectro coberto pela obra do crítico, uma vez que seus textos dialogam entre si, retomando e alinhavando os diversos temas abordados.
The american art critic Clement Greenberg pays special attention to the aesthetics in his texts of the 1970s, and to the taste judgement most of all. This study try to put light over an important aspect of Greenberg theory: the taste improvement possibility. To do so, it\'s imperative to comprehend Greenberg\'s critical system, considering his Seminars and also his critics since the 30s. The essays presented on Homemade Estheticswill base the investigations about the central point of interest in this study, having in mind the modern theory formulated by Greenberg. But it\'s necessary, beside this, to consider the great diversity of his work, once his texts can have a dialogue.

Cette thèse pose la question de l’exigence artistique dans les pratiques théâtrales en amateur. On s’appuie principalement sur l’observation de festivals de portée départementale ou nationale, suivant l’hypothèse que ces manifestations favorisent les discussions sur les choix esthétiques. La recherche se déploie autour d’une interrogation : quand une activité artistique se pratique dans un cadre non professionnel, comment s’articulent les objectifs d’amélioration de la qualité des spectacles avec le souci de maintenir un respect mutuel ? Constituée à partir de l’analyse des représentations et des rencontres inscrites à l’affiche des festivals, l’étude a été complétée par des entretiens avec les membres des troupes participantes, des comités d’organisation ou des jurys, dont certains artistes professionnels. On structure les résultats obtenus en s’intéressant d’abord aux conditions dans lesquelles les amateurs satisfont leur passion et en évoquant les moyens et les outils dont ils se dotent collectivement pour y parvenir. Puis on envisage les façons dont les amateurs exercent leur jugement quand il leur faut construire le programme d’un festival. On aborde alors les festivals en les considérant comme des expériences de vie et on considère les valeurs mises en œuvre dans ces aventures humaines. Un dialogue est instauré entre tous ces aspects et différentes conceptions théoriques de l’art, selon que l’accent est placé sur ce qui se passe lors d’une représentation, sur les intentions, sur l’expertise ou sur les effets. On insiste sur la dimension sociale de ces pratiques et sur le fait que le temps disponible est consacré de préférence au plateau, plutôt qu’aux discours
This thesis deals with the question of the artistic demand in amateur theatre practices. It mainly relies on the observation of national or departmental festivals, based on the assumption that these events allow for the debating about aesthetical choices. The research is driven by on the interrogation: when one practises an artistic activity as a non-professional, how to articulate the objectives of improving the quality of the shows with the concern for maintaining a mutual respect? The study analyses performances and group discussions scheduled during the festivals, completed by interviews with some members of companies, or of the organising committees, or of the juries, some of them being professional artists. The results are taken up, in turn, beginning with the conditions under which the amateurs satisfy their passion, including the means they collectively develop and put into action, therefore. Then the ways of assessing one’s taste when having to elaborate the program of a festival are examined. It is then proposed to regard festivals as whole experiences of life and to take into account the values which are at work during these human adventures. All these aspects are put into dialogue together with some theoretical conceptions of art, according to the most significant elements: intentions, expertise, effects. The social dimension of the practices is underlined, as well as the fact that amateurs have rather spend their time on scene, rather that discussing

This study focuses on the rhetorical and political conditions for answering the question 'what is kulturpolitik?'. The most common translation of kulturpolitik is 'cultural policy', but 'cultural politics' is an alternative - perhaps policies must al­ways involve broader notions of politics. Here, politics is understood as struggles and conflicts in community, struggles that take place between rules and practical cases, between law and freedom. It is argued that language is a key to an awareness of political conditions, although politics also might involve aesthetics and violence. According to Aristode and Ricoeur, language is something that occurs 'when somebody says something to somebody about something' - and, as added in the dissertation: 'for a certain purpose and in a certain manner'. The general conditions for saying what kulturpolitik is, can thus be studied with reference to the interplay between six aspects: author; utterance, audience, reference, purpose and manner These rhetorical aspects can be used differendy in different cases. Four particular cases are examined in the dissertation. These are chosen pardy because they allow a gen­eral overview of the connections between politics and the arts, or policy and cul­ture, mainly in Western Europe; and pardy because they allow a demonstration of the importance of rhetoric. The cases are: (1) a comparison between two major Government Bills to the Swedish Parliament, concerning the general formulation of state cultural policy; (2) an analysis of the meaning of goals in policy, with particular reference to the Council of Europe's evaluations of cultural policies in France, Sweden, Austria, the Netherlands, and Finland; (3) an overview of the political uses of the concept of culture in Germany between 1800 and 1932; (4) a study of the French state's effort to engage the arts in the service of the republic between 1789 and 1983. It is, furthermore, argued that a rhetorical 'manner' can be understood as a way of employing the faculty of judgement. Following Aristode and Kant, and es­pecially according to Arendt and Lyotard, it is shown that judgement is a pre- eminendy political faculty. It allows those who use language - authors as well as audiences — to reflect upon the conditions of agreement in the absence of precon­ceived rules, but with the help of aesthetical awareness and imagination.
Digitalisering@umu

The aim of this essay is to show how people’s ability to make judgements is based on an attitude towards vulnerability and an aesthetic subject. In order to do this, the essay begins with an examination of a prevailing capitalistic subject form. Using Hannah Arendt’s theories about the human condition – labor, work, and action – and the loss of a common or interpersonal world, the essay stipulates that this capitalistic subject is narcissistic, world-less and hence unable to make sound judgements. Moreover, the capitalistic subject is unable to have faith in the world.The alternative that this essay seeks to present and examine – the aesthetic subject – can on the other hand indeed have faith in the world. In order to explain this, a philosophic and exegetic analysis of the concept of the Christian faith is carried out, leading to the transcendent root visio. Since the essay is searching for an aesthetic alternative, visio is then analogously compared with the Hindu counterpart darśan, which differs from visio in that it is an immanent rather than a transcendent ability. In this essay, it is concluded that to be aesthetic is to make oneself vulnerable by having immanent faith in the world. Since this vulnerable and aesthetic subject acknowledges the world with an immanent faith it is also able to make judgements. Differently put, the essay argues that this vulnerable and faithful state is necessary for humans trying to make sound judgements.

Esta dissertação apresenta a concepção de juízo político de Hannah Arendt. Afastando-se de uma leitura ortodoxa dos textos kantianos, Arendt vislumbra no juízo reflexionante estético de Kant a estrutura do juízo político. Em um constante diálogo com a obra kantiana a autora se apropria de vários conceitos, tanto conceitos constantes na Crítica da faculdade do juízo, que é a obra que ela afirma conter a verdadeira filosofia política de Kant, como conceitos de outras importantes obras kantianas. No decorrer deste texto, quando entendemos que ocorre uma apropriação conceitual buscamos situar minimamente o conceito no contexto da obra kantiana para compreendermos a concepção e o gesto interpretativo de Arendt. Através da análise de seus escritos mostramos como ela compreende o modo de funcionamento da faculdade humana de julgar os eventos políticos, por meio da exposição e discussão dos principais conceitos envolvidos em sua teoria. Assim, apresentamos as condições de possibilidade do juízo representadas pelas faculdades da imaginação e do senso comum, bem como as duas perspectivas pelas quais essa faculdade se manifesta no mundo público, o juízo do ator e o juízo do espectador. Depois, analisamos a conexão entre as faculdades de pensamento e juízo para extrair as implicações éticas da faculdade humana de julgar. Estas reflexões são uma tentativa de compreender como, para Arendt, opera a faculdade de julgar; por que ela considera esta faculdade a mais política das habilidades espirituais do homem, e qual é a relevância política desta atividade do espírito.
This dissertation presents the conception of Hannah Arendt’s political judgment. Moving away from an orthodox reading of Kantian texts, Arendt glimpses in the aesthetic reflective judgment of Kant, the structure of the political judgment. In one constant dialogue with Kantian Work the author appropriates several concepts, as concepts constant in the Critique of judgment, which is the Work that she affirms that contains the true Kant’s political philosophy, as concepts of other important Kantian Works. In elapsing of this text, when we understand that a conceptual appropriation occurs, we try to situate the concept in the context of the Kantian Work to understand Arendt’s conception and the interpretation gesture. Through the analysis of her writings we show as she understands the way of functioning of the human faculty to judge the political events, by the exposition and debate of the main involved concepts in her theory. So, we present the conditions of judgment possibility represented by the faculties of the imagination and the common sense, as well as the two perspectives for which manifests this faculty in the public world, the judgment of the actor and the judgment of the spectator. After that, we analyze the connection between the faculties of thought and judgment to extract the ethical implications of the human faculty to judge. These reflections are an attempt to understand how does the faculty of judge operate for Arendt; why does she consider this faculty the most political of men’s mental abilities, and what is the politic relevance of this spirit’s activity.

The aim of this research is to establish which aspects influence students’ successful learning of design skills through contextually integrated learning support material for the design and technology education programme at the University of Pretoria. The purpose of the research is threefold: • The first aim is to investigate the extent to which the electronic tutorial, Design in Action (hereafter referred to as “the tutorial”) contributes to students’ (novice designers) design theory in a technological context i.e. to indicate whether the level of sophistication of the exemplary graphics and explanatory text is suited to the context. • The second aim is to establish the levels of learning achieved by learners as a result of the intervention using Design in Action in order to indicate the adequacy of the learning support material in achieving the learning outcomes of the unit. • The third aim is to establish possible improvements for the tutorial to increase its effectiveness in terms of curriculum, media&technology, learning&instruction and teacher education&didactics (Van den Akker, 1999). The findings of this preliminary study will be used in broader studies focused on the design and development of contextually integrated learning support material for design and technology education students. This research is a qualitative case study, including the evaluation of levels of learning of first year pre-service design and technology students, conducted in the interpretative paradigm, within the theoretical frame of socially responsible research (Reeves, 2000). The evaluation of the levels of learning was based on a model designed by Kirkpatrick (Kirkpatrick, 1994). The model delineates four levels of instruction (training) outcomes: reaction, learning, behaviour, and results.
Dissertation (MEd (CIE))--University of Pretoria, 2005.
Curriculum Studies
unrestricted

This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.

The main aim of public art is to be avaliable and accessible to all. Public art is often connected to social and economical intentions in so far as its presence in the public space ought to benefit the general public. To ensure access to good art, rules and regulations determine the commissioning and procurement of public art. Councils work collaboratively to reach a unified and collective assessment of its quality. This essay argues that the legal framework nevertheless overlooks important aspects of how the quality assessment of public art succeeds in attaining its general status, where this status must co-exist with the fact that aesthetic judgements are grounded in subjective experience. The essay sets out to offer constructive recommendations for how the process surrounding such qualitative assessment of art for public space ought to work.  In order to examine the quality assessment of public art, and the ways such qualities is said to be guaranteed, I will use the competition West Link: Chronotopia (2017) as a case study. I will analyze the conditions under which the jury's assessment of the winning contribution for a new train station at Korsvägen in Gothenburg was made. By extrapolating Immanuel Kant's theory of aesthetic judgements (Critique of Judgement, 1790) I will show how aesthetic judgements can lay claim to the general validity while being rooted in subjective experience. To bridge this seemingly contradiction, I will examine the notion of sensus communis in relation to the case study.  The result of the essay shows that assessment of art depends largely on our abilities to communicate subjective appreciation. The legal framework turns out to have only a secondary role and does not limit how a jury motivates its assessment of the work's aesthetic qualities. Instead it encourages the jury in subjective reflection on the work's qualities.  The essay concludes by defending the claim that there is a pressing need to make more visible the role of aesthetic judgement in the quality assessment process of public art. Assessing with general validity must be grounded in the artwork's own premises, as manifested in our subjective impressions of them. Social communication is especially encouraged, and enables human beings to trust their own thoughts and feelings in balance with those of others. This essay thus defends the idea that public art, as an object of aesthetic judgement, has a very important role to play in our society.

Title: Aesthetic judgement from philosophical, psychological, and neuroscientific perspectives Author: Tereza Hadravová Department: Aesthetics Department Supervisor: prof. PhDr. Vlastimil Zuska, CSc. Abstract: How does science relate to aesthetics? This question usually reads as a question concerning scientific contribution to aesthetics. Philosophers are most- ly skeptical about the application of scientific results in their domain, wheras psychologists and, in recent years, neuroscientists are optimistic. In the thesis, I argue that both of these positions, in their extreme versions, impede the mutual enrichment of science and aesthetics. The starting-point of the thesis is George Dickie's radical claim that no scientific information has ever been relevant for aesthetics. The claim, I argue, is firmly embedded in the aftermath of logical positivism: it is related to the e↵ort to "rescue" aesthetics from progressive eli- mination. As a consequence, most of analytic aesthetics discourse has ignored psychologically informed conception of aesthetic judgement, including some fine distinctions that such a conception enables, e.g. the di↵erence between judgements about pleasure and aesthetic judgements. The distinctions are further elaborated and, in the last part of the thesis, the results of this elaboration are...

碩士
國立台中師範學院
國民教育研究所
85
The purpose of this study is to explore the nature of aesthetic judgement through IRT and IRS test theories. Analyzing the difficulties of aesthetic judgement and cognitive structure, and comparing the different aesthetic judgement among students in different backgrounds are also identified in this study. The population for the study consists of 462 students in central part of Taiwan who are in 4th and 6th grades. The data was analyzed by IRSP1, ICCNP, and SPSS to determine the structure of cognition and the differences of students in different backgrounds. Major conclusions, based on the findings, were the following: (1) Literature reviews strongly suggest that aesthetic judgement has structure of cognition. (2) Through the comparison of the assumption of test theories, aesthetic judgement can be analyzed by IRT and IRS effectively. (3) The capability of aesthetic judgement consists of various knowledge of visual arts. (4) Aesthetic judgement of every items is independent. (5) Everyone has different capability in the structure of aesthetic judgement especially in expert and novice groups. (6) There are significant differences in aesthetic judgement with different backgrounds. (7) There is a relationship among aesthetic judgement, learning experience, and professional knowledge. The following recommendations for future research are offered: (1) In teaching, using more interaction of aesthetic judgement, introduction of every art collection, individualized instruction, and suitable guidance for students to be more professional are recommended. (2) In measurement of aesthetic judgement, the information of this study are recommended to design for CAT. (3) More items could be added into this questionnaire to understand the copability of aesthetic judgement for future study.

碩士
國立臺灣師範大學
設計研究所在職進修碩士班
98
In the past decades, there has been a dramatic change in the consumer behavior, lifestyle and values of adolescents, because of the development of visual environment and urban-rural gap. In the same time, many activities of the performing arts have been made. It is supposed that a better understanding of the preference and aesthetic judgments of adolescents in pictures, as well as cultivating the related knowledge to them may contribute to enhance their liking and interest of arts activities. In lights of these concerns, this article is intended to understand the influential variables of gender, geographical region, poster style and subject when adolescents viewing performing arts posters. A 2(gender)×2(region)×3(subject matter)×3(expressing form) mixed design was employed. one thousand two hundred and thirty-four posters of performing arts ewre performing arts posters were selected as visual stimuli to this study. A total of 177 adolescents, including 89 males and 88 females, were recruited from four junior high schools in Taipei and Yunlin Counties. The participants, their average age was 15, were asked to answer the degrees of aesthetic judgment and preference about the posters, and explain a series of questions such as the motivation of participation. Descriptive Statistics, multiple analyses of variances, and Pearson correlations were used to analysis the collected data. The finding results were as follows: 1. A significant difference of viewpoints about arts poster between regions and genders was found. 2. The scores of various styles and participating motivation of the adolescents in Taipei were significantly higher than those in Yunlin. 3. Adolescent females hold that the performing arts posters were more beautiful and likable and had a higher participating motivation than adolescent males did. 4. Aesthetic and liking of adolescents showed a significantly high correlation. However, beauty of posters and motivation of participations revealed a low correlation. 5. The relationships between Aesthetic judgment and preference, as well as participating motivation of the adolescents in Taipei were stronger than those in Yunlin.

碩士
國立臺北教育大學
特殊教育學系碩士班
97
This study aimed at understanding the aesthetic judgement of the evaluation of art-gifted and regular students of primary schools on picture book reading.To arrange the multi-reading activities for two classes located in Shongsun Area, one class was an art-gifted class while the other was a regular one. And all the students were fifth-grade students. There were four multi-reading activities for two classes, each one had two multi-reading activities respectively. After multi-reading activities, all students were demanded to fulfill the questions printed on the sheet about the aesthetic questions of the picture books which the students read in the class. The two picture books were chosen from the works of Leo Lionni’s, a famous writer in the world. The whole research included a pilot and a formal research. The results were as followed： 1.Difference of the Aesthetic Judgement of the Art-gifted and Regular Students The art-gifted students tended to evaluate the picture books based on the pictorial clues. The regular students tended to evaluate the picture books based on the literal clues. 2.Mutual Ideas of the Aesthetic Judgement of the Art-gifted and Regular Students No matter were they art-gifted students or not,they could interpret the picture book which was described by clear introduction. The same situation happened on their reading of the picture book which was described by implicit introduction. They both could not interpret the picture book properly. 3.Art-gifted Students have Better Development on Aesthetic Judgement than Regular Students Art-gifted students have better development on aesthetic judgement according to the evaluation on the sheet about reading picture books. According to the research discussion and result,the researcher proposed some suggestions to the art-gifted and regular students, art educators and further researchers.

Chan Chun Hang Henry.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 129-138).
Abstracts in English and Chinese.
Notes on the sources of the works of Immanuel Kant and keys to abbreviations --- p.i
Introduction --- p.1
Chapter CHAPTER ONE: --- The Supersensible in the Critique of Pure Reason and the Critique of Practical Reason
Chapter I. --- Introduction --- p.8
Chapter II. --- "Brief Survey to the Scholarships on the ""Dialectic""" --- p.11
Chapter III. --- The Supersensible in the first Critique: A Problematic
Emergence of the Transcendental Ideas --- p.16
Bound determination and Reason --- p.17
Antinomy and the Supersensible Totality --- p.24
Concluding remarks --- p.34
Chapter IV. --- The Supersensible in the second Critique: Reality of Freedom as Practical Reason --- p.36
"""Keystone “ of the critical system" --- p.37
Pure practical reason and freedom --- p.39
Chapter V. --- Tension between the Two Critiques --- p.44
Chapter VI. --- Conclusion to the Chapter --- p.48
Chapter CHAPTER TWO: --- A Transition from Nature to Freedom and the Power of Judgement
Chapter I. --- Introduction: From Urtheil to Urtheilskraft --- p.50
Chapter II. --- Experience as a System and the Urtheilskraft --- p.55
Chapter III. --- System of Philosophy and the Urtheilskraft --- p.59
Chapter IV. --- Aesthetic Judgement as Reflective Power of Judgement --- p.64
Chapter V. --- The Moments of Taste --- p.67
First Moment: Taste as disinterested --- p.67
Second Moment: Taste as universal --- p.69
Third Moment: Taste as purposiveness without purpose --- p.71
Fourth Moment: Taste as necessary liking --- p.72
Chapter VI. --- "Imagination, Harmony, and the Deduction of Aesthetic Judgement" --- p.74
Imagination in the Critique of Pure Reason --- p.76
Deduction of taste --- p.81
Chapter VII. --- Concluding Remarks to the Chapter --- p.85
Chapter CHAPTER THREE: --- Reflective Judgement and the Supersensible Substrate
Chapter I. --- Introduction --- p.86
Chapter II. --- Analogy and Teleological Judgement --- p.88
Analogy as reflective judgement --- p.89
Teleological Judgement: Between mechanism and purposiveness --- p.92
Chapter III. --- Intuitive Understanding and the Supersensible Substrate of Reality --- p.97
The peculiarity of human cognitive power --- p.99
Chapter CHAPTER FOUR: --- Problems and Legacy of Kant's Concepts of Reflective Judgement and Supersensible Substrate
Chapter I. --- Introduction: Recapitulation of the Systematic Problem of Kant's Philosophy --- p.108
Chapter II. --- The Supersensible Substrate as seen through Reflective Power of Judgement --- p.113
Chapter III. --- An Indeterminate Ground of Critical Philosophy --- p.116
Indeterminate ground of philosophy; or the destination of human freedom? --- p.120
Chapter IV. --- Concluding Remarks --- p.125
Conclusion --- p.126
Bibliography --- p.129

Since at least the Greek classic period that thought, within the western civilizations, has been sharing a strict relationship with Euclidean principles, which have influenced and characterized it, leading to a specific type of reasoning and identity. In turn, as expressions of the mind, the forms that we have been thinking about and have brought to material reality, have been following these same Euclidean principles. Thought has shared also a closed relationship with architecture and architecture space form. A relationship that became even more pronounced with the incoming phenomenon of the Industrial Revolution with its standardization and mass production techniques and technologies. Ever since, the majority of architecture spaces that we have been thinking about and eventually building, follow and share Euclidean-orthogonal principles and relationships. However, with the arrival of the 20th and 21st centuries’ Digital Revolutions and their novel representation, visualization and production techniques and technologies, the forms that we think about and manage to produce, have achieved an unprecedented range of freedom, in which both Euclidean and non-Euclidean free forms are considered. This happening opened a pertinent and relevant thinking and discussion on whether humans, in their nature and within a valid freedom of choice, tend to prefer the long settled Euclidean, orthogonal-based architecture spaces, with all the elements that such geometry implies, namely, the presence of angular, sharp edges and vertices, or, on the contrary, they tend to prefer non-Euclidean, curved, rounded architecture spaces. This thesis proposes to address the problem of the preference for form, namely architecture space form, divided in two sub-problems that the literature review helped to identify: aesthetic judgements and approach-avoidance decisions, two judgements that, in turn, may rely in two knowledge ‘databases’: a subjective-based one, build through our life time sensible and rational experiences, and, a more objective-based one, which hides behind our genetic legacy and lays on basic evolutionary defense functions or mechanisms. We will approach this thesis Problem and Research Question, through (i) a free discourse on historic key events that, through our evolutionary stages, may have contributed to the fact that we have been closer to some elements, namely forms and architecture form, with certain geometric characteristics, over others; (ii) the evolution of aesthetics and our basic evolutionary defense functions or mechanisms, through qualitative and quantitative research methodologies, (iii) state-of-the-art review on the topic of preference for elements with distinct geometric characteristics, and (iv) our own developed experimental user study on abstract architecture spaces with distinct geometric characteristics at the contour level, which, based on the thesis two sub-problems, tried to validate our raised hypotheses. The results of this thesis suggest that humans prefer abstract architecture spaces with curved, rounded elements, rather than those equipped with angular, sharp ones. On the other hand, they were inconclusive on whether we prefer Euclidean-orthogonal or full non-Euclidean abstract architecture spaces, possibly due to familiarity (“mere-exposure”) and ‘strangeness’ effects. These results validate and partial validate hypotheses ‘H1’ and ‘H2’, respectively, the two major hypotheses of this thesis.
Desde pelo menos o período grego clássico que o pensamento das civilizações ocidentais têm partilhado uma relação estreita com princípios Euclidianos, algo que tem influenciado e caracterizado este pensamento, orientando-o para uma forma específica de raciocínio e identidade. Por sua vez, enquanto expressões da mente, as formas que temos vindo a pensar e a trazer para a realidade material têm seguido estes mesmos princípios Euclidianos. Enquanto extensão do pensamento, o mesmo se tem aplicado à arquitetura, nomeadamente à sua forma. Esta relação tornou-se ainda mais pronunciada com a chegada do fenómeno da Revolução Industrial e as suas técnicas e tecnologias de estandardização e produção em série. Desde então, a maioria dos espaços de arquitetura que temos pensado e construído seguem e partilham princípios e relações ortogonais-Euclidianos. No entanto, com a entrada em cena das revoluções digitais dos séculos XX e XXI e as suas inovadoras técnicas e tecnologias de representação, visualização e produção, as formas que temos vindo a pensar e a conseguir produzir, atingiram um grau de liberdade sem precedentes, no qual entram em consideração tanto as formas Euclidianas como não-Euclidianas. Este acontecimento abriu uma discussão pertinente e relevante sobre se, na eventualidade de uma válida liberdade de escolha, os humanos efetivamente preferem os, tão presentes e enraizados, espaços de arquitetura ortogonais-Euclidianos, com todos os elementos que esta geometria implica, nomeadamente, a presença de arestas e vértices angulares e afiados, ou, pelo contrário, preferem espaços de arquitetura não-Euclidianos, com elementos curvos e arredondados. Esta tese de doutoramento propõe, neste sentido, abordar o problema da preferência pela forma, nomeadamente, pela forma dos espaços de arquitetura, dividido pelos dois sub-problemas que a revisão bibliográfica ajudou a identificar: Julgamentos estéticos e decisões de aproximação ou afastamento, dois julgamentos que, por sua vez, podem estar baseados em duas ‘bases de dados’ de conhecimento: uma subjetiva, construída ao longo das nossas experiências sensíveis e racionais, e, uma mais objetiva, que se esconde atrás do nosso legado genético e assenta em funções ou mecanismos básicos de defesa evolutiva. O Problema e a Pergunta de Investigação desta tese serão abordados através de (i) um discurso livre sobre eventos históricos chave que, ao longo da nossa evolução, possam ter contribuído para o facto de podermos ter mantido um maior grau de aproximação em relação a determinados elementos, nomeadamente, formas e a forma da arquitetura, com determinadas características geométricas, sobre outros; (ii) a evolução do estudo da estética e as nossas funções ou mecanismos básicos de defesa evolutiva, através metodologias de investigação qualitativa e quantitativa, (iii) a revisão do estado-da-arte sobre a preferência de elementos com características geométricas distintas e (iv) o desenvolvimento de um estudo experimental sobre espaços abstratos de arquitetura com características geométricas distintas ao nível do contorno, que, baseado nos dois sub-problemas desta tese, procurou validar as hipóteses de estudo levantadas. Os resultados desta tese sugerem que os humanos preferem espaços abstratos de arquitetura com elementos curvos e arredondados em relação àqueles dotados de elementos angulares e afiados. Por outro lado, foram inconclusivos quanto ao facto de podermos preferir espaços de arquitetura Euclidianos-ortogonais àqueles puramente não-Euclidianos. Estes resultados validam e validam parcialmente as hipóteses H1 e H2, respetivamente, as duas hipóteses principais desta tese de doutoramento.