Journal articles: 'Aesthetic judgements'

1

Kemal, S. "Aesthetic Judgements." Philosophical Inquiry 8, no. 3 (1986): 172–80. http://dx.doi.org/10.5840/philinquiry198683/411.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

McAllister, James W. "SCIENTISTS' AESTHETIC JUDGEMENTS." British Journal of Aesthetics 31, no. 4 (1991): 332–41. http://dx.doi.org/10.1093/bjaesthetics/31.4.332.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Budd, Malcolm. "Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties." European Journal of Philosophy 7, no. 3 (December 1999): 295–311. http://dx.doi.org/10.1111/1468-0378.00090.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Street, John. "Aesthetics, policy and the politics of popular culture." European Journal of Cultural Studies 3, no. 1 (January 1, 2000): 27–43. http://dx.doi.org/10.1177/a010861.

Full text

Abstract:

Study of the politics of popular culture has tended to focus on the familiar territory of censorship, propaganda and protest. Without wishing to deny the importance of these aspects of popular culture's politics, this article argues for a broader perspective, one that encompasses policy and aesthetics. It suggests not only that the recent interest in both aesthetics and policy is important to the politics of culture, but that the two need to be linked: that political values and arrangements shape aesthetic judgements and that aesthetic values inform policy decisions. This argument is developed through an analysis of recent debates about aesthetic judgement, focusing in particular on the work of Simon Frith.

APA, Harvard, Vancouver, ISO, and other styles

5

Archer, Alfred. "Aesthetic judgements and motivation." Inquiry 60, no. 6 (January 5, 2017): 656–74. http://dx.doi.org/10.1080/0020174x.2016.1272487.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Mather, George. "Aesthetic Judgement of Orientation in Modern Art." i-Perception 3, no. 1 (January 2012): 18–24. http://dx.doi.org/10.1068/i0447aap.

Full text

Abstract:

When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.

APA, Harvard, Vancouver, ISO, and other styles

7

Kumar, Apaar. "Kant and the Harmony of the Faculties: A Non-Cognitive Interpretation." Kantian Review 23, no. 1 (February 23, 2018): 1–26. http://dx.doi.org/10.1017/s1369415417000358.

Full text

Abstract:

AbstractKant interpreters are divided on the question of whether determinate cognition plays a role in the harmony of the faculties in aesthetic judgement. I provide a ‘non-cognitive’ interpretation that allows Kant’s statements regarding judgements of natural beauty to cohere such that determinate cognition need not be taken to perform any role in such judgements. I argue that, in aesthetic harmony, judgement privileges the free activity of the imagination over the cognizing function of the understanding for the purpose of unifying the object, although the free imagination cannot violate the obscure concepts and principles of ordinary common sense.

APA, Harvard, Vancouver, ISO, and other styles

8

Borrelli, Arianna. "Symmetry, beauty and belief in high-energy physics." Approaching Religion 7, no. 2 (November 29, 2017): 22–36. http://dx.doi.org/10.30664/ar.67711.

Full text

Abstract:

This paper engages with the aesthetics of knowl-edge, both in its sense as the connection between knowledge and ‘aesthetic’ judgements of beauty, or ugliness, and of the many ‘aesthetic’ – that is to say sensually perceivable – dimensions of knowledge, which are always to be seen to be constituting an epistemic factor in its production and consumption. On the one hand I analyse how in recent decades the connection between beauty and truth has been systematically employed to both inspire and guide research in high-energy physics; at the same time I also show how this use of aesthetic judgement only reveals its constitutive role in physics research when paying attention to the broad range of aesthetic strategies employed for expressing scientific knowledge.

APA, Harvard, Vancouver, ISO, and other styles

9

Jovanovic, Monika. "Aesthetic judgements and critical reasons." Theoria, Beograd 55, no. 4 (2012): 69–75. http://dx.doi.org/10.2298/theo1204069j.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Young, James O. "Relativism, Standards and Aesthetic Judgements." International Journal of Philosophical Studies 17, no. 2 (May 2009): 221–31. http://dx.doi.org/10.1080/09672550902794439.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

ROWE, M. W. "THE OBJECTIVITY OF AESTHETIC JUDGEMENTS." British Journal of Aesthetics 39, no. 1 (January 1, 1999): 40–52. http://dx.doi.org/10.1093/bjaesthetics/39.1.40.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Townsend, D. "Cohen on Kant's Aesthetic Judgements." British Journal of Aesthetics 43, no. 1 (January 1, 2003): 75–79. http://dx.doi.org/10.1093/bjaesthetics/43.1.75.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Stewart, Simon. "Evaluative judgements: ethics, aesthetics and ‘bad taste’." Sociological Review 65, no. 1 (March 9, 2016): 37–51. http://dx.doi.org/10.1111/1467-954x.12360.

Full text

Abstract:

Bourdieusian research demonstrates that judgements about ‘bad taste’ are in great part determined by negation. In seeking to extend the reach of sociological research beyond this relational account, this article theorizes the ethical and aesthetic dimensions of evaluative judgements. First, with reference to value-rational social action, it considers the ethical dimension. Relatedly, it draws attention to debates concerning the limits of what can be artistically represented and what offends ethical sensibilities. Second, in considering the aesthetic dimension, the article theorizes an account of evaluative judgement situated in the everyday: one that pays close attention to how it is formed at a micro-level on an individual and collective basis. This attention to the interaction between individuals and objects, largely neglected in Bourdieu’s analysis, enables us to zoom in to see that ‘bad taste’ is a changeable notion and the ‘bad’ can become ‘good’ through evaluative reworking that challenges existing interpretations and evaluations. By performing the difficult task of identifying and distinguishing the ethical and aesthetic dimensions of evaluative judgement, the article argues that we can gain a multi-layered understanding of what and how people value.

APA, Harvard, Vancouver, ISO, and other styles

14

Budd, M. "The Intersubjective Validity of Aesthetic Judgements." British Journal of Aesthetics 47, no. 4 (October 1, 2007): 333–71. http://dx.doi.org/10.1093/aesthj/aym021.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Sauchelli, A. "Functional Beauty, Perception, and Aesthetic Judgements." British Journal of Aesthetics 53, no. 1 (January 1, 2013): 41–53. http://dx.doi.org/10.1093/aesthj/ays057.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Wright, Damien, and Marco Bertamini. "Aesthetic Judgements of Abstract Dynamic Configurations." Art & Perception 3, no. 3 (2015): 283–301. http://dx.doi.org/10.1163/22134913-00002037.

Full text

Abstract:

To date, aesthetic preference for abstract patterns has mainly been examined in the relation to static stimuli. However, dynamic art forms (e.g., motion pictures, kinetic art) are arguably more powerful in producing emotional responses. To start the exploration of aesthetic preferences for dynamic stimuli (stripped of meaning and context) we conducted three experiments. Symmetrical or random configurations were created. Each line element had a local rotation, and the whole configuration also underwent a global transformation (horizontal translation, rotation, expansion, horizontal shear). Participants provided explicit preference ratings for these patterns. As expected results showed a preference for dynamic symmetrical patterns over random. When global transformations were compared, expansion was the preferred dynamic transformation whilst participants liked the horizontal shear transformation the least. Overall, these results show that preference for symmetry persists and is enhanced for dynamic stimuli, and that there are systematic preferences for global transformations.

APA, Harvard, Vancouver, ISO, and other styles

17

Davies, Stephen. "AESTHETIC JUDGEMENTS, ARTWORKS AND FUNCTIONAL BEAUTY." Philosophical Quarterly 56, no. 223 (April 2006): 224–41. http://dx.doi.org/10.1111/j.1467-9213.2006.00439.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Brady, Emily. "Adam Smith's ‘Sympathetic Imagination’ and the Aesthetic Appreciation of Environment." Journal of Scottish Philosophy 9, no. 1 (March 2011): 95–109. http://dx.doi.org/10.3366/jsp.2011.0007.

Full text

Abstract:

This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements may originate in a type of self-regulated response where we stand outside ourselves to check those overly humanizing tendencies which might lead to a failure in appreciating nature as nature.

APA, Harvard, Vancouver, ISO, and other styles

19

Dunn, Nicholas. "Kant and the Demands of Normativity: Response to Harbin." Dialogue 59, no. 4 (December 2020): 613–19. http://dx.doi.org/10.1017/s001221732000030x.

Full text

Abstract:

ABSTRACTI argue against Harbin's claim that aesthetic judgements, for Kant, are not normative. By focusing on the systematic nature of Kant's Critical philosophy, I show that aesthetic judgements, like judgements in the theoretical and practical domains, must be normative, though such judgements display a distinct kind of normativity, which is expressed in their subjectivity, indeterminacy, and affectivity.

APA, Harvard, Vancouver, ISO, and other styles

20

Inglis, Matthew, and Andrew Aberdein. "Are aesthetic judgements purely aesthetic? Testing the social conformity account." ZDM 52, no. 6 (April 12, 2020): 1127–36. http://dx.doi.org/10.1007/s11858-020-01156-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Rueger, Alexander. "Systematicity and Symbolisation in Kant's Deduction of Judgements of Taste." Hegel Bulletin 32, no. 1-2 (2011): 232–51. http://dx.doi.org/10.1017/s0263523200000240.

Full text

Abstract:

Kant's characterisation of judgements of taste, as expressing a disinterested pleasure and as being independent of concepts, defines the framework in which he attempts to justify or ‘deduce’ their claim to universal and necessary validity. In §38 of the Critique of Judgement, the ‘official’ deduction, the problem is to find a balance between the aim of grounding the judgements' validity on their relation to cognition and the danger of collapsing these aesthetic judgements into cognitive ones. Apparently, Kant's intention is to show that even though judgements of taste are not cognitive judgements, they are close enough to the conditions employed in all cognition to legitimize their claim to universal validity. Yet, in §59 of the Dialectic Kant seems to attempt another justification, this time by relating judgements of taste to morality. The problem now is to specify this relation so as to avoid reducing aesthetic to moral judgements. The justificatory projects in §38 and §59 are usually considered to be quite different. My aim in this paper is to clarify the relation between the two projects on the basis of an interpretation of what the pleasurable state of mind consists in, that is, the free harmonious play of the faculties in which everyone ought to share in the presence of beautiful objects. In the light of this interpretation I shall give a reconstruction of the argument of §38 which reveals its connection and contrast with §59.

APA, Harvard, Vancouver, ISO, and other styles

22

Harbin, R. Kathleen. "The Lawless Demand of Judgements of Taste: Response to Dunn." Dialogue 59, no. 4 (December 2020): 621–26. http://dx.doi.org/10.1017/s0012217320000335.

Full text

Abstract:

ABSTRACTI respond to Dunn's claim that aesthetic judgements must be normative for Kant by (I) clarifying my position: it is not the case that on my account the strength of the feeling of pleasure implies that others should agree with my judgement; instead, the disinterestedness of the feeling is the basis for agreement, (II) arguing against the claim that Kant's broader system requires normative judgements of taste, and (III) arguing against the suggestion that any operation of a faculty in accordance with a principle is normative.

APA, Harvard, Vancouver, ISO, and other styles

23

Sweet, Kristi. "Reflection: Its Structure and Meaning in Kant's Judgements of Taste." Kantian Review 14, no. 1 (March 2009): 53–80. http://dx.doi.org/10.1017/s1369415400001345.

Full text

Abstract:

When Kant announces in a letter to Reinhold that he has discovered a new domain of a priori principles, he situates these principles in a ‘faculty of feeling pleasure and displeasure’ (Zammito 1992: 47). And it is indeed in his Critique of Aesthetic Judgement, named in this letter the Critique of Taste, that we find his elucidation of the relation of the principle of purposiveness to the feeling of pleasure. The kinds of judgements in which our feelings are evaluated in accordance with a principle are what Kant names reflective judgements. And while reflective judgements emerge in the third Critique to include not only judgements of taste, but also judgements of the sublime and teleological judgements of nature, in this paper I will focus on the first, as the question of the relatedness of reflection to pleasure is most pronounced in this context. There is no consensus in Kant scholarship as to what the structure of reflective judgements is, as evidenced by the widely disparate views of those such as Guyer, Allison, Pippin, Ginsborg, Lyotard, and others.

APA, Harvard, Vancouver, ISO, and other styles

24

Kulka, Tomáš. "Why Aesthetic Value Judgements Cannot Be Justified." Estetika: The European Journal of Aesthetics 46, no. 1 (May 15, 2009): 3. http://dx.doi.org/10.33134/eeja.49.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Schellekens, Elisabeth. "Towards a Reasonable Objectivism for Aesthetic Judgements." British Journal of Aesthetics 46, no. 2 (April 1, 2006): 163–77. http://dx.doi.org/10.1093/aesthj/ayj020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Vandenabeele, B. "The Subjective Universality of Aesthetic Judgements Revisited." British Journal of Aesthetics 48, no. 4 (October 1, 2008): 410–25. http://dx.doi.org/10.1093/aesthj/ayn042.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Douzinas, Costas. "Sublime Law: On Legal and Aesthetic Judgements." Parallax 14, no. 4 (October 2008): 18–29. http://dx.doi.org/10.1080/13534640802416819.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Li, Yang, Changjun Hu, Leandro L. Minku, and Haolei Zuo. "Learning aesthetic judgements in evolutionary art systems." Genetic Programming and Evolvable Machines 14, no. 3 (April 19, 2013): 315–37. http://dx.doi.org/10.1007/s10710-013-9188-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Polovina, Marko, and Slobodan Markovic. "Structure of aesthetic experience." Psihologija 39, no. 1 (2006): 39–55. http://dx.doi.org/10.2298/psi0601039p.

Full text

Abstract:

This study investigated the strructure of aesthetic experience and the relationship of this structure and other dimensions of the subjective judgements of paintings. Aesthetic experinece was defined by nine descriptors selected from relevant literature: fascinating, irresistible, unique, eternal, profound, exceptional, universal, unspeakable, I would like to have this painting. 24 paintings were judged of on nine unipolar seven-step scales that were made of the up-mentioned descriptors. The factor analysis extracted one principal component. Multiple regression has shown weak correlation between aesthetic expirience (averaged nine judgements) and the factors of the subjective judgements of paintings (the factors were measured by the instrument SDS 16; Radonjic & Markovic, 2005). Factor Arousal was a significant predictor of aesthetic experience, but the percent of explained variance was relatively low (circa 23%). The prediction of other factors, Regularity, Atraction and Serenity, was not significant. For the purpose of this analysis we used the data from the previous study (Radonjic and Markovic, 2005). Further regression analyses indicated the role of aesthetic experience in the similarity judgments of paintings: the distributions of the paintings within 2-D and 3-D MDS space were partially explained by the measure of aesthetic experience. The MDS data were taken from the previous study (Radonjic i Markovic, 2004). The results of this study suggest that the aesthetic experience is a unique and relatively independent phenomenon: internally, it is not dividable into components, and externally, it is weakly correlated with the other subjective dimensions.

APA, Harvard, Vancouver, ISO, and other styles

30

Jiménez Sánchez, Lucía. "Understanding Design Aesthetics beyond Functional Beauty Accounts." Laocoonte. Revista de Estética y Teoría de las Artes, no. 6 (December 16, 2019): 137. http://dx.doi.org/10.7203/laocoonte.0.6.15327.

Full text

Abstract:

Abstract: Design is presented as an apt object of aesthetic appreciation. The nature of its aesthetic dimension will be developed in terms of the relationship between form and function. Specially, by looking at the role that knowledge about function plays in our design aesthetic judgements. Then, I will present the dominant view about the aesthetic value of design coming from functional beauty accounts. Finally, in the last section, I will focus upon some problems derived from the aforementioned integral model form-function in design aesthetics. By means of practical cases, I will point to the narrowness of functional beauty accounts and its inability to include a broader range of actual design objects and their relevant design aesthetic properties.

APA, Harvard, Vancouver, ISO, and other styles

31

van den Berg, Marguerite, and Josien Arts. "The Aesthetics of Work-Readiness: Aesthetic Judgements and Pedagogies for Conditional Welfare and Post-Fordist Labour Markets." Work, Employment and Society 33, no. 2 (March 13, 2018): 298–313. http://dx.doi.org/10.1177/0950017018758196.

Full text

Abstract:

Recent legislation in the Netherlands takes conditional welfare to a new level. Local welfare offices can now give benefit sanctions to welfare clients that ‘obstruct employment’ by their appearance. Through a qualitative and ethnographic study of aesthetic evaluation practices in Dutch welfare offices it is argued that: (1) an everyday aesthetic labour is pivotal in post-Fordist labour markets; (2) in times of precarization, this is so for unemployed as well as formally employed populations; (3) welfare clients are expected to give an aesthetic performance of work-readiness and adaptability; and (4) case managers use aesthetics as a pedagogy to achieve this readiness and adaptability. Aesthetic labour, it is then argued, is best conceptualized as a continuous, everyday, backstage labour for labour: a daily calibration for work contexts in flux.

APA, Harvard, Vancouver, ISO, and other styles

32

Hanauer, David I. "Beauty judgements of non-professional poetry." Scientific Study of Literature 5, no. 2 (December 31, 2015): 183–99. http://dx.doi.org/10.1075/ssol.5.2.04han.

Full text

Abstract:

The process of reading and writing poetry is increasingly conducted by non-professionals. The current study utilized a series of regression models to explore the mechanism through which beauty judgements of non-professional poetry are made. The analysis addressed the relationships among the decision that a poem was written by a published poet (authorial attribution), a perception of the quality of the writing, the emotional response to the poem and a beauty judgement of the poem. 54 participants from two graduate applied linguistics programs rated 5 non-professional poems for their beauty, emotive response, quality of writing and semi-professional status of the writer. Analyses were conducted on averaged ratings across all five poems. The results indicate the beauty judgements, emotive response and quality of writing judgements were closely related. The decision that a poem is written by a published poet predicted the quality of writing and emotional response to the poem. An inconsistent mediation model was determined, in which increases in the semi-professional status of the writer increased the self-reported emotive response and quality of writing which in turn increased the beauty judgement of the poem. The results suggest a mechanism by which convergence of aesthetic judgement with novice reviewers is directed by the social sanctioning of the authority and quality of the writer.

APA, Harvard, Vancouver, ISO, and other styles

33

Lobo, Carlos. "Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience." Miscellanea Anthropologica et Sociologica 20, no. 1 (May 25, 2019): 46–81. http://dx.doi.org/10.26881/maes.2019.1.03.

Full text

Abstract:

The author explores Ingarden’s aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden’s position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden’s refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.

APA, Harvard, Vancouver, ISO, and other styles

34

Bisschop, Wouter T. C. "Interpretation and Aesthetic Appreciation." Journal of Literary Theory 14, no. 1 (March 1, 2020): 1–9. http://dx.doi.org/10.1515/jlt-2020-0001.

Full text

Abstract:

AbstractIn order to talk and think sensibly about the various ways of engaging with texts, we need to distinguish them by reference to relevant differences and commonalities between them. This paper focusses on the conceptual relations between three ways of engaging with texts that figure prominently in literary scholarship: textual interpretation, literary interpretation, and aesthetic appreciation. Rather than giving a full analysis of these three terms, this paper has two specific concerns. First, it is argued that literary interpretation is best understood as a species of textual interpretation. Second, and relatedly, some theorists argue that the discriminating feature of literary interpretation is its aim of aesthetic appreciation. Aesthetic appreciation may refer to either (i) a judgement about or (ii) an experience of or (iii) an attempt to identify and evaluate the aesthetic properties of something. The idea that appreciative judgements or experiences are the main aims of literary interpretation should not lead to a conceptual confusion of literary interpretation with aesthetic evaluation (or appreciative acts), even if there is a sense in which the idea is correct. Aesthetic appreciation is, at most, a secondary aim of literary interpretation and may function as a motivation to engage in literary interpretation. This aligns well with the idea that aesthetic appreciation has a significance independent from interpretation. Their conceptual distinction notwithstanding, it is argued that there are interesting evidential relations between (literary) interpretation and aesthetic appreciation. These relations of support, evidence, or justification may go either way.

APA, Harvard, Vancouver, ISO, and other styles

35

Hewitt, Jon. "Daring to Think Seriously: the Need for Aesthetic Judgements." New Theatre Quarterly 26, no. 1 (February 2010): 77–80. http://dx.doi.org/10.1017/s0266464x10000084.

Full text

Abstract:

The issue of attitudes towards the arts in England is here compared and contrasted with those evident in the rest of Europe today. This article was written in June 2009, following discussions in Wroclaw during the festival ‘The World as a Place of Truth’, part of the Year of Grotowski. Jon Hewitt is Artistic Director of Admiration Theatre Company, based in London. He has directed several productions, the most recent being Romeo and Juliet Docklands, set in the East End of London. In February 2010 his latest production, Tower Hamlet, opens at the Courtyard Theatre.

APA, Harvard, Vancouver, ISO, and other styles

36

Strandberg, C. "A Structural Disanalogy between Aesthetic and Ethical Value Judgements." British Journal of Aesthetics 51, no. 1 (August 16, 2010): 51–67. http://dx.doi.org/10.1093/aesthj/ayq025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Dorsch, Fabian. "Non-Inferentialism about Justification - The Case of Aesthetic Judgements." Philosophical Quarterly 63, no. 253 (September 13, 2013): 660–82. http://dx.doi.org/10.1111/1467-9213.12063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

Full text

Abstract:

The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.

APA, Harvard, Vancouver, ISO, and other styles

39

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

Full text

Abstract:

The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.

APA, Harvard, Vancouver, ISO, and other styles

40

Zouhar, Marián. "James O. Young, ed., Semantics of Aesthetic Judgements." Estetika: The European Journal of Aesthetics 56, no. 1 (March 1, 2019): 147. http://dx.doi.org/10.33134/eeja.186.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Mitchell, Dundi. "Theatre and Seduction: the Politics of Aesthetic Judgements in Thailand." Asia Pacific Journal of Anthropology 9, no. 3 (September 2008): 219–30. http://dx.doi.org/10.1080/14442210802251662.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Zahrádka, Pavel. "Research on the normativity of aesthetic judgements in film criticism." Journal of Aesthetics & Culture 12, no. 1 (January 1, 2020): 1729574. http://dx.doi.org/10.1080/20004214.2020.1729574.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Rogerson, Kenneth F. "Pleasure and Fit in Kant's Aesthetics." Kantian Review 2 (March 1998): 117–33. http://dx.doi.org/10.1017/s1369415400000236.

Full text

Abstract:

In the third Critique Kant shifts the focus in his enquiry from the status of factual statements in the Critique of Pure Reason and the grounding of moral imperatives in the Critique of Practical Reason to investigating two methods of considering the world which go beyond the strictly verifiable. This is a move from evaluating the interplay of a ‘determinate’ set of facts and intellectual preconditions to forming what Kant calls ‘reflective’ judgements on these facts. There are two major questions which the Critique of Judgement tackles. On the one hand Kant ambitiously considers how we might properly interpret a set of facts as comprising a larger teleological system and, on the other hand, he is interested in the seemingly quite separate issue of the appreciation of objects as beautiful. It is this latter issue which shall concern us here. Consistent with the reflective stand in the third Critique, Kant argues from the very outset that beauty is not an empirical concept with which we might describe the world. Beauty is not objective in the sense that size, colour or weight might be. Objective properties of this kind belong to the world of scientific understanding. Instead, he holds that judgements of aesthetic merit should be based upon the subjective pleasure we take in experiencing works of art and natural objects.

APA, Harvard, Vancouver, ISO, and other styles

44

Baz, Avner. "Kant's Principle of Purposiveness and the Missing Point of (Aesthetic) Judgements." Kantian Review 10 (January 2005): 1–32. http://dx.doi.org/10.1017/s1369415400002119.

Full text

Abstract:

My plan in this article is to begin by raising the question of the point of judgements of beauty, and then to examine Kant's account of beauty in the third Critique from the perspective opened up by that question. Having raised the question of the point, I will argue, first, that there is an implied answer to it in Kant's text, and, second, that the answer is ultimately unsatisfying in that it falsely assumes that there is a ‘need’, or ‘task’, or ‘purpose’, that we all necessarily share, to conceptualize all that encounters us in our experience, and fit it into one unified and comprehensive system. It is only against this assumption of our transcendental cognitive interest that Kant can so much as seem to have a real story to tell about where the value that we (‘disinterestedly’) claim for things in calling them ‘beautiful’ derives from. This, in effect, means that to the extent that Kant offers us any answer at all to the question of the point of judgements of beauty, that answer testifies to his general neglect of the question of the point of judgements. And my purpose is to draw attention to that neglect, and to begin to assess its significance for Kant's transcendental project in general and for his conception of beauty in particular.

APA, Harvard, Vancouver, ISO, and other styles

45

Roeske, Tina, Pauline Larrouy-Maestri, Yasuhiro Sakamoto, and David Poeppel. "Listening to birdsong reveals basic features of rate perception and aesthetic judgements." Proceedings of the Royal Society B: Biological Sciences 287, no. 1923 (March 25, 2020): 20193010. http://dx.doi.org/10.1098/rspb.2019.3010.

Full text

Abstract:

The timing of acoustic events is central to human speech and music. Tempo tends to be slower in aesthetic contexts: rates in poetic speech and music are slower than non-poetic, running speech. We tested whether a general aesthetic preference for slower rates can account for this, using birdsong as a stimulus: it structurally resembles human sequences but is unbiased by their production or processing constraints. When listeners selected the birdsong playback tempo that was most pleasing, they showed no bias towards any range of note rates. However, upon hearing a novel stimulus, listeners rapidly formed a robust, implicit memory of its temporal properties, and developed a stimulus-specific preference for the memorized tempo. Interestingly, tempo perception in birdsong stimuli was strongly determined by individual, internal preferences for rates of 1–2 Hz. This suggests that processing complex sound sequences relies on a default time window, while aesthetic appreciation appears flexible, experience-based and not determined by absolute event rates.

APA, Harvard, Vancouver, ISO, and other styles

46

Kalar, Brent. "Subjectivity and Sociality in Kant’s Theory of Beauty." Kantian Review 23, no. 2 (May 16, 2018): 205–27. http://dx.doi.org/10.1017/s1369415418000031.

Full text

Abstract:

AbstractKant holds that it is possible to quarrel about judgements of beauty and cultivate taste, but these possibilities have not been adequately accounted for in the dominant interpretations of his aesthetics. They can be better explained if we combine a more subjectivist interpretation of the free harmony of the faculties and aesthetic form with a type of social constructivism. On this ‘subjectivist-constructivist’ reading, quarrelling over and cultivating taste are not attempts to conform to some matter of fact, but rather to reconcile subjective perceptions through mutual interchange governed by the regulative goal of constructing a universal community of agreement.

APA, Harvard, Vancouver, ISO, and other styles

47

Plummeridge, Charles. "Aesthetic education and the practice of music teaching." British Journal of Music Education 16, no. 2 (July 1999): 115–22. http://dx.doi.org/10.1017/s0265051799000212.

Full text

Abstract:

Over the past three decades it has become customary to regard music education as a form of aesthetic education. Recently a number of writers have expressed some objections to this view which they maintain has acquired the status of an accepted orthodoxy. In a healthy educational climate it is right that any orthodoxy should be questioned and aesthetic education has often become the subject of an international debate The purpose of this paper is not to add another voice to that debate but to re-examine the concept of aesthetic education with reference to the teaching and learning of music in educational institutions.Many discussions on this issue become clouded because the term ‘aesthetic education’ is used in different ways and in different contexts In a broad sense the aesthetic is not necessarily associated with the arts and is taken to be a dimension of experience in any discipline; accordingly, aesthetic education is across the curriculum. Most frequently, it implies an education in the fine arts, the aim of which is the development in children of a particular style of thinking or mode of intelligence. A third view arises from the notion of aesthetics as a form of enquiry best described as the philosophy of art; aesthetic education thus conceived involves the study of topics such as artistic meanings, judgements and values.An examination of these different conceptions of aesthetic education raises a number of philosophical and educational issues that have implications not only for the organisation and practice of music education in schools but also for the education and professional development of teachers.

APA, Harvard, Vancouver, ISO, and other styles

48

Stewart, Simon. "Celebrity capital, field-specific aesthetic criteria and the status of cultural objects: The case of Masked and Anonymous." European Journal of Cultural Studies 23, no. 1 (July 31, 2019): 54–70. http://dx.doi.org/10.1177/1367549419861622.

Full text

Abstract:

This article probes the explanatory value of the concept of celebrity capital in helping us to grasp the fate of celebrities and the cultural objects they produce when they move across to other fields. However, the article seeks to do more than this: with reference to the example of the singer-songwriter Bob Dylan’s incursion into the cinematic field, where he co-wrote Masked and Anonymous (2003), it contributes to debates by examining the significance of field-specific aesthetic criteria in helping us to gain insight into the aesthetic value of cultural objects. While Dylan’s celebrity capital gave him access to a number of ‘A-List’ celebrity actors, the aesthetic dimension of the film did not have a meaningful relation to the state of play in the cinematic field and so the film was, in the main, critically panned. So, Masked and Anonymous made Dylan’s boundary-crossing journey in reverse: it retreated to the field of popular music where its aesthetic properties were warmly received when considered in relation to Dylan’s wider body of work. Meanwhile, it was difficult for the harshest critics to ignore the aesthetic value that Dylan’s wider body of work had accumulated over time. There is, then, a temporal dimension of aesthetic appraisal that needs to be considered, even when reviews are considered at a particular historical conjuncture. In this analysis of field-specific aesthetic criteria, we see that boundary work is effective in diminishing the status of a cultural object ( Masked and Anonymous), but we also see that each critic has only limited sway in the face of the totality of judgements which emerges as a supra-individual voice, heterogeneous and full of contradictions, deriving from all those who make evaluative judgements in the field of culture.

APA, Harvard, Vancouver, ISO, and other styles

49

Woodward, Ian, and Michael Emmison. "From aesthetic principles to collective sentiments: The logics of everyday judgements of taste." Poetics 29, no. 6 (December 2001): 295–316. http://dx.doi.org/10.1016/s0304-422x(00)00035-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Powell, W. Ryan, and James A. Schirillo. "Hemispheric laterality measured in Rembrandt's portraits using pupil diameter and aesthetic verbal judgements." Cognition & Emotion 25, no. 5 (August 2011): 868–85. http://dx.doi.org/10.1080/02699931.2010.515709.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Aesthetic judgements'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles