Journal articles on the topic 'Philosphy and aesthetics'
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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.
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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (April 1, 2022): 311. http://dx.doi.org/10.3390/rel13040311.
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In this text, I explore what I have termed “aesthetic theology”. After noting the transference of religious content, function, etc., to art in Modernity, an act that has made art a locus theologicus once again, I analyse one of the main consequences of this phenomenon: art is progressively being considered through what was once purely theological categories, thus giving rise to aesthetic theology. The implication is that some of the solutions that have arisen from theological debate might be useful in the philosophy of art. I also suggest that aesthetic theology can provide theology with a generalized way of reasoning based on aesthetic judgments—judgements formed by postulated consensus instead of forced judgements formed on conceptual grounds. I defend that the formulation of religious judgement has always been of the former sort, such that aesthetic theology may prove itself a useful tool for theologians in developing their thinking about, depiction of, representing, or approaching God.
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Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.
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Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–17. http://dx.doi.org/10.26443/glsars.v1i1.137.
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The aesthetics of law appears as one of the parts of the philosophy of law that focuses on the relationship between law and aesthetical values, in their broadest sense. The aesthetics of law can be closed in its three dimensions: external, internal and the approach defined as "law as a tool of aestheticization”. This division was made from the perspective of the subject of research, which is the law. The third dimension refers to the law as "tool of aestheticization” of everyday life, which indicates the aesthetic function of law, implemented mainly by legal regulation and the legal norms they contain, which are the determinants of what is aesthetic. We can distinguish three basic fields in which the law can affect the aestheticization of everyday life: 1) legal norms that set and promote certain aesthetic standards, 2) legal norms that serve to protect and preserve aesthetic values and 3) the field where law, as an instrument of politics, can be used to fight against certain aesthetic values that are inconsistent with the ideology promoted by the ruling class – the so-called art in the service of state power. The first group of norms is used to make the overall „pretty” but when interpreting such legal regulations, can be concluded that there’s something more than only this - that it’s promoting aesthetic standards and values through legal norms. The policy of many countries focuses on introducing legal regulations aimed at ensuring the aesthetics of the landscape of their cities. The article aims to present the implementation of the third approach to the aesthetics of law in Poland and discussing legal measures and activities undertaken to ensure the aesthetics of the landscape.
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Siraj, Fuad Mahbub, and Zikraini Alrah. "The Concept of Islamic Aesthetic of Abdul Hadi WM." KALAM 16, no. 2 (December 31, 2022): 157. http://dx.doi.org/10.24042/klm.v16i2.14648.
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This study aims to see how the concept of Islamic aesthetics in the thought of Abdul Hadi WM. Aesthetics is an interesting discourse to study because aesthetics is one of the five branches of philosophy that relate to values that are contained in something or arise from human actions. Although the values contained in aesthetics are very important and are always relevant in human life, the fact is that aesthetics receive less attention in philosophical studies. One reason is the narrow view that aesthetics is only related to art. Abdul Hadi WM sees an important aesthetic in the realm of philosophy and is related to human aesthetic experience. Islamic aesthetics essentially refers to the expression of religious values and can bring awareness to the spiritual realm
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Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.
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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
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Kudaev, Aleksandr Egorovich. "Aesthetic “sense of the world” of Nikolai Berdyaev: origins and approaches to the philosophy of beauty." Философская мысль, no. 5 (May 2020): 61–87. http://dx.doi.org/10.25136/2409-8728.2020.5.32356.
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This article analyzes the origins of one of the core problems of philosophical-aesthetic thought of N. Berdyaev – the philosophy of beauty. Importance of the phenomenon of beauty for the formation of its aesthetic concepts and worldview overall is demonstrated. The author determines the main sources that determines the heightened interests towards the phenomenon of beauty, which affected the peculiarities of solution of this problem. Considering the defining character of Berdyaev’s personal and emotional attitude to the surrounding beauty, major attention is given to revelation of this source as most significant for understanding the entire further evolution of his philosophical-aesthetical thought as a whole, as well as establishment of the philosophy of beauty in particular. Therefore, the article reviews a number of life circumstances that defined his aesthetic development, which in the end leads to the fact that the aesthetic component becomes paramount in his worldview, and beauty turns into a universal criteria of assessing other diverse phenomena. The study carries a holistic character, being at the intersection of aesthetics, philosophy, culturology, biographical genre, which determines the applied complex historical-philosophical and philosophical-culturological methodology. This article is first attempt within the national literature to examine and reconstruct the origins of Berdyaev’s aesthetic evolution. The author reveals the key role of the problematic of beauty not only on formation of his aesthetic concept, but philosophical thought overall. Analysis is conducted on the source of Berdyaev’s aesthetic views that drastically affected the development of his philosophy of beauty.
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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.
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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.
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Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.
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The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of "Soviet aesthetics". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.
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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.
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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.
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Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.
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Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
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Culbertson, Leon, and Graham McFee. "The Best Way to Locate a Purpose in Sport: Considerations in Aesthetics?" Aesthetic Investigations 1, no. 2 (December 20, 2016): 191–213. http://dx.doi.org/10.58519/aesthinv.v1i2.11989.
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The paper highlights the centrality of some concepts from philosophy of sport for philosophical aesthetics. Once Best (BJA, 1974) conclusively answered negatively the fundamental question, ‘Can any sport-form be an artform?’, what further issues remained at the intersection of these parts of philosophy? Recent work revitalizing this interface, especially Mumford’s Watching Sport (2012), contested Best’s fundamental distinction between purposive and aesthetic sports, and insisted that purist viewers are taking an aesthetic interest in sporting events. Here, we defend Best’s conception against considerations Mumford hoped would bring the aesthetics of art and sport closer together, thereby elaborating the aesthetics of sport. But, against Mumford’s resolutely psychological conception of an aim, we follow Best to defend the centrality, for purposive sports, of the means/ends contrast even when taking an aesthetic interest in such sports. We conclude with general speculations about the potential future of the discussions originated here.
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Wilson, R. "Aesthetics and its Discontents * The Aesthetic Unconscious." British Journal of Aesthetics 51, no. 1 (April 25, 2010): 103–5. http://dx.doi.org/10.1093/aesthj/ayq015.
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Magdalena, Elsa, Destri Natalia, Andry Pranata, and Nicolhas Jurdy Wijaya. "Filsafat dan Estetika Menurut Arthur Schopenhauer." Clef : Jurnal Musik dan Pendidikan Musik 3, no. 2 (December 31, 2022): 61–77. http://dx.doi.org/10.51667/cjmpm.v3i2.1111.
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Aesthetics is a branch of philosophy, which specifically discusses beauty and taste, how they can be formed, and how they can be enjoyed. Beauty is not only about things that can be seen, but also about things that can be heard. Depending on the assessment objectively and subjectively. Music also has aesthetic value. It depends on what theory is used to judge the beauty of the music. This research uses descriptive-qualitative with a literature approach. In this case, it is not only about aesthetics, but also literature on music, and philosophers who discuss aesthetic philosophy.
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Zuska, Vlastimil. "Funkce Rozumu v estetickém prožitku." Teorie vědy / Theory of Science 32, no. 1 (August 22, 2010): 227–34. http://dx.doi.org/10.46938/tv.2010.50.
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The study considers Whitehead’s conception of the Reason (articulated especially in his The Function of Reason) as a regulative factor in every aesthetic experience along with Whitehead’s opinion of the basic aesthetic character of every experience. These thoughts are compared with contemporary findings of neuroaesthetics and the Reception aesthetics, in order to demonstrate how stimulating Whitehead’s philosophy is even for the present-day aesthetics.
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Dr. Muhmmad Jawwad. "Influence of Kant’s Aesthetics on the Aesthetics of Collingwood." sjesr 6, no. 2 (June 30, 2023): 148–52. http://dx.doi.org/10.36902/sjesr-vol6-iss2-2023(148-152).
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R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is ‘Idea of History’), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is ‘Principles of Art.’ He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very original and outstanding ideas about Metaphysics, Epistemology, Ethics and also Aesthetics. This article is an attempt to understand the influence of Kant’s Aesthetics on the Aesthetics of Collingwood and to present before the readers the great similarities between the Aesthetic ideas of these two philosophers. According to Kant, Aesthetics is the fourth most important function of human mind. Apart from pure reasoning, pragmatic thinking and moral concerns, Aesthetics is that aspect of human mind which deals with beauty. The problem with the Aesthetics of Kant or the Aesthetics of Collingwood is that both of the philosophers present Aesthetics as the divider and in the humble opinion of the writer of this article it is not divider but a connector – connector of moral, pragmatic and pure reason.
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Grubor, Nebojsa. "Heidegger’s aesthetics. The philosophy of finite human freedom and basic moods and emotions." Filozofija i drustvo 32, no. 3 (2021): 418–27. http://dx.doi.org/10.2298/fid2103418g.
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The first part of the text poses the question whether for Heidegger?s aesthetically relevant thought it is better to use older terms, such as ?Heidegger?s Doctrine of Art? or ?Heidegger?s Philosophy of Art?, or a more recent term ?Heidegger aesthetics?? Does the term ?Heidegger?s aesthetics? represent an ?oxymoron? contrary to the intentions of Heidegger?s own philosophy, or does it signify a relevant aesthetic conception that has its own place in contemporary philosophical aesthetics? In order to answer these questions, the text considers Heidegger?s understanding of aesthetics as a philosophical discipline and also the problems arising in connection with this designation. It argues that Heidegger?s concept of ?overcoming aesthetics? represents the (self) interpretation of his own philosophy of art developed in the essay The Origin of the Work of Art. The second part of the text follows the thesis that the Heidegger?s aesthetics contains the definitions of art and work of art, based on Heidegger?s analyses of freedom, basic moods, and emotions. This part of text follows a broader thesis, in which Heidegger?s philosophy as a whole can be understood as the phenomenology of freedom. Also, it discusses a special thesis that the concept of strife (Streit) of Earth and world in The Origin of the Work of Art should be understood only on the background of the primordial struggle between concealment and unconcealment in the truth as the unconcealedness of beings. Further, the concept of strife is linked on a deeper level with the determination of finite human freedom and basic human moods. In light of that, Heidegger?s aesthetics is not only the heteronomous aesthetics of the work of art, but also the (relatively) autonomous aesthetics of aesthetic experience articulated with respect to finite human freedom. The conclusion is that Heidegger?s aesthetics of truth understood as the philosophy of freedom, basic moods, and emotions, according to their inner intentions, is closer to the tradition of the aesthetics of sublime than the aesthetics of the beautiful.
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Kormin, Nikolai Aleksandrovich. "I. Kant: Aesthetics and metaphysics as a science." Философия и культура, no. 10 (October 2023): 1–53. http://dx.doi.org/10.7256/2454-0757.2023.10.43687.
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The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. In this context, it is necessary to reveal the role of aesthetics as a fundamental philosophical science, to raise its originality to theoretical consciousness by reflection. Here, first of all, the question arises about the meaning of the image of aesthetics, which is on the other side of the canvas, about the relationship of aesthetic attitudes and the world concept of philosophy. The main conclusions of the study are the provisions on aesthetics as the metaphysics of a work that produces infinity, expressing the "musical identity of all things" in the aesthetic facet of the world concept of philosophy. Aesthetics is also the feeling of the ideas of the original reality, the spiritual contemplation of superexperienced, supersensible grounds; this metaphysical a posteriori is precisely the primordial freedom of all creation, the freedom of art in contact with nature. Aesthetics is initially immersed in the fabric of metaphysical reflection, which in some cultural traditions is described as creative. And for aesthetics, the question is important, what is the structure of this principle, what is the way of dressing its mental tissue.
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Noller, Jörg. "Die Stimmung des Willens." Deutsche Zeitschrift für Philosophie 69, no. 4 (August 1, 2021): 529–52. http://dx.doi.org/10.1515/dzph-2021-0047.
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Abstract This paper reconstructs Friedrich Schiller’s aesthetics from a compatibilist point of view. I shall argue that it is Schiller’s conception of individual self-determination that motivates his aesthetic critique of Kant’s moral philosophy. Schiller conceives of aesthetic self-determination in terms of a compatibilism between reason and nature. As such, Schiller’s aesthetics can be interpreted as an ontological category. His concepts of love, play and the aesthetic state must therefore be understood in terms of volitional structures that describe human freedom in nature, history and society.
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Lelièvre, Samuel. "La philosophie ricœurienne de l’esthétique entre poétique et éthique." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (February 1, 2017): 43–73. http://dx.doi.org/10.5195/errs.2016.374.
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Ricœur’s philosophy never locates itself directly in the field of philosophical aesthetics inasmuch as philosophical aesthetics never arises as a field of major questioning and discursive development for Ricœur’s philosophy or as a field that would guide that philosophy. However, Ricœur maintains an ongoing but complex connection with aesthetics throughout his philosophical work. Here we defend the thesis that there are difficulties relating both to the complexity of Ricœur’s philosophy and to the crisis situation of aesthetics as an autonomous field of philosophical inquiry. A more direct confrontation with philosophical aesthetics, such as that developed by analytic philosophy and critical theory today, is necessary in order to be aware of this connection between Ricœur’s philosophy and aesthetics. It then appears that if Ricœur’s philosophy makes it possible to maintain a certain autonomy of the field of aesthetics inherited from Kant, it is not through developing some unlikely “Ricœurian aesthetic” but thanks to a Ricœurian philosophy of aesthetics essentially determined on three levels: 1) the connection between poetics and aesthetics within a philosophy of imagination, 2) the connection between criticism and hermeneutics with regard the notions of text and distanciation, 3) the connection between ontology and communication that summarizes the two previous steps by combining phenomenological, analytic and critical perspectives. Thus it can be assumed that this autonomy of the field of aesthetics is possible only at a horizon of meaning determined by Ricœur’s philosophical anthropology: at the axiological level, the field of aesthetics differs upstream from the field of poetics and downstream from the field of ethics; at the ontological level, Ricœur’s philosophy of aesthetics concerns a region that is both intermediate between and congruent to those treated by Ricœur’s philosophy of imagination and by Ricœur’s philosophy of action.
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Xinzhu, Zhao. "The development of Russian aesthetics in the 21st century." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (March 1, 2023): 194–203. http://dx.doi.org/10.31166/voprosyistorii202303statyi30.
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The philosophy of being, or the philosophy of existence, is the subject of ontology. The ontological aspect of the aesthetic is the aspect of the existence of this aesthetic in objective reality. In this regard, it is necessary to say about the aesthetics of being itself. The characteristics of being are aesthetic in nature. They are ontological and aesthetic. This is clearly visible when we touch on such categories as rhythm, measure, harmony, proportion, symmetry. These categories indicate, first of all, the balance of being, which is inherently vital and acceptable for a person.
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Belov, Vladimir N. "Art and culture: Aesthetic ideas of V.E. Sesemann." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 231–41. http://dx.doi.org/10.21638/spbu17.2022.207.
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The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman’s philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthetics is the phenomenon of experience, which is the general pre-subject basis of Sesemann’s entire philosophical system. At the same time, however, aesthetic experience, in contrast to experience as such, is experience of a special kind. When identifying the specifics of aesthetic experience, the Russian philosopher attaches special importance to the study of the problem of form, which explains his attention to the work of Russian formalists. Arguing with the formalists and the German art theorist Heinrich Wölfflin and defending the nature of the form as lively and rhythmic, he also sees the positive aspects of these teachings. Sesemann develops his aesthetic ideas in a discussion with contemporary aesthetic theories. It is emphasized that Sesemann addressed the problems of aesthetics throughout his life and expressed his views on a variety of aesthetic problems: from theoretical and methodological to concrete practical and even applied ones. In his aesthetic concept, the Russian philosopher Vasily Emilevich Seseman tries to productively synthesize neo-Kantian and phenomenological approaches.
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Spector, Tami I. "Nanoaesthetics: From the Molecular to the Machine." Representations 117, no. 1 (2012): 1–29. http://dx.doi.org/10.1525/rep.2012.117.1.1.
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Rooted in the history of the representation of benzene, this paper examines the evolution of nanoaesthetics from the 1985 discovery of buckminsterfullerene forward, including the aesthetics of molecular machines and scanning probe microscopy (SPM). It highlights buckminsterfullerene's Platonic aesthetics, the aesthetic relationship of nanocars and molecular switches to Boyle's seventeenth-century mechanistic philosophy and twentieth-century machine aesthetics, and the photographic aesthetics of SPM.
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Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics." Philosophies 7, no. 4 (June 21, 2022): 71. http://dx.doi.org/10.3390/philosophies7040071.
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There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are not determined by them. Sometimes, philosophers are wary of the evolutionary framework. Does the research program of evolutionary aesthetics presuppose an intrinsic aesthetic instinct that would determine the way we form aesthetic judgments, regardless of the environment with which we interact? I argue that it does not. Imitation and mindreading are considered to be central features of the aesthetic module. Recently, and contrary to the prior view, it has been shown that imitation and mindreading are not likely to be innate instincts but socially learned, yet evolved patterns of behavior. Hence, I offer grounds for the idea that the cognitive aesthetic module(s) is socially learned, too. This outcome questions the need for the traditional differentiation between empirical and philosophical aesthetics.
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Popovic, Una. "The problem of aesthetic judgment: Perspectives of aesthetics." Filozofija i drustvo 24, no. 3 (2013): 5–22. http://dx.doi.org/10.2298/fid1303005p.
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This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity.
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D’Olimpio, Laura. "When good art is bad: Educating the critical viewer." Theory and Research in Education 18, no. 2 (July 2020): 137–50. http://dx.doi.org/10.1177/1477878520947024.
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There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism.
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Ferreira, Emmanoel. "Agency, Appropriation, Politics: Three Epistemological Keys Towards an Aesthetics of Play." Acta Ludologica 6, no. 2 (2023): 62–78. http://dx.doi.org/10.34135/actaludologica.2023-6-2.62-78.
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Based on a dialogue with authors of pragmatist philosophy, game studies, and communication, this article intends to understand the relationship between aesthetic experience and ludic media, in particular digital games, in what this relationship distinguishes from the aesthetic experiences provided by different media, such as literature, music, film and the arts in general. To better understand this relationship, we propose the presentation and development of three epistemological axes (or keys), namely: i) aesthetics and agency, ii) aesthetics and appropriation, and iii) aesthetics and politics. Furthermore, this article intends to present and comment on selected works of digital games to illustrate the relationship between play and aesthetic experience in each of those respective axes.
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Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.
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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.
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Seel, Martin. "The Career of Aesthetics in German Thinking." Royal Institute of Philosophy Supplement 44 (March 1999): 399–412. http://dx.doi.org/10.1017/s1358246100006810.
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In German philosophy of the last 250 years, aesthetics has played a leading part. Any arbitrary list of great names contains mainly authors who either have written classical texts on aesthetics or are strongly influenced by aesthetic reflection, for instance, Kant, Hegel, Schelling, Schopenhauer, Marx, Nietzsche, Dilthey, Heidegger, Wittgenstein, Gadamer, and Adorno – the few exceptions being Husserl and Frege. It is not by chance that Frege is one of the founding fathers of modern Anglo-Saxon philosophy, where, generally speaking, aesthetics has had only marginal influence. That is not an insignificant difference. The wildest dreams of one tradition were focused on logic, those of the other on aesthetics.
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Hetrick, Jay. "Deleuze and the Kyoto School II." Asian Studies 11, no. 1 (January 10, 2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.
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The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting point from which we might begin to piece together Deleuze’s seemingly random, but persistent and ultimately significant references to East Asian art and philosophy. I argue that Deleuze’s references to the Zen sage and poet-painter—in addition to his uses of the Stoics, Spinoza, and Nietzsche—are necessary to fully understand the immanent goal of his ethico-aesthetics. I conclude by demonstrating that, although there is no evidence that Deleuze was familiar with the Kyoto School, he unwittingly offers more complete and contemporary solutions to the ethico-aesthetic issues presented by some of its key thinkers.
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ÇOBANOĞLU, Sacide. "METAETİCS THEORY OF FOLKLORE WİTH THE ETHİCAL VALUE OF GİVİNG IMPORTANCE TO “AESTHETİC DİSCOURSE İN THE EXPRESSİON OF SEXUALİTY” DEDE KORKUT SAMPLE." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 203–28. http://dx.doi.org/10.46291/zfwt/140211.
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Aesthetic; beautiful emotion is defined as beauty and is limited to this definition. The view that aesthetics is only related to the field of philosophy and that it is limited in this way is wrong. The transition to context-centered studies in folklore has been delayed. For this reason, interdisciplinary studies should be carried out within the understanding of contemporary science. In line with these thoughts, we put forward the Metaethics Theory of Folklore and developed the Folklore Grounding Method Metaethics Analysis as the analysis method of the theory. An aesthetic expression was made in the Book of Dede Korkut. While writing the work, the author tried to reflect the aesthetics in the essence of the work. Based on this thought; The subject of our study is to express sexuality with aesthetic discourse and to determine the place of our ethical value in folk philosophy. It is aimed to make an exemplary study at the point of applying the Metaetic Theory of Folklore to the narratives. Keywords: Metaethics, Theory, Aesthetics, Sexuality, Discourse, Grounding, Analysis.
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PŁOTKA, WITOLD. "BEYOND ONTOLOGY: ON BLAUSTEIN’S RECONSIDERATION OF INGARDEN’S AESTHETICS." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 552–78. http://dx.doi.org/10.21638/2226-5260-2020-9-2-552-578.
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The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a student of Ingarden, whose theory seems to lead one beyond the scope of ontology. Blaustein, namely, reconsiders Ingarden’s theory of purely intentional objects by interpreting it in a descriptive-psychological, or phenomenological fashion. The article is divided into four parts. In section 1, the author highlights historical interconnections between Ingarden, and Blaustein. Section 2.1. is devoted to Ingarden’s phenomenological approach towards aesthetic experience as a phasic structure. At this basis, in section 2.2., Ingarden’s early theory of intentional objects is to be discussed. Section 3 concerns Blaustein’s contribution to phenomenology of aesthetic experience. Given that Blaustein formulates his theory in discussion with Ingarden, section 3.1. is devoted to Blaustein’s critical assessment of Ingarden’s method, and aesthetics. Next, in section 3.2., the author presents Blaustein’s original theory of presentations, and its use in aesthetics. Finally, in section 4, the author lists similarities, and differences between Blaustein’s and Ingarden’s aesthetic theories.
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Trop, Gabriel. "Spinoza and the Genesis of the Aesthetic." Aesthetic Investigations 4, no. 2 (September 6, 2021): 182–200. http://dx.doi.org/10.58519/aesthinv.v4i2.11914.
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This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A genesis of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This theory would evaluate the work of art primarily in its relationship to truth. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – from the imagination, to reason, to intuition – toward a concept of aesthetic practices that aligns itself ever more closely with the freedom, perfection, and affirmation of infinite substance itself. The specific forms of aesthetic reception and production flowing from Spinoza’s ideal of wisdom unite two seemingly disparate paradigms: the aesthetic as essentially affirmative, as a joy in the individual power of every individuated thing, on the one hand; and the cultivation of a critical, ethically informed aesthetics of liberation, one capable of occupying different positions (obedience, autonomy, resistance) with respect to state or sovereign power, on the other hand.
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Verheyen, Leen. "The Aesthetic Experience of the Literary Artwork: A Matter of Form and Content?" Aesthetic Investigations 1, no. 1 (July 16, 2015): 23–32. http://dx.doi.org/10.58519/aesthinv.v1i1.12003.
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Ever since the introduction of aesthetics in philosophy, the literary arts have posed a challenge to common notions of aesthetic experience. In this paper, I will focus on the problems that arise when a formalist approach to aesthetics is confronted with literature. My main target is Peter Kivy's ‘essay in literary aesthetics’ Once-Told Tales, in which Kivy defends formalism and concludes from this approach that literature is a non-aesthetic art form. Contrary to Kivy, I will claim that we have good reasons to consider literature an aesthetic art form and, therefore, that the literary arts naturally pose a challenge to formalism. By showing the inextricable intertwining of form and content in literary artworks, I will demonstrate that the identification of so-called aesthetic properties with purely formal properties of a literary artwork is problematic.
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Konanchuk, S. V. "Путь эстетика в искусстве (К юбилею Е.Н. Устюговой)." Studia Culturae, no. 58 (March 21, 2024): 30. http://dx.doi.org/10.31312/2310-1245-2023-58-30-38.
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<span lang="EN-US">The article is dedicated to E. N. Ustyugova, a famous Russian scientist, specialist in the field of aesthetics and philosophy of culture. The article indicates the main areas of research by E. N. Ustyugova, including: the </span><span lang="EN-US">history of aesthetics, </span><span lang="EN-US">the history of artistic styles, the art and aesthetics of the Russian avant-garde, environmental aesthetics, ethical and aesthetic problems of modern urbanism, the city as a unity of the ecology of nature and the ecology of culture, etc. It is noted that E. N. Ustyugova is a constant organizer and participant of such significant scientific events </span><span lang="EN-US">as the Russian Aesthetic Congress, </span><span lang="EN-US">the scientific conference “Kaganov Readings” (Institute of Philosophy of St. Petersburg State University), the international scientific conference “Polylogue and synthesis of arts: history and modernity, theory and practice” (St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov), scientific and practical seminar “Current Aesthetics” (Institute of Philosophy of St. Petersburg State University) and many others. The article is based on impressions from the author’s personal acquaintance with Professor E. N. Ustyugova in the period from 2009 to the present.</span>
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Миленковић, Душан. "ПРОМЕНА СТАВА СТУДЕНАТА ФИЛОЗОФИЈЕ ПОВОДОМ ДЕСЕТ ЕСТЕТИЧКИХ ТЕЗА – АНАЛИЗА ПОДАТАКА СПРОВЕДЕНОГ ИСТРАЖИВАЊА." ГОДИШЊАК ЗА ФИЛОЗОФИЈУ 3, no. 1 (April 28, 2021): 67–79. http://dx.doi.org/10.46630/gflz.3.2021.05.
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In this paper, I analyze the data obtained from the research conducted by the Department of Philosophy of the Faculty of Philosophy in Niš, Serbia during the academic year 2018/2019. The research collected data about the change of the attitude of students of philosophy regarding various theoretical statements, which students rated before and after attending courses in philosophy. By completing a specially prepared questionnaire before the first and after the second semester, students of the second year of philosophy evaluated, among other things, ten aesthetic statements. Analyzing the information collected, I look at how the teaching of the courses “History of Aesthetics 1” and “History of Aesthetics 2” (which these students attended during this school year) influenced the change that occurred in their attitude toward these statements. In addition to examining the results regarding the change of the attitude of students after the second semester, the paper also explores other data obtained in the research, which point to certain problems in the way a historical overview of aesthetic conceptions in these courses is approached.
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Śliwa, Marta. "Reception of Francis Hutcheson’s Views in Immanuel Kant’s Philosophy of the Power of Judgment." Studia Warmińskie 58 (December 13, 2021): 119–32. http://dx.doi.org/10.31648/sw.6452.
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The following dissertation aims at presenting the dependencies between the aesthetic theory by the Scottish philosopher Francis Hutcheson and the critic philosophy by Immanuel Kant. Those issues seem to be worth discussing in the light of some new research into the British aesthetics: particularly, for its significance in the field of newly created domain that aesthetic has become after Alexander Baumgarten and, mostly, after critical philosophy by Immanuel Kant. The comparison of the views held by Hutcheson and Kant shows the importance of the theory of beauty presented by the Scottish philosopher that results not only from his acknowledging the epistemological significance of an aesthetic experience and accepting that it is conditioned by disinterestedness of perception. What is important is Hutcheson’s place in the evolution of the concept of aesthetics, which took place in the 18th century and which was crowned by Kant and his Critique of the Power of Judgment.
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Kormin, Nikolai Aleksandrovich. "I. Kant: How is aesthetic possible?" Философия и культура, no. 4 (April 2022): 60–112. http://dx.doi.org/10.7256/2454-0757.2022.4.37815.
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The subject of the research is the ways of substantiating the fundamental concept of aesthetic science -- the category of aesthetic in Kant's philosophy. The author examines such aspects of the topic as the content of transcendental philosophy, in which the mind indulges in a purely aesthetic occupation, draws for himself the structure of the whole, the congruence of the conditions of the work of art of a priori fulfillment of feelings, understanding the category of beauty under the sign of aesthetic intention cogito, analysis of how the artist combines the aesthetic aspects of the thing in itself with the incommensurable worlds in the work art. The aesthetic exists in a kind of universal space, which is defined by the transcendental as the "last foundation". The main conclusions of the study is the statement that, by analogy with transcendental aesthetics, Kant admits an aesthetic of pure practical reason that is not identical to it, expressing the hope that in the future it will be possible to comprehend both as elements of the unity of the entire faculty of pure reason. The author's special contribution to the study of the topic is the search in the context of the philosophical interpretation of the concept of aesthetic pleasure, as it is carried out within the framework of Kant's moral philosophy. The novelty of the research lies in identifying the dramaturgy of the foundations of the aesthetic, which does not presuppose any of its scenario as a basis for building aesthetic thinking, in revealing how the system of aesthetic interactions and syntheses correlates with structures ideally initial in relation to the world and man, with absolute foundations, without which there is no aesthetics.
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Radeev, A. E. "О трудной проблеме в эстетике." Studia Culturae, no. 58 (March 21, 2024): 56. http://dx.doi.org/10.31312/2310-1245-2023-58-56-66.
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<p>Aesthetics, like other branches of philosophy, has its fundamental problems. At different points in the history of aesthetics, such problems have been taste as a form of aesthetic judgment, the limits of art, the possibilities of aesthetic method, and others. Today we can distinguish at least three fundamental problems that are solved in aesthetics with varying degrees of success. The first is a set of problems of aesthetic experience, including the problem of its existence and the problem of its analysis. The second is the problem of art as a special object of aesthetic experience. The third has not yet been clearly defined, but today it is labeled as the problem of the everyday aesthetics, the aesthetics of the environment, or the aesthetics of atmosphere. Within a problem field there may be a problem that is the essence of the field but has not been solved yet. Within the set of problems of aesthetic experience there is a hard problem. It is based on the distinction between sensory and aesthetic experiences. The essence of this problem: what is the necessity of the existence of aesthetic experience on a par with sensory xperience? This problem seems to be unsolved. But if we do not solve this problem, we will have to admit that aesthetic experience is accidental, that there is no need for its existence, that it is reducible to other forms of experience, and that it has no characteristic of its own.</p>
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Khrenov, Nikolay A. "Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming." Koinon 2, no. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.
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The article aims to correlate aesthetics with the science of culture, which is increasingly attracting attention at the turn of the XX–XXI centuries. This correlation can give rise to a whole scientific direction, which could be called cultural aesthetics. In this case, arguments are needed. The fact is that the science of culture today attracts other humanities with its universality and ability to integrate knowledge existing in other sciences. It would seem that this trend in integration does not correspond to the processes of modern science, in which, at the later stages of history, the emphasis was placed not on integration but differentiation. Aesthetics is no exception here. Both philosophy and aesthetics of the twentieth century fragmented into several directions. Nevertheless, as the article proves, in the history of aesthetics and, more precisely, at its early stages, there was an aesthetic system that defined all kinds of aesthetics. This is an ontological aesthetic that excludes the separation of the aesthetic into a separate sphere. Having arisen in antiquity, ontological aesthetics became the aesthetics of being. The aesthetic did not have independence, as it would be in the aesthetics of the New Time, and was a sign of being itself. It was this aesthetic system that had an exceptional universalism. In the history of culture, such a manifestation of the aesthetic constantly returned but still did not become decisive. However, the closer to the twentieth century, the more evident the need for the integration of isolated trends becomes. Having an advantage in integration processes, ontological aesthetics becomes consonant with the science of culture, or rather, with the integrative potential that this science contains. It is this circumstance that should be taken into account by enthusiasts who develop the problems of cultural aesthetics.
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Shevchuk, Dmytro, and Kateryna Shevchuk. "Aesthetics and Politics." Symposion 10, no. 2 (2023): 261–73. http://dx.doi.org/10.5840/symposion202310215.
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The paper examines the relationship between aesthetics and politics. In modern humanities, we can find few conceptions of this relationship. These conceptions are not only part of political philosophy or political theory, but also a methodological instrument for analyzing modern politics and aesthetics. They provide an opportunity to understand both the features of contemporary politics and the state of modern aesthetic theory in light of the significant changes that have affected both of these spheres. This article analyzes the main models of the relation between aesthetics and politics. We intend to explore the conception of an aesthetic representation by Frank Ankersmit, the conception of aesthetics as politics by Jacques Rancière, and the conception of the emancipation of society by Gianni Vattimo.
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Popov, Evgeniy A. "Aesthetic Experience in the Concepts of R. Ingarden, V. Schapp and K. Stavenhagen." RUDN Journal of Philosophy 26, no. 4 (December 15, 2022): 821–34. http://dx.doi.org/10.22363/2313-2302-2022-26-4-821-834.
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The article summarizes the views of representatives of the phenomenological aesthetics of the twentieth century and the most famous students of Husserl. It is the aesthetic experience that becomes one of the key concepts in the concepts of Ingarden, Schapp and Stavenhagen. In them, aesthetic experience is associated with the ability of subjects to “ontologize” things, to individual and collective reactions to the status of things and objects. That is why the emphasis in the works of representatives of aesthetics is placed on the wisdom of subjects and determining their readiness for aesthetic experience. Such readiness can manifest itself in the beliefs and moral choices of subjects. The article concludes about the ways of «ontologization» of things proposed by thinkers. The views of thinkers in these matters were influenced by the fascination with the philosophy of history, ethics and partly the philosophy of religion. Socially oriented motives are traced in their concepts of aesthetic experience. In addition, thinkers defined the multidimensionality of aesthetic experience by offering their own constructions for measuring or fixing it. The article examines the structure of aesthetic experience proposed by them, and also makes judgments about some possibilities of applying approaches in assessing the formation of aesthetic experience in the modern world.
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Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (August 2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.
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There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philosophical elaboration that connects aesthetic theories of Spinoza, Nietzsche and Deleuze, evolving via a comparative analysis of aesthetic processes specific to Francis Bacon's artistic assemblages and Vogelkop bowerbirds' architectural constructs, and concluding with the possibility of a non-anthropocentric aesthetics.
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Wilson, Nick. "Aesthetics in a persecutory time: introducing Aesthetic Critical Realism." Journal of Critical Realism 19, no. 4 (July 19, 2020): 398–414. http://dx.doi.org/10.1080/14767430.2020.1771014.
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Jonkus, Dalius. "Aesthetic Experience and Empathy in Vasily Sesemann’s Phenomenological Aesthetics." Journal of Aesthetics and Phenomenology 10, no. 2 (July 3, 2023): 211–25. http://dx.doi.org/10.1080/20539320.2023.2267911.
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Kormin, Nikolay A. "Aesthetics and Metaphysics: Collisions of Modernity." Voprosy Filosofii, no. 8 (2023): 70–73. http://dx.doi.org/10.21146/0042-8744-2023-8-70-73.
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The article deals with the topic of the relationship between aesthetics and metaphysics. It considers how this relation emerges in some areas of modern philosophizing – domestic and foreign. The author pays special attention to how it is read in the actual-sounding meanings of the classical tradition. Laying down the boundaries within transcendental metaphysics (it goes without saying that the boundaries themselves can change, reshape, be revised), Kant in the third “Critique” believes that the principles of the ability of aesthetic judgment are not part of metaphysics, but can only be adjacent to theoretical and practical philosophy. What, in fact, does this proximity to the parts of metaphysics imply, how adequate are the boundaries drawn if we consider them in the totality of ideas and attitudes of critical transcendentalism? Already in the first “Critique” aesthetics, in fact, enters the metaphysical panorama when Kant uses the artistic technique of personification when discussing the question of the world concept of philosophy. The problem of modern understanding of metaphysics seems even more complicated: it is enough to recall the problem of metaphysical a posteriori analyzed in some works, which opens up significant prospects for the development of aesthetics. The author then refers to the position of M. Heidegger, which he defines as a skeptical denial of the aesthetic logos of metaphysics. The analysis of the works of the German philosopher shows that the connection between aesthetics and metaphysics in modern times becomes the subject of a separate problematization. The varieties of its understanding, which can be generalized as an articulation of the paradoxical character of a aesthetic consciousness, were proposed by Russian philosophers as well (V.A. Podoroga, M.K. Mamardashvili).
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Gasimova, Elfana, Lala Mammadova, Gulchohra Salehzadeh, and Nisakhanim Huseynova. "Design and aesthetics of sociocultural space: a philospohical analysis." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-1 (December 1, 2022): 166–77. http://dx.doi.org/10.31166/voprosyistorii202212statyi11.
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Design is an aesthetic phenomenon that purposefully changes the object-spatial world. Modern aesthetics should be understood as the philosophy of art and culture. Based on this, the designer designs a new socio-cultural space.
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Worthington, Glenn. "The Voice of Poetry in Oakeshott's Moral Philosophy." Review of Politics 64, no. 2 (2002): 285–310. http://dx.doi.org/10.1017/s0034670500038109.
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Despite recent interest in Michael Oakeshott's work, his aesthetics have yet to receive an extended consideration. The paper surveys Oakeshott's writings on the character of art and provides a critical account of how his aesthetics complements his moral philosophy. Through his aesthetics Oakeshott provides his moral philosophy with an idea of authenticity. Societies and individuals that have failed to recognize the poetic dimension in the moral life suffer a corruption of consciousness. Far from the poetic dimension of the moral life being responsible for nihilism and aestheticism as some critics have argued, its recognition saves the moral life from becoming a pursuit of arbitrary preferences.
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Kormin, Nikolai Aleksandrovich. "The metaphysical metaphor." Философия и культура, no. 7 (July 2021): 19–57. http://dx.doi.org/10.7256/2454-0757.2021.7.36589.
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This article aims to determine the meaning of metaphor for revealing the metaphysical foundations of aesthetics, as well as to analyze the methods reflected in the philosophy of Kant, Husserl, Heidegger, Derrida, and Mamardashvili. Their works clarify the structure of the metaphysical metaphor and its aesthetic matrix. Since old times, the aesthetic thought viewed the concept of the language of metaphor with its dual ambiguity, various metaphorical figures as the structures internally connected with the categorical reflection on the system of art; and the metaphor itself was considered as the form of semantic perception and creation of the artistic landscape. Revealing the place of aesthetics within the structure of metaphysics, the author views the aesthetic role of the metaphorical within metaphysics, complexity of interrelation between the concept of metaphor and fundamental metaphysical category of existence. The world scientific literature features numerous works that view metaphor as a rhetorical figure. However, the research of metaphysical metaphor is rare. This article is first within the Russian-language literature to outline the approaches towards the aesthetic comprehension of metaphysical metaphor, as they are reflected in the philosophy of Heidegger and Derrida. They reveal intuition of the metaphor as metaphysics, describe the representation of metaphysical metaphor of light, interpret the transcendental ego as metaphor, and elucidate the concept of the substance of metaphor. Special attention is given to the aesthetic-metaphysical interpretations of metaphor in the modern Russian philosophy.