Learning Aesthetic Concepts and Justifying Aesthetic Judgments

1979 ◽  
Vol 13 (1) ◽  
pp. 45 ◽  
Author(s):  
Phillip Montague
Keyword(s):  
Aesthetic Concepts ◽  
Aesthetic Judgments

Truths about beauty and goodness: Disgust affects moral but not aesthetic judgments.

2016 ◽  
Vol 10 (4) ◽  
pp. 492-500 ◽  
Author(s):  
Nathaniel Rabb ◽  
Jenny Nissel ◽  
Alexandra Alecci ◽  
Leah Magid ◽  
James Ambrosoli ◽  
...  
Keyword(s):  
Aesthetic Judgments

Copyright & Art

2005 ◽  
Vol 6 (12) ◽  
pp. 1762-1776
Author(s):  
Eberhard Ortland ◽  
Reinold Schmücker
Keyword(s):  
Conceptual Structure ◽  
Artistic Production ◽  
Works Of Art ◽  
The Impact ◽  
Aesthetic Concepts ◽  
Neighbouring Rights

What is the impact of copyright(and neighbouring rights)on art— on the conditions for artistic production as well as on other art-related practices in modern societies like trading, conserving, exhibiting, performing, reproducing and distributing works of art or reproductions thereof in various media? And what is the particular relevance of art (and of aesthetic concepts, or theories of art) for copyright? Why should the dogmatics of copyright be concerned with aesthetics at all, and what function do aesthetic concepts fulfil in the conceptual structure of copyright and in the context of its legitimization?

RIDING THE WILD OCEAN: HORATIU RADULESCU'S SUBCONSCIOUS WAVE IN THEORY, PERFORMANCE AND RECORDING

Tempo ◽  
2021 ◽  
Vol 76 (299) ◽  
pp. 30-43
Author(s):  
Sam Cave
Keyword(s):  
Social Sciences ◽  
21St Century ◽  
Lecture Recital ◽  
Social Sciences And Humanities ◽  
Cd Recording ◽  
Aesthetic Concepts ◽  
Digital Sound

AbstractThis article focuses on Radulescu's 1984 Subconscious Wave, for guitar and pre-recorded digital sound, a work that features on my 2019 solo CD recording Refracted Resonance, for Métier Records, alongside music by Tristan Murail, Christopher Fox, George Holloway and myself. The article places the work in the context of Radulescu's output, demonstrates how it displays the key aesthetic concepts that drive his music and shares my insights into the technical and interpretive aspects of preparing the piece for performance and recording. The article has been adapted from a lecture-recital given at the 2021 edition of the 21st Century Guitar Conference, which was hosted by the Faculty of Social Sciences and Humanities at the Universidade NOVA de Lisboa (NOVA FCSH), Portugal in March 2021.

scholarly journals The conclusion of the deduction of taste in the dialectic of the power of judgment aesthetic in Kant

2013 ◽  
Vol 36 (2) ◽  
pp. 45-62
Author(s):  
Manuel Sánchez
Keyword(s):  
Comparative Analysis ◽  
Critique Of Judgment ◽  
Historical Reconstruction ◽  
Human Reason ◽  
Aesthetic Judgments

In this paper, it is argued that only in the section on dialectic in the Critique of Judgment does Kant reach a definitive and conclusive version of deduction, after discovering the concept of the supersensible. In the section on the deduction of pure aesthetic judgments, Kant does not satisfactorily explain the critical distinction between the sensible nature of humanity and the supersensible nature of human reason presupposed in the concept of universal communicability. While the concept of the supersensible illustrates this distinction, it is only through this concept that Kant that can justify the specific possibility of claiming subjective validity in taste. The priority of the solution found in the dialectic is illustrated not only by a comparative analysis of the two sections, but also by a historical reconstruction of the process of the formation of the work, which shows that the first formulation of the concept of validity coincides with the use of the concept of the supersensible.

scholarly journals Exploration of the path of art education resources in Colleges and universities in Jiangxi

2020 ◽  
Vol 189 ◽  
pp. 03004
Author(s):  
Lai Wenqing
Keyword(s):  
Higher Education ◽  
Cultural Capital ◽  
Art Education ◽  
Colleges And Universities ◽  
Cultural Resources ◽  
Cultural Inheritance ◽  
Cultural Elements ◽  
Education Resources ◽  
The Law ◽  
Aesthetic Concepts

Art education in colleges and universities is an important part of China’s higher education. It takes art as the content and educates people. Through educational activities, it fosters college students to form correct aesthetic concepts, improve their personal personality, and stimulate their imagination and creativity. The integration of art education into Hakka cultural inheritance has the problem of compatibility between the law of cultural inheritance and the law of education. Efforts should be made to activate static local cultural resources into dynamic educational and cultural capital. Hakka culture curriculum system should be integrated with traditional cultural characteristics and art education concepts. The contents should be closely related to art education, and the Hakka spirit of simplicity and diligence should be transmitted through the connotation of Hakka culture. The “cultural resources into curriculum resources”, “cultural elements into cultural creativity” double path teaching implementation, to achieve the value of Hakka cultural resources inheritance.

scholarly journals Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece

2021 ◽  
Vol 12 ◽  
Author(s):  
Amy M. Belfi ◽  
David W. Samson ◽  
Jonathan Crane ◽  
Nicholas L. Schmidt
Keyword(s):  
United States ◽  
United States Army ◽  
Music Industry ◽  
Recorded Music ◽  
Live Music ◽  
The University ◽  
Music Effects ◽  
Aesthetic Judgments

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

scholarly journals TRADUCCIÓN POST-HUMANA EN LA CUARTA FASE DEL CAPITALISMO GLOBAL: TECNOLOGÍAS DIGITALES, LENGUAJES SENSORIALES Y BIG DATA. UN ACERCAMIENTO CRÍTICO DESDE EL ARTE

2019 ◽  
Vol 6 ◽  
pp. 215-234
Author(s):  
Federica Matelli
Keyword(s):  
Big Data ◽  
Mobile Phone ◽  
Digital Technologies ◽  
Object Oriented ◽  
Global Capitalism ◽  
Digital Culture ◽  
Digital Objects ◽  
Object Oriented Ontology ◽  
Different Cultures ◽  
Aesthetic Concepts

A partir del concepto de traducción y de comunidad de humanos y no – humanos de Bruno Latour, y retomando algunos conceptos estéticos centrales en la OOO (Ontología Orientada a los Objetos), este articulo expone un tipo de traducción post-humana estrechamente relacionada con la situación global del capitalismo computacional. En este orden extremo del capitalismo global, que está gobernado por algoritmos y condicionado por techno - políticas, la difusión transnacional de las tecnologías digitales instaura un lenguaje sensorial único que traduce, uniformándolas, culturas distintas y al mismo tiempo garantiza el control sobre el presente y el futuro por medio del Big Data, así como nos advierte Armen Avanessian. Su máximo agente es el design de objetos tecnológicos y servicios. A partir de esta constatación se aporta el ejemplo de un proyecto artístico que, trabajando con la traducción de datos por medio de un diseño alternativo, desvela este estado de la cultura digital actual, traduciendo y explicitando las funciones ocultas de algunos objetos digitales de uso cotidiano –como el teléfono móvil– en una instalación con objetos tecnológicos y mapas de datos. Based on the Bruno Latour’s concept of translation and community of humans and non - humans, and retaking some central aesthetic concepts in the OOO (Object Oriented Ontology), this article exposes a type of post-human translation closely related to the global situation of computational capitalism. In this extreme order of global capitalism, which is governed by algorithms and conditioned by techno - policies, the transnational diffusion of digital technologies establishes a unique sensory language that translates, unifying them, different cultures and at the same time guarantees control over the present and the future through Big Data, as Armen Avanessian warns us. Its maximum agent is the design of technological objects and services. From this finding, the example of an artistic project is provided that, working with the translation of data through an alternative design, reveals this state of the current digital culture, translating and explaining the hidden functions of some digital objects for everyday use –Like the mobile phone– in an installation with technological objects and data maps.

scholarly journals Aesthetic judgments of faces in degraded images

2010 ◽  
Vol 2 (7) ◽  
pp. 743-743 ◽  
Author(s):  
J. Sadr ◽  
B. Fatke ◽  
C. L. Massay ◽  
P. Sinha
Keyword(s):  
Degraded Images ◽  
Aesthetic Judgments
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