scholarly journals Reception of Francis Hutcheson’s Views in Immanuel Kant’s Philosophy of the Power of Judgment

2021 ◽  
Vol 58 ◽  
pp. 119-132
Author(s):  
Marta Śliwa
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Critical Philosophy ◽  
Francis Hutcheson ◽  
The Aesthetic ◽  
New Research

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.

scholarly journals Embodied Mind and Neural Underpinnings of the Aesthetic Experience. A Case Study from the German Eighteenth Century: 4E Cognition Theories Forecasted by Johann Gottfried Herder

2021 ◽  
pp. 13-30
Author(s):  
Renata Gambino ◽  
Grazia Pulvirenti
Keyword(s):  
Aesthetic Experience ◽  
18Th Century ◽  
Johann Gottfried Herder ◽  
Scientific Debate ◽  
Late 18Th Century ◽  
4E Cognition ◽  
Neural Underpinnings ◽  
The Aesthetic ◽  
Core Issues

Recent theories within the avenue of the bio-cultural turn, and particularly about embodied cognition are forecasted in the anthropological, philosophical, physiological and scientific debate of the late 18th century in Germany. Philosopher and theologian Johann Gottfried Herder contributed to this discourse sigificantly, opening up new perspectives on the link among thought and language and body. In this paper we aim at highlighting some core issues of Herders’s discourse about knowledge, perception and cognition, that seem to anticipate some of the most recent 4E Cognition issues.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.

scholarly journals POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS

2018 ◽  
pp. 25-29
Author(s):  
E. I. Onishchenko
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Specific Nature ◽  
Theoretical Orientations ◽  
Culture Studies ◽  
National University ◽  
Aesthetic Consciousness ◽  
History Of ◽  
The Aesthetic

The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

scholarly journals Modernism and “Aesthetic Experience”: Art, Aesthetics – and the Role of Modernism

2017 ◽  
Vol 25 (51) ◽  
Author(s):  
Morten Kyndrup
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
18Th Century ◽  
High Modernism ◽  
Modern System ◽  
The Aesthetic ◽  
General Conditions

The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a “divorce” after the long-lived marriage between the two, installed by Romanticism. Furthermore so-called postmodernism and today’s contemporary art have in fact not, as often assumed, really broken with high Modernism. What we see is rather a transformation of a time-based modus into a more spatially defined approach. The interpretations of Modernism itself are thus being altered, when regarded with a postmodern awareness of its surrounding enunciative space. The interrelationship between the modernisms, and what followed, is therefore achieving the character of an entanglement rather than that of a straight and clear development. Modernism’s influence, it is finally asserted, is seemingly not at its conclusion, but rather at its reoccurring beginning.

scholarly journals Marc-Antoine Laugier’s aesthetic postulates of architectural theory

Spatium ◽  
2010 ◽  
pp. 46-50
Author(s):  
Irena Kuletin-Culafic
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Aesthetic Theory ◽  
Architectural Theory ◽  
The Enlightenment ◽  
Decorative Element ◽  
Integrative Process ◽  
Aesthetic Aspect ◽  
The Aesthetic ◽  
Radical Character

Views on architecture that hold a significant position in architectural theory are the ones by Marc-Antoine Laugier, a French theoretician from the 18th century. The research on his architectural theory that have been carried out so far are quite stereotypical and concern Laugier?s concept of primitive hut as his only significant contribution to architectural theory. It is well-known that the concept of primitive hut plays an important role in Laugier?s theory and it is what actually maintained his reputation up to now. However, by singling out this concept as an independent one, one actually neglects all the other aspects of Laugier?s theory. The aim of this paper is to present multidimensionality of Laugier?s architectural aesthetics by crossing the borders of architecture and viewing Laugier?s ideas in cultural, philosophical, religious and historical context, as well as applying the integrative process and considering the spiritual paths of the enlightenment movement in the mid-18th century. A special attention is paid to considering the aesthetic aspect which represents the gist and an inevitable part of Laugier?s architectural theory. His aesthetic theory is important in forming the classicist style, and despite its radical character, it influenced many architects in France and the rest of Europe. We may see Laugier as one of the first modernists considering his structuralist logic of the constructive circuit of architecture and aesthetic modesty of decoration. Laugier?s functionalist attitude that the constructive circuit should at the same time represent a decorative element of architecture confirms the thesis that modernist approach has its roots in the 18th century.

scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

scholarly journals Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness

2013 ◽  
Vol 8 (3-4) ◽  
pp. 162 ◽  
Author(s):  
Jin Hyun Kim
Keyword(s):  
Music Perception ◽  
Aesthetic Experience ◽  
Empirical Studies ◽  
Theoretical Framework ◽  
Research Perspective ◽  
Psychological Mechanisms ◽  
And Performance ◽  
The Aesthetic ◽  
New Research ◽  
Forms Of Vitality

Over the last three decades, there has been an increasing number of empirical studies on how music conveys and induces emotional expressiveness, revolving around both the longstanding discourse over compositional and performance features related to recognized or felt emotions, and more recent interest in (neuro)psychological mechanisms underlying emotions induced by music. However, the question of how expressive forms of music are shaped and co-shaped within the ongoing process of music-making and music perception has received little investigation. This paper focuses on the expressive forms of music that the developmental psychologist Daniel N. Stern refers to as &lsquo;forms of vitality&rsquo;, discussing how they are (co)shaped and give rise to aesthetic experience of music. The aim is the development of a theoretical framework allowing for a new research perspective on musical expressiveness&mdash;taking into account the aesthetic experience of music&mdash;in relation to the process of (co)shaping forms of vitality in music. Further, a hypothesis for and methodologies of empirical research fitting into this theoretical framework are considered, expanding the schema beyond cognitivist and emotivist approaches to musical expressiveness.

scholarly journals Aesthetics as analysis of mind experience

2015 ◽  
Vol 26 (3) ◽  
pp. 617-628
Author(s):  
Iva Draskic-Vicanovic
Keyword(s):  
Subjective Experience ◽  
18Th Century ◽  
17Th Century ◽  
Human Mind ◽  
Object Relation ◽  
Aesthetic Theory ◽  
Phenomenal Quality ◽  
Francis Hutcheson ◽  
Shed Light

The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.

scholarly journals Operationalising the Sublime: Remediation of the Horokiwi Quarry

2021 ◽  
Author(s):  
Shaun Rosier
Keyword(s):  
Design Research ◽  
Aesthetic Experience ◽  
18Th Century ◽  
Architectural Discourse ◽  
Dominant Form ◽  
The Sublime ◽  
Spatio Temporal ◽  
The Aesthetic ◽  
The Relationship ◽  
Early 18Th Century

<p>Landscape designers have been fixated on the aesthetic category of the sublime ever since its emergence in the early 18th century, yet the concept has tended to escape the grasp of many of those who have grappled with its complexities. The capacity of the sublime to overwhelm a body is attractive to designers but tends to be seen as difficult to represent, and therefore design with. This thesis examines the sublime as an aesthetic experience that is fundamental to how landscape designers engage with their medium. It traces the relationship between the sublime and the discipline from the 18th-century to the dominant form of contemporary systems-based designing. The challenge of engaging with the pre-existing is central to landscape design practices yet has received little attention throughout the past two decades. Responding to this deferral from aesthetics by contemporary landscape architectural discourse and practice, the thesis unpacks the works of several designer-thinkers who establish a community of practice for exploring the aesthetic relationship to the pre-existing landscape. In order to operationalise the sublime, the thesis proposes a design model based on Gilles Deleuze’s notions of intensity, problematics, affects, and assemblage – one that is closer to the 18th century theorists – as a productive means through which designers both represent and adjust its operations. This model is explored through a practice-led design research project. The Horokiwi Quarry in Wellington, New Zealand acts as a testbed for developing and documenting design techniques suited to the sublime. This study seeks to give expression – re-present and experience – the affectual dimensions of sublime encounters discovered within the Horokiwi Quarry. In this, drawings and other forms of representation are required to explicate and later modify the spatio-temporal relations that give rise to the sublime.</p>

Konstitutive Aspekte der Ästhetik im Sprachkunstwerk und ihre Behandlung als Übersetzungsproblem

Babel ◽  
1992 ◽  
Vol 38 (1) ◽  
pp. 10-27
Author(s):  
Karl Eckhart Heinz
Keyword(s):  
Communication Theory ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Stefan George ◽  
Translation Practice ◽  
Form Part ◽  
Alexander Gottlieb Baumgarten ◽  
Verse Form ◽  
The Aesthetic ◽  
Aesthetic Values

In translating elements of language the question that is very often raised is how to deal with the aesthetic features, especially if they form part of a work of poetry. Aesthetic theory, since its emancipation from philosophy by Alexander Gottlieb Baumgarten in the 18th century, has developed our knowledge about the performance of aesthetic features; but in translation practice these aesthetic aspects are for the most part still being neglected. With translations of poetry, for example, the aspects of verse form and verse content of the original work of art are taken into account solely for the purpose of representing them in another language, disregarding the aesthetic values to which, from the time of their invention, their author owed his fame. Even in translations by poets of the work of colleagues, an understanding of the author's special aesthetic inventions is found to be lacking; here the translating — or "re-composing" (Stefan George) — process usually produces the aesthetics due to the interpreter's own composing attitudes. The article gives an introduction to aesthetic theory as a component of communication theory, and offers some examples of aesthetic structures in poetical works and in translations of them, as well as an example of representation of these structures in translated texts.

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