Recentering Musicology and the Philosophy of Music
... Pistols. John Lee Hooker’s early solo recordings are an example from Blues. Is the music of these people beautiful? Perhaps it is sublime rather than beautiful? This is an important question, but I will sidestep the issue, by making “beauty” stand proxy for generic “aesthetic value.” In that sense, ...
... Pistols. John Lee Hooker’s early solo recordings are an example from Blues. Is the music of these people beautiful? Perhaps it is sublime rather than beautiful? This is an important question, but I will sidestep the issue, by making “beauty” stand proxy for generic “aesthetic value.” In that sense, ...
The Ethical Significance of the Aesthetic Experience of Non
... response-dependent, meaning “they are dispositions to promote impressions or effects on appropriately backgrounded creatures with our perceptual and imaginative capabilities8.” These impressions or responses induced by form and other aesthetic properties can include those responses that are cogniti ...
... response-dependent, meaning “they are dispositions to promote impressions or effects on appropriately backgrounded creatures with our perceptual and imaginative capabilities8.” These impressions or responses induced by form and other aesthetic properties can include those responses that are cogniti ...
Sensus communis Clarifications of a Kantian Concept on the Way to
... are to make sense of our judgments of taste. Secondly, sensus communis is not what is commonly called 'common sense'. Sensus communis is neither intellectio communis nor communis opinio, it is neither 'ordinary good sense' nor 'common belief', it is no 'gemeine Menschenverstand', no 'common human un ...
... are to make sense of our judgments of taste. Secondly, sensus communis is not what is commonly called 'common sense'. Sensus communis is neither intellectio communis nor communis opinio, it is neither 'ordinary good sense' nor 'common belief', it is no 'gemeine Menschenverstand', no 'common human un ...
The Dogma of Post-Conceptual Art: The Role of the
... intention of producing an object whose reception will raise a cognitive attention that will also be a source of pleasure.7 But now Schaeffer wants to point out that aesthetic relation and aesthetic value are not to be found only in connection with artworks. On the other hand, an artwork’s “aesthetici ...
... intention of producing an object whose reception will raise a cognitive attention that will also be a source of pleasure.7 But now Schaeffer wants to point out that aesthetic relation and aesthetic value are not to be found only in connection with artworks. On the other hand, an artwork’s “aesthetici ...
Beauty as harmony of the soul: the aesthetic of the Stoics
... It is important to note that this approach does not rule out a role for good feeling. For example, over the course of one’s life, by endorsing certain interpretations over others due to the harmony or order that ensues, one is cultivating a good feeling towards certain interpretations and reinforcin ...
... It is important to note that this approach does not rule out a role for good feeling. For example, over the course of one’s life, by endorsing certain interpretations over others due to the harmony or order that ensues, one is cultivating a good feeling towards certain interpretations and reinforcin ...
MERSCH,Dieter–Aesthetic_Difference-On_the_
... of Picasso’s work. But it is the found objects themselves that really make the work, objects that draw much of their force from the very contingency of their discovery. It is the find of this specific seat and this specific set of handlebars with their wear and tear that allow this unique appearanc ...
... of Picasso’s work. But it is the found objects themselves that really make the work, objects that draw much of their force from the very contingency of their discovery. It is the find of this specific seat and this specific set of handlebars with their wear and tear that allow this unique appearanc ...
Aesthetics as Philosophy of Experience
... to re-examine it after a period of absence. If we claim to pronounce judgment, to decide whether something is art or not without having spent time with the object of our interest, our judgment seems more like a whim or a game, and not a true conviction. Only in certain circumstances do we have the o ...
... to re-examine it after a period of absence. If we claim to pronounce judgment, to decide whether something is art or not without having spent time with the object of our interest, our judgment seems more like a whim or a game, and not a true conviction. Only in certain circumstances do we have the o ...
History and Moral Exempla in Enlightenment
... concept of disinterestedness. He proves that “neither Kant himself nor those of his predecessors who first introduced the idea of the disinterestedness of judgments of beauty, namely Anthony Ashley Cooper, the third Earl of Shaftesbury, and Francis Hutcheson, thought that the disinterestedness of jud ...
... concept of disinterestedness. He proves that “neither Kant himself nor those of his predecessors who first introduced the idea of the disinterestedness of judgments of beauty, namely Anthony Ashley Cooper, the third Earl of Shaftesbury, and Francis Hutcheson, thought that the disinterestedness of jud ...
Aesthetics
... considered design instead of art, or contrariwise these may be defended as art forms, perhaps called applied art. Some thinkers, for instance, have argued that the difference between fine art and applied art has more to do with the actual function of the object than any clear definitional differenc ...
... considered design instead of art, or contrariwise these may be defended as art forms, perhaps called applied art. Some thinkers, for instance, have argued that the difference between fine art and applied art has more to do with the actual function of the object than any clear definitional differenc ...
File
... Aesthetic experience should give us a sense of a “beyond” that we can neither know nor explain, but of which we have glimpses and are given clues. In this sense, aesthetic experience is moral, for it makes us realize we are part of a grander design than ourselves, one we can never truly understand. ...
... Aesthetic experience should give us a sense of a “beyond” that we can neither know nor explain, but of which we have glimpses and are given clues. In this sense, aesthetic experience is moral, for it makes us realize we are part of a grander design than ourselves, one we can never truly understand. ...
From science to arts
... not only because their objects differ, but also because they create different groups of relations. As styles of art emerge through a set of formal rules so do symbolic idealizations underlying conceptual systems of physics. Contemporary science is changing the entire view of classical physics and mo ...
... not only because their objects differ, but also because they create different groups of relations. As styles of art emerge through a set of formal rules so do symbolic idealizations underlying conceptual systems of physics. Contemporary science is changing the entire view of classical physics and mo ...
No Slide Title
... “Beauty experiences are unconsciously realized avenues to high fitness in human evolutionary history…The Darwinian theory of human aesthetic value is that beauty is promise of function in the environments in which humans evolved (i.e., of high likelihood of survival and reproductive success in the ...
... “Beauty experiences are unconsciously realized avenues to high fitness in human evolutionary history…The Darwinian theory of human aesthetic value is that beauty is promise of function in the environments in which humans evolved (i.e., of high likelihood of survival and reproductive success in the ...