Culture Aesthetic Philosophy - Essay Example

Name: University: Instructor: Date: Culture Aesthetic Philosophy Introduction As a philosophy, aesthetics involves studying sensory values; that is, using senses to evaluate or judge and through time it has turned out to become a philosophical or critical thought regarding nature, culture, and art. Aesthetics in the modern sense could be utilised to reference a certain design or style. A culture utilising a motif by means of different function and design areas, for instance, is considered to observe or appreciate a certain aesthetic. As it will be evidenced in this piece, the modern age wherein people live is a transition from the scientific, analytical, as well as rational into an aesthetic, sensitive, and cultural age. The everyday life aesthetics is central to the modern age; therefore, in modern art, there exists no boundary between life and art. Nearly all objects and contents of daily life turned out to be a magnum opus while seeking aesthetic. Aesthetic theory moved from an artwork that focused on spectator or audience, artist-centred, or beholder-centred art, which are closely associated with one another. Therefore, aesthetic attitude or attention is not specific to art, but broadly pervasive in daily life. Concerns associated with aesthetic can be embraced in everything people make and utilise on a daily basis. Aesthetics contemporary art most crucial feature is non-existence of boundary between life and art. After demolished the boundary the existed between life and art, therefore it has become very important. The focus of this piece is culture aesthetic philosophy. Discussion The aesthetic regime as mentioned by Tanke (71), can be described as the polemical concept coined by Jacques Rancière with the objective of challenging the categories informing scores of historical narratives of art. According to Tanke (71), it has manifested across the divisions organising collections in the museum as well as shaping the twentieth-century art picture passed on to the later age. Moist of Rancière’s works regarding aesthetic philosophy seek to shed light on ‘aesthetic revolution’, which is a comprehensive cultural transformation that happened late in 18th and early in the 19th century. The focus was mainly on different ideas, objects, and artists that were designated routinely as modern. As cited by Tanke (71), Rancière considered ‘modernism’ as a challenging concept which stopped people from coping with the aesthetic politics, which as a fundamentally different type of art. According to Rancière, modernism is a concept that was invented deliberately with the objective of preventing people from clearly understanding the art transformations as well as its relations with the various domains of collective understanding. Kim (359) asserts that the aesthetic concerns can be embraced by people in everything they make as well as use. It is very challenging for the modern-day spectator- and art-centred aesthetics to sufficiently justify the crucial aesthetic experience of day to day activities and objects that engage people bodily. In order for aesthetics to become part of everyday life, Kim (359) posits that it must collapse the boundaries that exist between spectator or beholder and artist, ordinary things as well as art. In everyday life, the practical and the aesthetic are inseparable. The modernism and modern are social, cultural, and artistic formations which connote the transformations in society, culture, and art in terms of geography and history. They are considered as the formations that bring to light the new conditions in contemporaneity. According to Suvaković (103), the modern and modernism when viewed from an ontological perspective is about redefining something new to make it sustainable. On a sensory level, Ford posit that aesthetics presumes the person’s capacity to judge and a collective agreement regarding the beauty ideals. For instance, Immanuel Kant, a philosopher differentiated between the ability of an object to become agreeable to a specific individual, according to the personal taste, and at the same time failing to conform to the beauty notions that are widely held. Aesthetics philosophy can be traced to early works of classic Greek thinker known as Plato, whereby he presumed that everything of sensory beauty is replications of their objectivity’s perfect form. That is to say, anything beautiful is an imitation of its most perfect form which only subsists in the idea, and every time the object comes closer to this perfect form, it becomes more aesthetically pleasing. Aesthetic value for Kant does have definitions in objects, instead of truth or beauty. Therefore, it will be wrong to perceive a rose flower as something beautiful since it becomes beautiful when a person considers it beautiful and the society at large concurs; therefore, beauty is made a property instead of a view. With the view to Kantian viewpoint, everything beautiful is recognising truth which is both subjective and universal. As cited by Ford, a number of philosophers such as William Horgarth and Edmund Burke have also tried to come up with criteria that could be utilised to evaluate beauty. The introduction of post-modern theory and 21st century has brought about new attitudes in terms of interpreting aesthetic. That is to say; theorists are tackling the supposition that beauty is integral to either aesthetics or art. The aesthetic is viewed by postmodernists in terms of unrefined, emotional art experience rather that its meaning. Aesthetics in post-modern era has returned the world back to its sensory roots, not interested in philosophised knowledge of a single artistic presentation as well as universal aesthetic, but investing the aesthetic experience depth into the experience itself. Ford asserts that postmodern aesthetics focus mainly on the state or condition of being, instead of the privileged master narrative. Therefore, postmodern design, as well as art, utilise recognisable objects in ways that are unforeseen; that is, encouraging the aesthetic interpretation experience which is not consistent with the forms narrative. As a philosophy, Aesthetics has been comprehended differently in the post-modern era considering that the majority of thinkers have declined to acknowledge the overriding theories of art or beauty. Hence, experiences, as well as expression, have become aesthetic. The various values of aesthetic are present in different cultures across the globe, which have been cultivated by diverse moral foundations, cultural norms as well as natural environments. For instance aesthetic value in India has experienced some evolution through representation and interpretation of religious as well as spiritual iconography. Relationships and art in India between the spiritual and the physical states have manifested in different forms of expression, which includes music, sculpture, painting, literature, architecture and also dance. The Indian spiritual myths and creation of stories have continually been portrayed in different genres of life and art, and love, as well as life similarity to such stories, has been permeated with aesthetic beauty. Besides that, aesthetics in Chinese history were pursued intellectually considering that a number of thinkers such as Confucius dedicated their life to studying human nature or art. Therefore, the classical Chinese art happens principally autonomously of the religion and aesthetics philosophy. The art traditions in Islamic society as cited by Ford have resulted in a heated debate regarding the production of representational art. A number of scholars oppose the act of expressing natural forms artistically arguing that everything was created by God perfectly; therefore, imitation from humans is not only weak but also offensive. Therefore, the majority of Islamic art such as mosques, mosaics, as well as scribble, genres through which aesthetic and artistic dispositions can thrive devoid of experiencing theological rage have not been represented. The majority of great artists have utilised the idea of hell, heaven and God to express their arts; thus, lauding the transcendent realm’s aesthetic beauty. Traditionally, aesthetics are associated with the beauty and art critical evaluation, the utilisation of attraction as well as appeal work in different aspects of the human life. Given that the qualities of aesthetic are often experienced through the senses, people could be influenced by a pleasing environment. Since the modern industry is growing, cultures, as well as people, are delighted with the improved ease of living, which allows the redirection of more attention towards design and details of different life facets. In contemporary parlance, the philosophy of art’s practical renditions is normally considered as the applied aesthetics. Aesthetics in modern Western society are utilised produce advertisements with overwhelming as well as massive success. In this case, images are utilised to communicate luxury; the media is dominated by opulence and success. Consumers are made to believe that acquiring the featured service or product they will delight in a desirable lifestyle. Sexuality in the modern culture is another aesthetic that has been marketed highly. Although not quite associated with the service or product, beautiful people images are often utilised to make advertisements more effective. Carter (90) posit that the cultural forms or images have been viewed as a dialogic activity since groups or individuals are trying to decipher as well as express the experience of the lives. Therefore, culture is developed by consuming these practices and/or texts/ images, which function as social circulation agents of pleasure and meaning. The culture according to Carter (90) is a living and active process, which can be created from within when individuals are looking for meanings in the images as well as texts they come across and consume. Berleant (23) posit that cultural aesthetic is the characteristic ideational, conceptual, and sensory matrix involving the culture’s perceptual environment. Berleant asserts that it involves the typical configurations as well as qualities of size, colour, texture, sound, movement, light, and temporal sensibility juxtaposed in the human body as well as the traditional patterns influence of practice and belief on apprehending and creating such qualities. Berleant is of the view that the environments wherein people live are often historico-cultural; therefore, creating a cultural aesthetic needs the identification of perceptual features configuration, which is typical of a certain human culture in a certain era. Aesthetic is exemplified by a number of places such as the medieval Gothic cathedral, whereby light sifted using glass windows that are stained, the organs and chanting voices reverberations, linear volumes and masses, the enrage stench, and the wafer and wine taste combine with the objective of absorbing the believer into an environment that is multimedia and multisensory. The Gardens of Suzhou also illustrates a cultural aesthetic environment since it generates a harmony of place as well as spirit, nature and man. Therefore, cultural aesthetics studies are considered a crucial way through which aesthetics can penetrate the social sciences. Studying aesthetics from the anthropological point of view can help supply factual information crucial for the theory of cultural aesthetic. This information involves studying, not just the different cultures’ art, but also the valued perceptual experience. For instance, Among the Southern Sudan’s cattle-keeping Nilotes there is no artistic objects as well as art tradition, per se, but they appreciate particular aesthetic values that can be compared with those of other cultures. In Upper Paleolithic and African work, beauty concepts are not considered as relevant; therefore, Berleant asserts that there is a need to develop a way of understanding diverse cultures’ aesthetic experiences in a more inclusive way. Conclusion In conclusion, this paper has focused on culture aesthetic philosophy. As mentioned in the essay, the aesthetic regime was designed with the objective of provoking different counter-histories, which would provide different justifications for new forms of experience, the cultural transformations, as well as the connections between life and art. Plato and other ancient Greek philosophers at first believed that beautiful objects are those that were aesthetically appealing. The philosophers believed that beautiful objects included unity, harmony, and proportion and that the universal beauty elements were definiteness, symmetry and order. On the other hand, the Islam believes that the human’s works of art are essentially defective and cannot be contrasted with God’s work. The work of art by Indians has evolved and focuses on stirring up special philosophical or spiritual states in the audience. The Western Medieval art focuses mainly on religion, and the artisan skills were seen as God‘s gifts that were used to disclose God to humans. The aesthetic value judgements depend on individual’s ability to distinguish at a sensory level, therefore, judging beauty is all at intellectual, emotional, and sensory. Works Cited Berleant, Arnold. "Notes for a Cultural Aesthetic." Sarapik, Virve, Kadri Tuur and Mari Laanemets. Place and Location. Vol. 2. Tallin:: Eesti Kunstiakadeemia, 2002. 19-25. Carter, Mary C. "Volitional Aesthetics: A Philosophy for the Use of Visual Culture in Art Education." Studies in Art Education 49.2 (2008): 87-102. Ford, Paul. What is Aesthetics? 19 July 2009. 7 December 2016 . Kim, Kwang Myung. "The Aesthetic Turn in Everyday Life in Korea." Open Journal of Philosophy 3.3 (2013): 359-365. Šuvaković, Miško. "Theories of Modernism. Politics of Time and Space." Filozofski vestnik 35.2 (2014): 103–120. Tanke, Joseph J. "What Is The Aesthetic Reg." PARRHESIA 12 (2008): 71-81. Read More

The modernism and modern are social, cultural, and artistic formations which connote the transformations in society, culture, and art in terms of geography and history. They are considered as the formations that bring to light the new conditions in contemporaneity. According to Suvaković (103), the modern and modernism when viewed from an ontological perspective is about redefining something new to make it sustainable. On a sensory level, Ford posit that aesthetics presumes the person’s capacity to judge and a collective agreement regarding the beauty ideals.

For instance, Immanuel Kant, a philosopher differentiated between the ability of an object to become agreeable to a specific individual, according to the personal taste, and at the same time failing to conform to the beauty notions that are widely held. Aesthetics philosophy can be traced to early works of classic Greek thinker known as Plato, whereby he presumed that everything of sensory beauty is replications of their objectivity’s perfect form. That is to say, anything beautiful is an imitation of its most perfect form which only subsists in the idea, and every time the object comes closer to this perfect form, it becomes more aesthetically pleasing.

Aesthetic value for Kant does have definitions in objects, instead of truth or beauty. Therefore, it will be wrong to perceive a rose flower as something beautiful since it becomes beautiful when a person considers it beautiful and the society at large concurs; therefore, beauty is made a property instead of a view. With the view to Kantian viewpoint, everything beautiful is recognising truth which is both subjective and universal. As cited by Ford, a number of philosophers such as William Horgarth and Edmund Burke have also tried to come up with criteria that could be utilised to evaluate beauty.

The introduction of post-modern theory and 21st century has brought about new attitudes in terms of interpreting aesthetic. That is to say; theorists are tackling the supposition that beauty is integral to either aesthetics or art. The aesthetic is viewed by postmodernists in terms of unrefined, emotional art experience rather that its meaning. Aesthetics in post-modern era has returned the world back to its sensory roots, not interested in philosophised knowledge of a single artistic presentation as well as universal aesthetic, but investing the aesthetic experience depth into the experience itself.

Ford asserts that postmodern aesthetics focus mainly on the state or condition of being, instead of the privileged master narrative. Therefore, postmodern design, as well as art, utilise recognisable objects in ways that are unforeseen; that is, encouraging the aesthetic interpretation experience which is not consistent with the forms narrative. As a philosophy, Aesthetics has been comprehended differently in the post-modern era considering that the majority of thinkers have declined to acknowledge the overriding theories of art or beauty.

Hence, experiences, as well as expression, have become aesthetic. The various values of aesthetic are present in different cultures across the globe, which have been cultivated by diverse moral foundations, cultural norms as well as natural environments. For instance aesthetic value in India has experienced some evolution through representation and interpretation of religious as well as spiritual iconography. Relationships and art in India between the spiritual and the physical states have manifested in different forms of expression, which includes music, sculpture, painting, literature, architecture and also dance.

The Indian spiritual myths and creation of stories have continually been portrayed in different genres of life and art, and love, as well as life similarity to such stories, has been permeated with aesthetic beauty. Besides that, aesthetics in Chinese history were pursued intellectually considering that a number of thinkers such as Confucius dedicated their life to studying human nature or art.

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