In aesthetics you have to see for yourself precisely because what you have to "see" is not a property: your knowledge that an aesthetic feature is "in" the object is given by the same criteria that show that you "see" it. To see the sadness in the music and to know that the music is sad are one and the same thing…
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In aesthetics you have to see for yourself precisely because what you have to "see" is not a property: your knowledge that an aesthetic feature is "in" the object is given by the same criteria that show that you "see" it. To see the sadness in the music and to know that the music is sad are one and the same thing. To agree in the judgment that the music is sad is not to agree in a belief, but in something more like a response or an experience" (Eldridge 145: 2003).It has long been recognized that human beings find a variety of visual and auditory appearances to be extremely fascinating. Certain sunsets, flowers, birdsongs, and beautiful bodies, among natural things, and certain pots, carvings, vocalizations, and marked surfaces, among humanly made things, seem to engage eye or ear simultaneously with thoughtful mind. In experiencing such things, we feel we want the experience to continue for "its own sake, " at least for some further time. The Greek uses a phrase to kalon which means the fine, the good, or the beautiful, to describe many sorts of things that are attractive to mind and eye or ear, without sharply distinguishing natural beauty from artistic merit (or moral goodness). "In the Symposium, Socrates reports that the priestess Diotima once instructed him in how a lover who goes about this matter correctly must begin in his youth to devote himself to beautiful bodies, first loving one body, then many (as he comes to understand that they are alike in beauty), next beautiful minds, beautiful laws and customs, beautiful ideas and theories, until finally he will come to love the Beautiful itself, absolute, pure, unmixed, not polluted by human flesh or colors or any other great nonsense of mortality." (Eldridge 47: 2003)
In pleasing us, natural and artistic beauty, according to Kant, serve no outer purpose. The experience of beauty does not yield knowledge, and it does not of itself enable the satisfaction of desires for material goods. Yet it is not nonetheless merely agreeable or pleasant; instead, the experience of beauty matters. Beauty in nature makes us feel as though the natural world were congenial to our purposes and projects. In feeling the beautiful natural object to be "as it were" intelligible or made for us to apprehend it, we further feel that nature as a whole, which seems to "shine forth" in beauty, is favorable to our cognitive and practical interests as subjects. To experience a beautiful sunset, according to Kant, is to feel (though not to know theoretically) that nature makes sense. Kant's terminology may be difficult, the experience he is describing is a familiar one. Beautiful objects of nature or art engage our attention. We love them by paying active, cognitive attention to them, even if we do not get anything from them or even if it brings out the inner most emotions from us.
The above discussion brings us to compare art with emotions, the reason why identifications with artists and imaginative participation in experiences and emotions are available to us is that works of art are made things, products or instances of human action. To understand an action, including actions of artistic making, is to understand its suitable motivation by reasons in contexts. Actions of artistic making, including the making of both narrative art and non-narrative art, are concerned with the shaping of materials to hold attention on a presented subject matter. (In abstract work, the presented subject matters are often centrally the perception and gestural action of the artist and the possibility of the audience's imaginative participation in that perception and gestural action.) Whatever emotions figure in attention to this subject matter are emotions that members of the audience are solicited to experience and explore, as they participate in the attention that is embodied in the work. The understanding of art is much related to exploring, to understand art critically is to explore it imaginatively, guided by a range of relevant
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However, the aesthetics also create a different determination with the meaning and understanding of the piece. Even though the anthropology of art is one which is defined by examining various pieces, it is not the same as the anthropology of aesthetics. The differences between the two arise with the defining and interpretation of the artwork as well as the expectations which come from various ethnographic samples and understanding.
It is arguable that each human being creates. It is a procedure in which an idea, no matter how big or small, is developed from the realm of the imagination to something of a reality. But a distinction along the process is made between what is bad or even average to what is beautiful and therefore sublime.
However, it may be a bit tasking to determine the fate of art and pieces of art must always endeavor to bring out the concept of existence in totality. This essay shall aim at comparing and contrasting the productions of art as well as those of nature. This shall be discussed in relation to Hegel’s ‘Introductory Lectures on Aesthetics’ focusing on the basic need for production of art.
In trying to elaborate on these feelings, which an artist cannot possibly put in words, a new channel of expressing oneself emerges in the form of art, where the artist can then express all his/her emotions well without any hindrances, like the one existing when the expression has to be done through a word of mouth (Collingwood, 110).
A second or corollary possibility is that art should 'matter' and the 'whys' are where aesthetic philosophy steps in.
What is aesthetic philosophy Will these philosophies stand the Test of Time Aesthetic philosophy wants to explain, or cause understanding of, aesthetics.
In the eighteenth century there was significant development pertaining to judgments of aesthetic value. At one stage aesthetics was relegated entirely to the realm of subjectivism, but soon adherents to objectivism were up in arms against their detractors.
If, historically, past art seemed much preoccupied with imitating the world, the art properly so-called of Beardsley 's day is avant-garde or modernist, which means that it is about imitating imitation, or representing representation, or, to put it differently, it is about exploring its own nature as a pictorial medium.
Author indicated that 18th century witnessed development of wild romanticism in art and literature that enabled appreciation of a significant aesthetic notion, ‘Sublimity.’ In addition, Burke showed closer connection of
This cannot be connected with any determinate concept. He holds that such notions are an equivalent to rational thoughts. These ideas are, as he argues, vital in clarifying how we observe works of art, as they facilitate between
The above definition is enhanced and modified by George Dickie who defines art work as artificact which has had conferred on it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution otherwise referred as the artworld (Dickie, 1995)
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