Aesthetics

The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. (...) In this context, it is necessary to reveal the role of aesthetics as a fundamental philosophical science, to raise its originality to theoretical consciousness by reflection. Here, first of all, the question arises about the meaning of the image of aesthetics, which is on the other side of the canvas, about the relationship of aesthetic attitudes and the world concept of philosophy. The main conclusions of the study are the provisions on aesthetics as the metaphysics of a work that produces infinity, expressing the "musical identity of all things" in the aesthetic facet of the world concept of philosophy. Aesthetics is also the feeling of the ideas of the original reality, the spiritual contemplation of superexperienced, supersensible grounds; this metaphysical a posteriori is precisely the primordial freedom of all creation, the freedom of art in contact with nature. Aesthetics is initially immersed in the fabric of metaphysical reflection, which in some cultural traditions is described as creative. And for aesthetics, the question is important, what is the structure of this principle, what is the way of dressing its mental tissue. (shrink)

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As humanity grapples with its significant global footprint in this era, there is a growing fascination with delving into the experiences and viewpoints of other animal species. This juncture offers an opportune moment to delve into the aesthetics of non-human animals by using diverse interdisciplinary methods and viewpoints. Insights of feminist aesthetics demonstrate how traditional understanding of aesthetics and aesthetic experience are heavily influenced by cultural assumptions about gender. Aesthetics as a humanistic discipline has determined the portrayal of non-human animals (...) as beings with no capacity for aesthetic sensibility. In this thesis, I aim to bring to emergence the connection between human exceptionalist assumptions about aesthetics and the production of scientific knowledge about non-human animals. I defend the necessity of recognizing birds as beings with surprising and complex aesthetic sensibilities. Currently most scientists favor the adaptationist idea that the perception of beauty is influential in non-human animal lives only insofar as it serves to advertise fitness, and favor the reproduction and survival of the species. By weaving together insights from feminist philosophy of science and post-humanist studies of the human-animal bond, I present a framework capable of challenging human exceptionalist accounts of aesthetics. Particularly, I promote a methodology sensitive to the construction of gender in scientific portrayals of birds and their aesthetic preferences. I intertwine feminist critiques to pinpoint and challenge adumbrations of androcentrism in both animal sciences and aesthetics. Finally I examine, through an ungendered framework, instances of bowerbird behavior, and pinpoint aesthetic agency as an ability that we share in orchestration with other non-human animals. I conclude by proposing new avenues for research of non-human animal aesthetics. (shrink)