Results for 'aesthetic experience'

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  1. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  2. Is Aesthetic Experience Possible?Sherri Irvin - 2014 - In Greg Currie Nj, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 37-56.
    On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant (...)
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  3.  49
    Aesthetic Experience, Aesthetic Value.Jane Forsey - 2017 - Estetika: The European Journal of Aesthetics 54 (2):175-188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  4. Aesthetic Experience in Religion.Geddes Macgregor - 1947 - Macmillan.
  5. Aesthetic experience revisited.Noël Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  6. The Aesthetic Experience According to Abhinavagupta. Abhinavagupta - 1968 - Varanasi, Chowkhamba Sanskrit Series Office.
     
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  7.  23
    Aesthetic Experience and the Unfathomable: A Pragmatist Critique of Hermeneutic Aesthetics.Mark Gilks - 2021 - British Journal of Aesthetics 61 (2):185-198.
    In his attack on the notion of immediate experience, Hans-Georg Gadamer argues that aesthetic experience should be absorbed into hermeneutics because alone it cannot account for the historical nature of experience ; predicated on an ontological theory of art, the unfathomable, therefore, is the sense we have of these infinite hermeneutic depths. I argue that this account is methodologically and existentially unacceptable: methodologically because it is overly speculative, and existentially because it betrays authentic existence. I critique (...)
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  8. Aesthetic experience and aesthetic value.Robert Stecker - 2006 - Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  9. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
     
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  10. Aesthetics, experience, and discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; (...)
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  11. Aesthetic experience and aesthetic object.Roman Ingarden - 1960 - Philosophy and Phenomenological Research 21 (3):289-313.
    The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical (...)
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  12. Aesthetic Experience and the Ethical Dimension Essays on Moral Prblems in Aesthetics.Arto Haapala & Oiva Kuisma - 2003
     
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  13. The aesthetic experience.Derek Matravers - 2003 - British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving (...)
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  14.  29
    Aesthetic Experience, Medical Practice, and Moral Judgement. Critical Remarks on Possibilities to Understand a Complex Relationship.Marcus Düwell - 1999 - Medicine, Health Care and Philosophy 2 (2):161-168.
    The aim of the paper is to examine the possible relationships between the different dimensions of aesthetics on the one hand, and medical practice and medical ethics on the other hand. Firstly, I consider whether the aesthetic perception of the human body is relevant for medical practice. Secondly, a possible analogy between the artistic process and medical action is examined. The third section concerns the comparison between medical ethical judgements and aesthetic judgement of taste. It is concluded that (...)
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  15.  39
    Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor.Tim L. Elcombe - 2012 - Journal of the Philosophy of Sport 39 (2):201-217.
    Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ?is sport art?? and ?are aesthetics implicit to sport??, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, (...)
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  16.  46
    Aesthetic experience of beautiful and ugly persons: a critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of (...)
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  17.  40
    Aesthetic Experience, Mimesis and Testimony.Roger W. H. Savage - 2012 - Études Ricoeuriennes / Ricoeur Studies 3 (1):172-193.
    In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity (...)
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  18.  73
    Aesthetic experience: From analysis to Eros.Richard Shusterman - 2006 - Journal of Aesthetics and Art Criticism 64 (2):217–229.
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  19.  82
    IV—Aesthetic Experience as a Metacognitive Feeling? A Dual-Aspect View.Jérôme Dokic - 2016 - Proceedings of the Aristotelian Society 116 (1):69-88.
  20.  29
    The Aesthetic Experience: Its Meaning in a Functional Psychology.Elizabeth Kemper Adams - 1907 - Philosophical Review 16:660.
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  21.  10
    Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal.George Hagman (ed.) - 2005 - Rodopi.
    "George Hagman looks anew at psychoanalytic ideas about art and beauty through the lens of current developmental psychology that recognizes the importance of attachment and affiliative motivational systems. In dialogue with theorists such as Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and many others, Hagman brings the psychoanalytic understanding of aesthetic experience into the 21st century. He amends and extends old concepts and offers a wealth of stimulating new ideas regarding the creative process, the ideal, beauty, ugliness, and -perhaps (...)
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  22.  53
    Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism.Jonathan Owen Clark - 2013 - Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the (...)
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  23.  82
    Aesthetic experience in shaftesbury: Richard Glauser.Richard Glauser - 2002 - Aristotelian Society Supplementary Volume 76 (1):25–54.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be (...)
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  24.  28
    Aesthetic Experience and Intellectual Pursuits.Elisabeth Schellekens - 2022 - Aristotelian Society Supplementary Volume 96 (1):123-146.
    The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central (...)
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  25.  18
    The Aesthetic Experience of Kandinsky's Abstract Art: A Polemic with Henry's Phenomenological Analysis.Anna Ziółkowska-Juś - 2017 - Estetika: The European Journal of Aesthetics 54 (2):212-237.
    The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite (...)
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  26.  45
    Aesthetic Experience, The Aesthetic Object and Criticism.Martin Eshleman - 1966 - The Monist 50 (2):281-298.
    The aesthetic experience, In husserl's language, Brackets or suspends the natural standpoint. Consciousness perceives the work of art not as an object of the factual world, But as a man-Made artifact to be enjoyed just for certain immediately experienced qualities. The work of art is neither a real physical entity nor a real psychical entity, But a purely intentional object, For which the physical object serves as a substratum. The critic must recreate the purely intentional object by completing (...)
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  27. Beauty, aesthetic experience, and emotional affective states / Andrej Démuth.Andrej Démuth - 2019 - Bratislava: VEDA.
    The monograph is focused on the subjectivity of aesthetic experience and the problem of rational interpretation of emotionality. The text studies why does an aesthetic experience exist, what is its content and what is its informational role and structure? Has beauty any cognitive value? Can we analyse beauty? In what sense we can think about the information content of aesthetic experience? The second topic of the book is a cognitive role of emotionality and its (...)
     
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  28. Aesthetic Experience and Somaesthetics.Richard Shusterman (ed.) - 2018 - Boston: Brill.
    This essay collection explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics. After examining philosophical accounts of embodiment and aesthetic experience, the essays apply somaesthetic theory to the diverse fine arts and the art of living.
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  29.  1
    Aesthetic Experiences and Classical Antiquity: The Significance of Form in Narratives and Pictures.Jonas Grethlein - 2017 - New York: Cambridge University Press.
    In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are (...)
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  30.  10
    Aesthetic Experience Revisited.NoË Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
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  31. Aesthetic experience regained.Monroe C. Beardsley - 1969 - Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  32.  47
    Aesthetic Experience, Transitional Objects and the Third Space: The Fusion of Audience and Aesthetic Objects in the Performing Arts.Ian Woodward & David Ellison - 2010 - Thesis Eleven 103 (1):45-53.
    Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. (...)
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  33.  22
    The aesthetic experience as a characteristic feature of brain dynamics.Giuseppe Vitiello - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):71-89.
    The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, (...)
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  34.  60
    Aesthetic experience and human evolution.Ellen Dissanayake - 1982 - Journal of Aesthetics and Art Criticism 41 (2):145-155.
  35.  62
    From aesthetic experience and teleological appreciation of nature to the ecological consciousness: Reading Kant's Critique of Judgment.Leonel Ribeiro dos Santos - 2006 - Trans/Form/Ação 29 (1):7-29.
    The aim of this paper is to suggest how the kantian conception of aesthetic experience of nature can illuminate some demands posed by the actual ecological consciousness. Main topics of our exposition would be the reversible analogy Kant supposes between art and nature, the kantian concept of a "technic of nature", the recognised priority of aesthetic experience of natural beauty within kantian Aesthetics and the function that she plays in the whole architectonics of the Critique of (...)
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  36.  15
    Capturing Aesthetic Experiences With Installation Art: An Empirical Assessment of Emotion, Evaluations, and Mobile Eye Tracking in Olafur Eliasson’s “Baroque, Baroque!”.Matthew Pelowski, Helmut Leder, Vanessa Mitschke, Eva Specker, Gernot Gerger, Pablo P. L. Tinio, Elena Vaporova, Till Bieg & Agnes Husslein-Arco - 2018 - Frontiers in Psychology 9.
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  37.  8
    Aesthetic Experience and Moral Vision in Plato, Kant, and Murdoch: Looking Good/Being Good.Meredith Trexler Drees - 2021 - Springer Verlag.
    This book addresses how Plato, Kant, and Iris Murdoch view the connection aesthetic experience has to morality. While offering an examination of Iris Murdoch’s philosophy, it analyses deeply the suggestive links between Plato’s and Kant’s philosophies. Meredith Trexler Drees considers not only Iris Murdoch’s concept of unselfing, but also its relationship with Kant’s view of Achtung and Plato’s view of Eros. In addition, Trexler Drees suggests an extended, and partially amended, version of Murdoch’s view, arguing that it is (...)
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  38.  20
    The aesthetic experience of nursing.Kitt Austgard - 2006 - Nursing Philosophy 7 (1):11-19.
    This article highlights the distinction between the ‘art of nursing’ and ‘fine art’. While something in the nature of nursing can be described as ‘the art of nursing’, it is not to be misunderstood as ‘fine art’ or craft. Therefore, the term ‘aesthetic’ in relation to nursing should not be linked to the aesthetic of modern art, but instead to a broader and more general meaning of the word. The paper's main focus is the aesthetic experience, (...)
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  39.  4
    Aesthetic Experience, Aesthetic Value.Jane Forsey - 2020 - Estetika: The European Journal of Aesthetics 54 (2):175.
  40.  4
    Aesthetic experiences and flourishing in science: A four-country study.Christopher J. Jacobi, Peter J. Varga & Brandon Vaidyanathan - 2022 - Frontiers in Psychology 13.
    In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on a (...)
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  41.  67
    Characterizing Aesthetic Experience.Haewan Lee - 2008 - Proceedings of the Xxii World Congress of Philosophy 1:161-167.
    In this paper, I suggest what I think is an appropriate characterization of aesthetic experience. I do this by critically assessing Noel Carroll’s position and Gary Iseminger’s counterposition. Carroll claims that aesthetic experience should be understood only as an experience of the aesthetic content of an object. Although I accept many of Carroll’s points, I find his position unconvincing. I contend that, in addition to the content, positive value plays a significant role as a (...)
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  42.  76
    Aesthetic Experience in Everyday Life: A Reply to Dowling.K. Melchionne - 2011 - British Journal of Aesthetics 51 (4):437-442.
  43.  24
    Aesthetic Experience in Forests.Holmes Rolston - 1998 - Journal of Aesthetics and Art Criticism 56 (2):157 - 166.
  44. Aesthetic Experience and Value.Richard R. Mccarty - 1984 - Dissertation, University of Missouri - Columbia
    The "aesthetic attitude" is the primary concept in this aesthetic theory. I argue that it is capable of accounting for both the experiential and the axiological parts of the aesthetic. In the first Part of this dissertation I defend against past and recent criticism such concepts as "aesthetic disinterestedness" and "psychical distance." They are accurate but negative descriptions of the aesthetic attitude. I present as a positive formulation of the aesthetic attitude a theory of (...)
     
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  45. Authenticity and the Aesthetic Experience of History.Erich Hatala Matthes - 2018 - Analysis 78 (4):649-657.
    In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the way (...)
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  46.  65
    Aesthetic Experience in Schopenhauer's Metaphysics of Will.Alex Neill - 2008 - European Journal of Philosophy 16 (2):179-193.
  47.  14
    Aesthetic Experience and the Ideal Work of Art.Piotr Schollenberger - 2010 - Dialogue and Universalism 20 (3-4):59-69.
    This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue (...)
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  48.  16
    Aesthetic Experiences Across Cultures: Neural Correlates When Viewing Traditional Eastern or Western Landscape Paintings.Taoxi Yang, Sarita Silveira, Arusu Formuli, Marco Paolini, Ernst Pöppel, Tilmann Sander & Yan Bao - 2019 - Frontiers in Psychology 10.
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  49. Aesthetic experience as a primary phase and as an artistic development.John Dewey - 1950 - Journal of Aesthetics and Art Criticism 9 (1):56-58.
  50.  25
    Aesthetic experience and spiritual well-being: locating the role of theological commitments.Mark Wynn - 2018 - International Journal of Philosophy and Theology 79 (4):397-409.
    ABSTRACTI discuss three accounts of the spiritual significance of aesthetic experience. Two of these perspectives I have taken from the recent literature in theological aesthetics, and the third I have constructed, building on Thomas Aquinas’s conception of the goods of the infused moral virtues. This broadly Thomistic approach occupies, I argue, a middle ground between the other two, on account of its distinctive understanding of the role of theological context in defining spiritually significant goods. These perspectives are not (...)
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