By Eran Guter
Covers the major thoughts, arguments, difficulties and figures in aesthetics and the philosophy of art.
This creation to aesthetics presents a layered therapy of either the old historical past and modern debates in aesthetics. vast cross-referencing indicates how matters in aesthetics intersect with different branches of philosophy and different fields that examine the humanities. Aesthetics A-Z is a perfect consultant for rookies to the sphere of aesthetics and an invaluable reference for extra complicated scholars of philosophy, artwork historical past, media experiences and the acting arts.
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Extra resources for Aesthetics A-Z (Philosophy A-Z)
Aesthetic emotion is Bell’s name for the experience of significant form – a key term in Bell’s theory – which is not a vehicle of any information on the world or the minds of others, but rather the phenomenological hallmark of art per se. Bell offered a theory of art, which is formalist by virtue of couching its definition of art in terms of the experience of form, and essentialist by virtue of deriving significant form (the object of that experience) as a selfsubsisting entity from the experience itself, namely, from the aesthetic emotion.
Meeting the second challenge is particularly relevant to the problem of the definition of art, for one might be theoretically tempted to define art in terms of an attitude appropriate to all art. Kant tried to meet both challenges by construing the aesthetic attitude in terms of disinterestedness. In one version or another, this idea remained hitherto the characterization of choice among proponents of aesthetic attitude. However, it has been argued, most notably by Dickie, that under the guise of disinterestedness the notion of aesthetic attitude fails to meet the two aforementioned challenges.
Automatism in art can arise quite deliberately from manual techniques (such as frottage, grattage and decalcomania in the visual arts, algorithmic or statistical procedures in musical composition, or random verbal collages in poetry) or accidentally from altered states of consciousness (for example, intoxication, hallucination, trance and ecstasy). Artistically, automatism can be a means to another end (for example, access to unconscious experience) or an end in itself. In new media art, the notion of automatism begets its literal sense in cases like self-assembling poetry or other such self-generating artifacts.