This book establishes an argument for deeper attention to the aesthetic qualities of literature, to the question of the relation between the aesthetic and more immediate, practical, and urgent social and political matters. It attempts to establish the intrinsic value of the aesthetic at the same time as it demonstrates that focus on the aesthetic does not preclude attention of the urgent questions with which works of art consistently engaged. It argues that attention to the aesthetic does not diminish attention to these larger issues, but in effect increases the power both of art and criticism to engage them fruitfully.
This book establishes an argument for deeper attention to the aesthetic qualities of literature, to the question of the relation between the aesthetic and more immediate, practical, and urgent social and political matters. It attempts to establish the intrinsic value of the aesthetic at the same time as it demonstrates that focus on the aesthetic does not preclude attention of the urgent questions with which works of art consistently engaged. It argues that attention to the aesthetic does not diminish attention to these larger issues, but in effect increases the power both of art and criticism to engage them fruitfully.
To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.
The Question of what ‘aesthetic education’ is, or might be, is often a source of incomprehension. This book opens up discussion of a complex, difficult, but highly important topic, and offers an introductory survey of the whole area. In examining the relationship of the concept of the aesthetic to that of art, it challenges the persistent linking by many educationists of ‘aesthetic’ with ‘creative’ and the consequent neglect of critical reflection and appreciation.
What do we do when we view a work of art? What does it mean to have an 'aesthetic' experience? Are such experiences purely in the eye of the beholder? This book addresses the nature of aesthetic experience from the perspectives of philosophy psychology and neuroscience.
This work by Lithuania's most important philosopher Vasily Sesemann (1884-1963) is a European classic. Having been published in Lithuanian for the first time in 1970 (though written much earlier) it has now finally become accessible to an international public. Sesemann's Aesthetics is not only an extremely useful introduction to the discipline of aesthetics; it also engages in stimulating analyses of a whole range of subjects that remain of interest for the contemporary reader. Sesemann explains in a clear and systematic way almost all problems linked to aesthetic production and perception, providing inquiries into, for example, philosophical problems of space, tectonicity in architecture, and film. Sesemann's personal philosophical vision of aesthetic experience as well as of the ambiguity of aesthetic form makes this book a must for specialists in German and Eastern European interwar philosophy as well as in Russian Formalism.
Evolutionary aesthetics is the attempt to understand the aesthetic judgement of human beings and their spontaneous distinction between "beauty" and "ugliness" as a biologically adapted ability to make important decisions in life. The hypothesis is - both in the area of "natural beauty" and in sexuality, with regard to landscape preferences, but also in the area of "artificial beauty" (i.e. in art and design) - that beauty opens up fitness opportunities, while ugliness holds fitness risks. In this book, this adaptive view of aesthetics is developed theoretically, presented on the basis of numerous examples, and its consequences for evolutionary anthropology are illuminated.
What is the future of conceptualism? What expressions can it take in the 21st century? Is there a new role for aesthetic experience in art and, if so, what is that role exactly? Aesthetics, Philosophy and Martin Creed uses one of this generation's most important and influential artists to address themes crucial to contemporary aesthetics. Working in an impressive variety of artistic media, Creed represents a strikingly innovative take on conceptualism. Through his ingenious and thought-provoking work, a team of international philosophers, jurists and art historians illustrate how Creed epitomizes several questions central to philosophical aesthetics today and provides a glimpse of the future both of art and aesthetic discourse. They discuss key concepts for Creed's work, including immediacy (in his photographs of smiling people), compositional order (in his geometric paintings), simplicity (in Work No. 218, a sheet paper crumpled into a ball) and shamelessness (in his videos of vomiting people). By bringing a working artist into the heart of academic discussions, Aesthetics, Philosophy and Martin Creed highlights the relevance of philosophical discussions of art to understanding art today.
New arts created in the context of new social realities are impacting our traditional ideas about aesthetics. Art, art markets and aesthetics now interact in ways that demand new forms of thought and revision of old. Cosmopolitan Aesthetics presents the first thorough account of the challenges facing aesthetics today in the light of globalization, introducing the history that underpins them. This is an ideal starting point for anyone looking to better understand 21st century art and aesthetics. Beginning with globalization and the nature of global art markets today, Daniel Herwitz offers new insight into postcolonial aesthetics, colonial legacies, cultural property, the problems of global communication and aesthetic diversity, and the uneasy connection between aesthetics and politics, before providing a crucial grounding in 18th and 19th century aesthetics, with discussion of the three great modern aestheticians David Hume, Immanuel Kant and G.W.F. Hegel.
This book provides a characterization of the aesthetic that enables the reader to understand what it means to view something aesthetically and how people's lives can be made aesthetically full. Influential philosophical theories of the aesthetic are explored, as well as the profound connection between aesthetic and ethical value.
