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The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in philosophical aesthetics.
Beauty has traditionally been counted among the ultimate values, with goodness, truth, and justice. It is a primary theme among ancient Greek, Hellenistic, and medieval philosophers, and was central to eighteenth and nineteenth-century thought, as represented in treatments by such thinkers as Shaftesbury, Hutcheson, Hume, Burke, Kant, Schiller, Hegel, Schopenhauer, Hanslick, and Santayana.
By the beginning of the twentieth century, beauty was in decline as a subject of philosophical inquiry, and also as a primary goal of the arts. However, there were signs of revived interest by the early s. This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. It will proceed to set out some of the major approaches to or theories of beauty developed within Western philosophical and artistic traditions.
A pure version of either of these positions seems implausible, for reasons we will examine, and many attempts have been made to split the difference or incorporate insights of both subjectivist and objectivist accounts. Ancient and medieval accounts for the most part located beauty outside of anyone's particular experiences. Nevertheless, that beauty is subjective was also a commonplace from the time of the sophists.
Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others.
Hume , And Kant launches his discussion of the matter in The Critique of Judgment the Third Critique at least as emphatically:. The judgment of taste is therefore not a judgment of cognition, and is consequently not logical but aesthetical, by which we understand that whose determining ground can be no other than subjective.
Every reference of representations, even that of sensations, may be objective and then it signifies the real [element] of an empirical representation , save only the reference to the feeling of pleasure and pain, by which nothing in the object is signified, but through which there is a feeling in the subject as it is affected by the representation. Kant , section 1. However, if beauty is entirely subjective—that is, if anything that anyone holds to be or experiences as beautiful is beautiful as James Kirwan, for example, asserts —then it seems that the word has no meaning, or that we are not communicating anything when we call something beautiful except perhaps an approving personal attitude.
In addition, though different persons can of course differ in particular judgments, it is also obvious that our judgments coincide to a remarkable extent: it would be odd or perverse for any person to deny that a perfect rose or a dramatic sunset was beautiful.
And it is possible actually to disagree and argue about whether something is beautiful, or to try to show someone that something is beautiful, or learn from someone else why it is.
On the other hand, it seems senseless to say that beauty has no connection to subjective response or that it is entirely objective. That would seem to entail, for example, that a world with no perceivers could be beautiful or ugly, or perhaps that beauty could be detected by scientific instruments. Even if it could be, beauty would seem to be connected to subjective response, and though we may argue about whether something is beautiful, the idea that one's experiences of beauty might be disqualified as simply inaccurate or false might arouse puzzlement as well as hostility.
We often regard other people's taste, even when it differs from our own, as provisionally entitled to some respect, as we may not, for example, in cases of moral, political, or factual opinions. All plausible accounts of beauty connect it to a pleasurable or profound or loving response, even if they do not locate beauty purely in the eye of the beholder.
Until the eighteenth century, most philosophical accounts of beauty treated it as an objective quality: they located it in the beautiful object itself or in the qualities of that object. In De Veritate Religione , Augustine asks explicitly whether things are beautiful because they give delight, or whether they give delight because they are beautiful; he emphatically opts for the second Augustine, Plato's account in the Symposium and Plotinus's in the Enneads connect beauty to a response of love and desire, but locate beauty itself in the realm of the Forms, and the beauty of particular objects in their participation in the Form.
We hold that all the loveliness of this world comes by communion in Ideal-Form. All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly from that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form. But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come into unity as far as multiplicity may.
Plotinus, 22 [ Ennead I, 6]. In this account, beauty is at least as objective as any other concept, or indeed takes on a certain ontological priority as more real than particular Forms: it is a sort of Form of Forms. Though Plato and Aristotle disagree on what beauty is, they both regard it as objective in the sense that it is not localized in the response of the beholder.
At latest by the eighteenth century, however, and particularly in the British Isles, beauty was associated with pleasure in a somewhat different way: pleasure was held to be not the effect but the origin of beauty. This was influenced, for example, by Locke's distinction between primary and secondary qualities. Without perceivers of a certain sort, there would be no colors.
One argument for this was the variation in color experiences between people. For example, some people are color-blind, and to a person with jaundice much of the world takes on a yellow cast. In addition, the same object is perceived as having different colors by the same the person under different conditions: at noon and midnight, for example. Such variations are conspicuous in experiences of beauty as well. Nevertheless, eighteenth-century philosophers such as Hume and Kant perceived that something important was lost when beauty was treated merely as a subjective state.
They saw, for example, that controversies often arise about the beauty of particular things, such as works of art and literature, and that in such controversies, reasons can sometimes be given and will sometimes be found convincing. They saw, as well, that if beauty is completely relative to individual experiencers, it ceases to be a paramount value, or even recognizable as a value at all across persons or societies. On the other hand, we do frequently dispute about matters of taste, and some persons are held up as exemplars of good taste or of tastelessness.
Some people's tastes appear vulgar or ostentatious, for example. Some people's taste is too exquisitely refined, while that of others is crude, naive, or non-existent.
Taste, that is, appears to be both subjective and objective: that is the antinomy. Both Hume and Kant, as we have seen, begin by acknowledging that taste or the ability to detect or experience beauty is fundamentally subjective, that there is no standard of taste in the sense that the Canon was held to be, that if people did not experience certain kinds of pleasure, there would be no beauty.
Both acknowledge that reasons can count, however, and that some tastes are better than others. In different ways, they both treat judgments of beauty neither precisely as purely subjective nor precisely as objective but, as we might put it, as inter-subjective or as having a social and cultural aspect, or as conceptually entailing an inter-subjective claim to validity. Hume's account focuses on the history and condition of the observer as he or she makes the judgment of taste.
Our practices with regard to assessing people's taste entail that judgments of taste that reflect idiosyncratic bias, ignorance, or superficiality are not as good as judgments that reflect wide-ranging acquaintance with various objects of judgment and are unaffected by arbitrary prejudices.
Hume argues further that the verdicts of critics who possess those qualities tend to coincide, and approach unanimity in the long run, which accounts, for example, for the enduring veneration of the works of Homer or Milton. So the test of time, as assessed by the verdicts of the best critics, functions as something analogous to an objective standard. Though judgments of taste remain fundamentally subjective, and though certain contemporary works or objects may appear irremediably controversial, the long-run consensus of people who are in a good position to judge functions analogously to an objective standard and renders such standards unnecessary even if they could be identified.
Though we cannot directly find a standard of beauty that sets out the qualities that a thing must possess in order to be beautiful, we can describe the qualities of a good critic or a tasteful person. Then the long-run consensus of such persons is the practical standard of taste and the means of justifying judgments about beauty. Kant similarly concedes that taste is fundamentally subjective, that every judgment of beauty is based on a personal experience, and that such judgments vary from person to person.
By a principle of taste I mean a principle under the condition of which we could subsume the concept of the object, and thus infer, by means of a syllogism, that the object is beautiful. But that is absolutely impossible. For I must immediately feel the pleasure in the representation of the object, and of that I can be persuaded by no grounds of proof whatever. Although, as Hume says, all critics can reason more plausibly than cooks, yet the same fate awaits them.
They cannot expect the determining ground of their judgment [to be derived] from the force of the proofs, but only from the reflection of the subject upon its own proper state of pleasure or pain. Kant , section But the claim that something is beautiful has more content merely than that it gives me pleasure. Something might please me for reasons entirely eccentric to myself: I might enjoy a bittersweet experience before a portrait of my grandmother, for example, or the architecture of a house might remind me of where I grew up.
By contrast, the judgment that something is beautiful, Kant argues, is a disinterested judgment. It does not respond to my idiosyncrasies, or at any rate if I am aware that it does, I will no longer take myself to be experiencing the beauty per se of the thing in question.
If one is walking through a museum and admiring the paintings because they would be extremely expensive were they to come up for auction, for example, or wondering whether one could steal and fence them, one is not having an experience of the beauty of the paintings at all. One must focus on the form of the mental representation of the object for its own sake, as it is in itself.
Kant summarizes this as the thought that insofar as one is having an experience of the beauty of something, one is indifferent to its existence. One takes pleasure, rather, in its sheer representation in one's experience:. Now, when the question is whether something is beautiful, we do not want to know whether anything depends or can depend on the existence of the thing, either for myself or anyone else, but how we judge it by mere observation intuition or reflection.
Everyone must admit that a judgement about beauty, in which the least interest mingles, is very partial and is not a pure judgement of taste. Kant , section 2. One important source of the concept of aesthetic disinterestedness is the Third Earl of Shaftesbury's dialogue The Moralists , where the argument is framed in terms of a natural landscape: if you are looking at a beautiful valley primarily as a valuable real estate opportunity, you are not seeing it for its own sake, and cannot fully experience its beauty.
If you are looking at a lovely woman and considering her as a possible sexual conquest, you are not able to experience her beauty in the fullest or purest sense; you are distracted from the form as represented in your experience.
And Shaftesbury, too, localizes beauty to the representational capacity of the mind. Shaftesbury , For Kant, some beauties are dependent—relative to the sort of thing the object is—and others are free or absolute. The idea in particular that free beauty is completely separated from practical use and that the experiencer of it is not concerned with the actual existence of the object leads Kant to conclude that absolute or free beauty is found in the form or design of the object, or as Clive Bell put it, in the arrangement of lines and colors in the case of painting Bell By the time Bell writes in the early twentieth century, however, beauty is out of fashion in the arts, and Bell frames his view not in terms of beauty but in terms of a general formalist conception of aesthetic value.
Since in reaching a genuine judgment of taste one is aware that one is not responding to anything idiosyncratic in oneself, Kant asserts , section 8 , one will reach the conclusion that anyone similarly situated should have the same experience: that is, one will presume that there ought to be nothing to distinguish one person's judgment from another's though in fact there may be.
Built conceptually into the judgment of taste is the assertion that anyone similarly situated ought to have the same experience and reach the same judgment.
In ethical judgments, however, the universalization is objective: if the judgment is true, then it is objectively the case that everyone ought to act on the maxim according to which one acts. The judgment conceptually entails a claim to inter-subjective validity. This accounts for the fact that we do very often argue about judgments of taste, and that we find tastes that are different than our own defective.
The influence of this series of thoughts on philosophical aesthetics has been immense. One might mention related approaches taken by such figures as Schopenhauer, Hanslick, Bullough, and Croce, for example. We have now reached our definition of beauty, which, in the terms of our successive analysis and narrowing of the conception, is value positive, intrinsic, and objectified.
Or, in less technical language, Beauty is pleasure regarded as the quality of a thing. An object cannot be beautiful if it can give pleasure to nobody: a beauty to which all men were forever indifferent is a contradiction in terms. Santayana , 50— It is much as though one were attributing malice to a balky object or device. The object causes certain frustrations and is then ascribed an agency or a kind of subjective agenda that would account for its causing those effects.
Now though Santayana thought the experience of beauty could be profound or could even be the meaning of life, this account appears to make beauty a sort of mistake: one attributes subjective states indeed, one's own to a thing which in many instances is not capable of having subjective states.
It is worth saying that Santayana's treatment of the topic in The Sense of Beauty was the last major account offered in English for some time, possibly because, once beauty has been admitted to be entirely subjective, much less when it is held to rest on a sort of mistake, there seems little more to be said.
Philosophy of art , the study of the nature of art, including concepts such as interpretation, representation and expression, and form. It is closely related to aesthetics , the philosophical study of beauty and taste. The philosophy of art is distinguished from art criticism , which is concerned with the analysis and evaluation of particular works of art. It may be primarily analytical , as when a certain passage of poetry is separated into its elements and its meaning or import explained in relation to other passages and other poems in the tradition. Or it may be primarily evaluative, as when reasons are given for saying that the work of art in question is good or bad, or better or worse than another one. Sometimes it is not a single work of art but an entire class of works in a certain style or genre such as pastoral poems or Baroque music that is being elucidated, and sometimes it is the art of an entire period such as Romantic.
While some people take the field of aesthetics, broadly construed, to include the philosophy of art, it is instructive to examine whether and where the two notions diverge. But the distinction can be made clear: the study of aesthetics is the study of the felt quality of perceptions of the senses, while the study of art is the study of the historical practice of making art objects. Some have argued that these are co-extensive pursuits; we will see that this is not so. In this essay, I will show that aesthetic properties are neither necessary nor sufficient for art, and identify some issues that remain. The distinction between the two is perhaps made most perspicuous by showing the difference between aesthetic and artistic properties.
This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this.
It tends always to give us their sensible essence, their presence, this is why the image it forms does not resemble their appearance [ The present essay proposes to compare and contrast the relationship between natural beauty and art beauty as it is conceived by Kant, Hegel and Adorno. Equally important, relate their works in Aesthetics and inside-out world. Finally, the essay tangles the different efforts of the writers when using representative forms of speech and what considers being a more viable and broader definition of that Aesthetics.
Aesthetics covers both natural and artificial sources of aesthetic experience and judgment. It considers what happens in our minds when we engage with aesthetic objects or environments such as in viewing visual art, listening to music, reading poetry, experiencing a play, exploring nature, and so on. The philosophy of art specifically studies how artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize their art. It deals with how one feels about art in general, why they like some works of art and not others, and how art can affect our moods or even our beliefs.
Aesthetics is the branch of philosophy concerned with the nature and appreciation of art , beauty and good taste. It has also been defined as " critical reflection on art, culture and nature". The word "aesthetics" derives from the Greek "aisthetikos", meaning "of sense perception". Along with Ethics , aesthetics is part of axiology the study of values and value judgments.
This article focuses on the domain of aesthetics and various problems and issues associated with aesthetics. Aesthetics is the branch of philosophy devoted to conceptual and theoretical inquiry into art and aesthetic experience. This article offers first an outline of the structure of philosophical aesthetics as a whole, and then a selective sketch of the development of Anglo-American aesthetics over the past fifty years, focusing on five central topics: the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art. The three foci of aesthetics are labeled as art, aesthetic property , and aesthetic experience. Keywords: aesthetics , aesthetic experience , ontology of art , representation in art , aesthetic property , theoretical inquiry.
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The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in philosophical aesthetics.
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