There is a litany of philosophical inquiries into the origin aesthetic judgment and research on the cognitive mechanisms involves in observation of art, that will aid in the exploration of the inner experience of art; and the role of our body and emotions in the art experience. If aesthetic judgments are like other judgments in that they are derivational, then what we consider to be beautiful may be traced back to given qualities of the object. However, there is no obvious contingency between aesthetically pleasant stimuli and the individual components from which they are built. Th... ... middle of paper ... ...divergent kinds of ap-, 2(2), 1–10. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004).
In the following essay I will discuss whether it is possible for judgements of the aesthetic quality of works of art to be always merely personal; and what are the circumstances in which they are not personal. I will demonstrate what the necessary conditions are for an aesthetic judgement to be made accurately. I would, therefore, suggest that if aesthetics of the judgements of taste are merely personal, then these judgements would be improper, therefore proper judgements of taste are not personal. There are several arguments to support my thesis. In the first part of the essay, I examine Hume’s argument on establishing a ‘Standard’ of taste.
However, it made him miss one point. Philosophy, similarly as art, has its own methods using enchanting rhythms and charming images to influence the reader. Hence, philosophy has the same advantages and disadvantages of art. As a result, if Plato’s statement is one hundred per cent true, it would make philosophy not seeking the truth, but seeking something less than th... ... middle of paper ... ...beings can send messages and interact with people from different backgrounds as long as it represents the truth meaning of life. The reflection of objects possessing qualities of a certain form can lead to understanding of the form itself.
And so we might argue that this is one reason why the empirical or practice in aesthetics is so important because in order to see the true view in aesthetics or the true view with regard to particular works, we must actually see or hear aesthetic objects. We might emphasize Wittgenstein¡¦s advise that we must not theorize as to how a word functions or analogously as to how an art work functions, but to look at its use and learn from that, that we need to look at particular art objects in order to productively theorize about art. (34)
The search for a definition of Art has been subject of a complex philosophical reflection incorporated; however, within different thematics because the very idea of Art is changeable as it relies on the culture and the tradition of a particular epoch. Etymologically, the word Aesthetics derives from the Greek àisthesis, which means perception by the senses. It used to refer as the study of the world of perceptions as the doctrine aimed to discover the complexity of perceptive knowledge. In ancient times, the concept of Art was closely related to the practice with the technique which Plato argued were, certainly, not positive. According to the philosopher, Art and Tragedy are copies of copies, the copies of the sensible world.
(Curiously, he omits from his analysis Ingarden’s work, Bachelard’s poetics of space and Nietzsche, whose philosophy could have helped him to develop a connection between picturing and eternal recurrence more effectively.) Through these critical discussions Crowther develops his own position which, encapsulated in one statement, would amount to the assertion that when an artist creates a work of art, the medium of making a picture (or a sculpture) and its ontology
Putting Value into Art The attempt to base a standard for assessing the value of works of art upon sentiment (the feeling of pleasure or displeasure) was famously made by David Hume in his essay "Of the Standard of Taste." Hume's attempt is generally regarded as fundamentally important in the project of explaining the nature of value judgements in the arts by means of an empirical, rather than a priori, relation. Recently, Hume's argument has been strongly criticized by Malcolm Budd in his book Values of Art. Budd contends that Hume utterly fails to show how any given value judgement in the arts can be more warranted or appropriate than any other if aesthetic judgements are determined by sentiment. This is a remarkable charge, since Hume explicitly sets out to introduce an aesthetic standard for "confirming one sentiment and condemning another."
Kant suggests that art ought to be judged only upon its formal properties, such as design and composition, instead of for its perceived practical or moral worth. In this way, Leonardo da Vinci’s Mona Lisa, for example, would not be judged based upon da Vinci’s perceived psychological neuroses nor for the paintings modern relevance and fame, but on its arrangement: the use of contrapposto, pyramidal perspective, curved and straight lines. This perspective is rivaled by Moralism. The Moralist theory emphasizes that the aesthetic value of an artwork is determined, or at least influenced, by its ethical premise. This school of thought formed the foundation of the modern philosophical study of art, making the discipline of recurring interest and debate since Plato’s aesthetics.
In order to truly analyze the culture of another, he explains how it is essential for the viewer to question what is being depicted in the work and what the purpose may be. Heidegger describes art as a whole through the philosophies of existence and truth. To truly interpret Heidegger’s critic of aesthetics, it is important to know his opinions of true works of art. He has a strong view on the importance art had in history: “Art is history in the essential sense that it grounds history. Art lets truth originate.
Art is valuable precisely because it is imitative. As Sir Philip Sydney states, "Poesy is an art of imitation...with this end, to teach and delight" (137). Imitation not only entertains, but gains a moral/ethical purpose: to teach virtue. Artists must, in addition to possessing great creative skills, also bear moral responsibility for shaping their imitations. Samuel Johnson seems to revisit Plato's attack upon art with his admission that an accurate imitation of morally questionable subject matter is not only unacceptable, but potentially harmful to those who encounter it.