Aesthentics Study Guides

AESTHENTICS Aesthetics first began in the 18th century and today con sists two main parts: the philosophy of beauty and the philosophy of taste. While art philosophy is indeed a part of aesthetics, aesthetics touches even more. Aesthetics does not only focus on the value and nature of art; It also involves a reaction to in-kind ! Objects that then become expressions in language, objects are considered beautiful or ugly. But these terms are very vague and raise the question: how and why do people think something is beautiful or ugly? TASTE During the eighteenth century, the concept of taste emerged in response to the rise of rationalist thinking. Instead of a rationalist perspective on beauty, which claims that we make judgments of beauty through the use of principles and concepts of reason, theories of taste began to emerge from English philosophers who worked empirically. Immediacy Thesis These theories, referred to as the proximity thesis, claim that the judgment of beauty has proximity and is immediately similar to sensory judgment and is not primarily carried by other types of principles. The proximity thesis states that we do Not concluding with common sense that there is something beautiful; Rather, we "feel" that it is beautiful. Although rational people may object to this theory stating that there is a big difference between getting a delicious meal and looking for it A very good game, taste theory states that a game is more complicated, so it involves more cognitive work, which includes applying various concepts and principles. Therefore, determining the beauty of something like a drama is indirect and cannot be a matter of taste. Beauty theory is instantaneous, unlike earlier deas which was based on rationalist thinking, and that when it comes time to judge whether a play is beautiful, it certainly cannot be a matter of taste because it requires a more cognitive and indirect process. According to Hume, taste is not like the five external senses. On the contrary, taste is an internal feeling, meaning it depends on the existing operation for the beautv to be felt. Not Interested During this time the theory of taste was developed. A popular idea among philosophers is that selfishness, meaning that a person is happy to perform an action or trait in order to serve his own interests. But those who believe in taste theory argue that the pleasure that results from beauty is actually not interested, which means that it is not interested in oneself. People can judge something beautiful or not beautiful without serving their own interests. Philosophers believe that determining virtue works in the same way. Kant questioned this idea that neither virtue nor disinterest were involved. Kant's view, which is the current view, is that while disinterested, the pleasure that comes from determining whether an action is morally good should be attracted because that judgment represents the desire to perform that action. AESTHETIC Theseacy thesis and the idea of disinterest with regard to beauty cars were then applied to "artistic formalism," the idea that the right bonds that make something art, and determine whether it is good or bad, are formal (meaning that they are only capable of becoming 'nderstcod through hearing or sight). Aesthetic experience can be described as learning over states of mind, such as attitudes, ideas, and responses. In 1757 the philosopher Edmund Burke published a famous paper on beauty and majesty. This work is one of the most significant authors. Work in aesthetics, and introduce two very important terms (among many) to describe aesthetic experiences: sublime and beautiful. Philosophical definition of Sublime Judging something as noble comes from one's feelings towards nature, and it is an indication of being fragile and alone in this world, which is not ours and rejects our demands. Beautiful: judging something as beautiful comes from social feelings (especially romantic feelings), and with the hope that one will be entertained through love or passion. T'he's philosophy of art plays a key role in aesthetics. There are vari elements in art philosophy, including questions about what art is, what should be assessed, and what the artist's value is. WHAT IS PHILOSOPHY OF ART? How one defines art is a question that has never been answered throughout the philosophy of art, and its meaning is constantly evolving. What is art? From Plato's time until around the 18th century, the main component of the definition of art was the role of representation. However, as distinctiveness began to grow in the eighteenth and nineteenth centuries, art shifted from representation and to expression. As the wentieth century approached. There is another shift in terms of abstraction and appreciating the form. Towards the last decade of the twentieth century, even abstraction was abandoned, and art philosophers argued that art did not have to have a strict definition. This idea, known as de-definition of art, was coined by the philosopher Morris Weitz, who based his work on wittgenstein. The art of judging When you look at Hamlet, do you judge Shakespeare's manuscript? Do you judge the actor's performance? Do you judge every part of the production, right down to the costumes? Are different things judged based on a different set of standards? These questions arise for all types of music art, painting, drawing, and so on. Value Those who believe art has extrinsic value value art as a way to express recognized moral goodness and to educate emotions, while those who believe art has intrinsic value believe that art itself is valuable. According to Leo Tolstoy, who took an extrinsic approach, the value of art is equal to the value of emp-thy. Others, such as Oscar Wiide, took an intrinsic approach, believing in "art for the sake of art"There are two ways to appreciate art: intrinsic and extrinsic for art's sake."