Every art-work has a different perceptual aspect that is related to some issues such as aesthetic perception and knowledge of users. The important point is how users get that and the difference between architectural perception and users that is a controversial issue in modern architecture and cause disagreement between users and designers. According to the importance of vernacular architecture and the need to adapt to its pattern with modern architecture, this paper aimed to evaluate principles of visual Gestalt and aesthetics (...) between users and designers (non-experts and experts1) in the traditional live district in Dezful city in Iran. The methodology of this research is combined with descriptive-surveying methods and field and library studies. So, a semi-structural interview by using a targeted questionnaire was distributed to the experts and non-experts to quantify the differences, and by describing and analyzing these data by SPSS statistical software, the root of the differences between these groups was identified. Due to the analysis of the data, besides searching, studying, and being in that district, two types of questionnaires between users and designers have been used. The result of this study shows that in the ancient city of Dezful, the opinions of experts and users also differ in terms of aesthetic perception so that for users, shape, and context, and experts, symmetry is the first principle. So unexpectedly, it can be argued that sensible visual Gestalt principles, such as symmetry and closure for experts, are of the highest importance, while these principles are of less importance to the user group. The findings of this study made it possible to compare the views and opinions of people and experts. It makes clear the difference between the perception criteria of those who create the landscape and the people who are confronted with and live in the environment. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...) The purpose of this chapter is to examine these intricate ties. (shrink)

El artículo, de carácter aporético, asume como objetivo caracterizar sutilmente los desafíos de la educación artística, a partir de una crítica a la modernidad, hipermodernidad, así como a las manifestaciones de la sociedad estetizada. Se confuta la mirada de progreso desde una óptica emancipadora, con la premisa fundamental de lograr la elaboración del ¿por qué arte?, en los artistas.

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (shrink)

This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...) of existence of images, such as the one of ‘ imaginaction ’ that I draw from a comparison between far-field and near-field microscopies. Once this regime of imaginaction is distinguished from representation, I focus on nanotechnological percepts and argue that they follow a transmodal logic. I then draw the implications of this enquiry in terms of a new sensible condition that changes the way we think of non-living objects. Finally, I conclude that if techno-aesthetics dares to posit and articulate sensibility beyond the privileged sphere of subject/object relationships, it simultaneously engages us to consider the political character of our responsibilities towards the design of nano-engineered sensorial spaces. (shrink)

A debate between two aestheticians concerning the relative influence of Scottish and German philosophers on the contemporary discipline. -/- .

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

In his notes and lectures on anthropology, Kant explicitly refers to Alexander Gerard's 1774 Essay on Genius, and his own position that genius is necessary for art but not for science is clearly a response to Gerard. Kant does not explicitly mention Gerard's 1759 Essay on Taste, but it was probably an influence on his own conception of free play, and in any case a comparison of the two theories of aesthetic response is instructive. Gerard's development of a version of (...) the theory of free play without Kant's assumptions that aesthetic judgments must be independent of concepts and yet always intersubjectively valid allows him to accommodate a variety of facts about aesthetic experience in general and our experience of the fine arts in particular more readily and more fully than Kant can, especially those concerning the affective dimension of our experience of art. (shrink)

Christian Wolff’s view regarding sensory perception – which is formed on a Leibnizian framework – forms the base of his aesthetics. He explains the concept of perfection and pleasure according to the clear but disordered essence of sensory perception that is present in this framework and through this very path guides towards the definition of beauty. Thus, according to him, perfection is the consistency or accordance of diversity or the abundance of things or their parts; pleasure is the result of (...) the intuition of the perfection present in things; and beauty is the perfection of a thing from the aspect of it being suitable in creating pleasure in us. Therefore, in this article we intend to explore the essence of sensory perception according to him and the relation between it, perfection and pleasure with beauty in his aesthetics so that it becomes clear how aesthetics emerges from the heart of epistemological discussions in general and from the depths of sensory perception in particular. Finally, while keeping in mind the important fact that he did not directly claim to have an independent theory in the field of aesthetics, we will critique and give our views in regards to the requisites connected to his aesthetics so that the limits of his extreme rationalist views in dealing with issues such as the extent that beauty covers, the levels of beauty and the difference of views in relation to taste and liking become clear. (shrink)

In this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated a (...) list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant. (shrink)

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch. Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, (...) namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed. (shrink)

Aesthetics is a vexed topic in philosophy, with a long history. For my purposes, an aesthetic experience is a foundational affective response to an object, to which terms such as “ugly”, “beautiful”, “pretty” or “harmonious” are applied. These terms are derived from a Discourse of aesthetics; some remain constant, others change from generation to generation. Aesthetics and ethics have been linked in Western thought since the days of Plato and Aristotle. This essay examines what is happening to that link in (...) contemporary experience. It emphasises the ways in which the popular media exploit aesthetic appeal to penetrate their market, and to exploit and frame intuitive responses to current and past events. Production values, the artfulness of editors and the financial interests of producers and directors thus do much to determine contemporary aesthetic and ethical judgements. That which is beautifully presented invites the ethical involvement of the audience. Events whose images are beautifully presented constitute “hyperevidence”, a pre-judged, reinforced and amplified illusion of reality and participation. Understanding how aesthetic excellence draws audiences into ethical relationship with what is presented becomes an important part of education in ethics, including bioethics. (shrink)

This chapter contains sections titled: Spinoza and the Passionate Imagination Leibniz and the Logic of Imagination Wolff and the Scholasticism of Imagination Conclusion.

Ricœur’s philosophy never locates itself directly in the field of philosophical aesthetics inasmuch as philosophical aesthetics never arises as a field of major questioning and discursive development for Ricœur’s philosophy or as a field that would guide that philosophy. However, Ricœur maintains an ongoing but complex connection with aesthetics throughout his philosophical work. Here we defend the thesis that there are difficulties relating both to the complexity of Ricœur’s philosophy and to the crisis situation of aesthetics as an autonomous field (...) of philosophical inquiry. A more direct confrontation with philosophical aesthetics, such as that developed by analytic philosophy and critical theory today, is necessary in order to be aware of this connection between Ricœur’s philosophy and aesthetics. It then appears that if Ricœur’s philosophy makes it possible to maintain a certain autonomy of the field of aesthetics inherited from Kant, it is not through developing some unlikely “Ricœurian aesthetic” but thanks to a Ricœurian philosophy of aesthetics essentially determined on three levels: 1) the connection between poetics and aesthetics within a philosophy of imagination, 2) the connection between criticism and hermeneutics with regard the notions of text and distanciation, 3) the connection between ontology and communication that summarizes the two previous steps by combining phenomenological, analytic and critical perspectives. Thus it can be assumed that this autonomy of the field of aesthetics is possible only at a horizon of meaning determined by Ricœur’s philosophical anthropology: at the axiological level, the field of aesthetics differs upstream from the field of poetics and downstream from the field of ethics; at the ontological level, Ricœur’s philosophy of aesthetics concerns a region that is both intermediate between and congruent to those treated by Ricœur’s philosophy of imagination and by Ricœur’s philosophy of action. (shrink)