17 found
Order:
Disambiguations
Arnold Berleant [15]A. Berleant [2]
See also
Arnold Berleant
Long Island University
  1. Experience and Theory in Aesthetics.Arnold Berleant - 1986 - In Michael H. Mitias (ed.), Possibility of the Aesthetic Experience. Distributors for the U.S. And Canada, Kluwer Academic. pp. 91--106.
    From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  2. Aesthetics and Environment Reconsidered: Reply to Carlson: Articles.Arnold Berleant - 2007 - British Journal of Aesthetics 47 (3):315-318.
    Allen Carlson finds three central problems in my book, Aesthetics and Environment : that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  3. The Soft Side of Stone: Notes for a Phenomenology of Stone.Arnold Berleant - 2007 - Environmental Philosophy 4 (1/2):49-58.
    Stone represents the firmness and intransigence of the world within which we live and act. But beyond the perception and appropriations of stone, diverse meanings lie hidden between the hardness of stone and its uses. At the same time meaning must be grounded in the stabilizing presence of a common world. Yet if all that can be said is not about stone simpliciter but only an aesthetics of its perception, uses, and meanings, have we not gained the whole world but (...)
    Download  
     
    Export citation  
     
    Bookmark  
  4.  97
    Environmental Sensibility.Arnold Berleant - 2014 - Studia Phaenomenologica 14:17-23.
    Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. The Art in Knowing a Landscape.A. Berleant - 2012 - Diogenes 59 (1-2):52-62.
    What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...)
    Download  
     
    Export citation  
     
    Bookmark  
  6.  75
    Some Questions for Ecological Aesthetics.Arnold Berleant - 2016 - Environmental Philosophy (1):123-135.
    Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...)
    Download  
     
    Export citation  
     
    Bookmark  
  7.  46
    The Idea of a Cultural Aesthetic.Arnold Berleant - 2003 - Dialogue and Universalism 13 (11-12):113-122.
    In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...)
    Download  
     
    Export citation  
     
    Bookmark  
  8.  53
    Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  9. Reconsidering Scenic Beauty.Arnold Berleant - 2010 - Environmental Values 19 (3):335 - 350.
    Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...)
    Download  
     
    Export citation  
     
    Bookmark  
  10. The Critical Aesthetics of Disney World.Arnold Berleant - 1994 - Journal of Applied Philosophy 11 (2):171-180.
    It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...)
    Download  
     
    Export citation  
     
    Bookmark  
  11.  56
    The Eighteenth Century Assumptions of Analytic Aesthetics.A. Berleant - 1989 - In T. Z. Lavine & V. Tejera (eds.), History and Anti-History in Philosophy. Transaction Publishers. pp. 256--274.
    Although artistic activity has been a major social phenomenon in the western world, aesthetics has not always reflected the changes in techniques, processes, themes and uses through which the arts have developed and had their effect. Theory most often comes after the fact, and properly so. Yet aesthetics in its history has not only displayed an unfitting hubris, with thinkers attempting to legislate about style, suitability and materials to the artist; aesthetics has also lagged far behind the living edge of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  12.  38
    An Exchange on Disinterestedness.Arnold Berleant & Ronald Hepburn - 2003 - Contemporary Aesthetics 1.
    The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  13.  26
    Notes for a Phenomenology of Musical Performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  14.  38
    A Rose by Any Other Name.Arnold Berleant - 2007 - Filozofski Vestnik 28 (2):151 - +.
    This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15.  59
    Making Theory, Making Sense: Comments on Ronald Moore's Natural Beauty.Arnold Berleant - 2009 - Ethics, Place and Environment 12 (3):337-341.
    The broad scope and coherence of Natural Beauty are among its major strengths. Moore's syncretic theory tries to integrate diverse and sometimes conflicting theoretical strands. Of special importance is his recognition that the natural world is a social institution embodying perceptions that are conditioned, experiences communicated through language, and social beliefs and conventions. These lead him to consider the natural world as actually artifactual, and he terms it the 'natureworld'. Among the consequences of this is the reciprocity of natural and (...)
    Download  
     
    Export citation  
     
    Bookmark  
  16.  28
    Naturalism and Aesthetic Experience.Arnold Berleant - 1995 - Journal of Speculative Philosophy 9 (3):237 - 240.
    In my recent book, Art and Engagement (1991), I develop the idea of aesthetic engagement as central to the appreciation of art. The human contribution to the constitution of the "work" of art, I claim, is a critical part of appreciative experience. This contribution, however, is easily misread into the history of the idea of experience that has dominated Western philosophy since the seventeenth century, a history that sees experience as an inner, personal, subjective affair. From this vantage point, the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17. The Aesthetic Field: A Phenomenology of Aesthetic Experience.Arnold Berleant - 1970 - Springfield, Ill., Thomas.
    The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...)
    Download  
     
    Export citation  
     
    Bookmark