Results for 'aisthēsis'

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  1. Nous and Aisthēsis: Two Cognitive Faculties in Aristotle.Adriana Renero - 2013 - Méthexis (1):103-120.
    In disagreement with Claudia Baracchi’s controversial thesis that there is a “simultaneity and indissolubility” if not an “identity” of intelligence (nous) and perception (aisthēsis) at the core of Aristotle’s philosophy, I will argue that Aristotle maintains a fundamental distinction between these cognitive faculties. My goal in this paper is to examine specific parts of two central and complex passages, VI.8, 1142a12-30 and VI.11, 1143a33-b15, from the Nicomachean Ethics to show that Baracchi’s view is unpersuasive. I will show that Aristotle (...)
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  2. Aristotelian Aisthesis and the Violence of Suprematism.Ryan Drake - 2013 - Epoché: A Journal for the History of Philosophy 18 (1):49-66.
    Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the very (...)
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  3. Ranciere's Aisthesis: Scenes from the Aesthetic Regime of Art -Irfan Ajvazi.Irfan Ajvazi - 2021 - Idea Books.
    Ranciere's Aisthesis: Scenes from the Aesthetic Regime of Art -Irfan Ajvazi.
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  4. Percepção em Aristóteles: Aísthēsis, Mnḗmē e Empeiría.Annelyze de Araújo Reis - 2022 - Dissertation, Puc-Rio
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  5. Curing Hitchcock’s Vertigo: A Second Dance with Rancière.Joshua M. Hall - forthcoming - Tábano. Translated by Leandro Cuellar.
    Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...)
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  6. The process of abstraction in the creation of meanings.Jesús Gerardo Martínez del Castillo - 2015 - International Journal of Language and Linguistics 3 (6-1):11-23.
    Linguistics of Saying is to be analyzed in the speech act conceived as an act of knowing. The speaking, saying and knowing subject, based on contexts and the principles of congruency and trust in the speech of other speakers, will create meanings and interpret the sense of utterances supplying the deficiencies of language by means of the intellective operations mentally executed in the act of speech. In the intellective operations you can see three steps or processes: first the starting point, (...)
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  7. La linguistica del decir, el logos semántico y el logos apofántico.Martínez del Castillo Jesus Gerardo - 2017, segunda ed - Editorial Académica Española.
    El lenguaje o la actividad cognoscitiva del ser humano que se debate en su lucha contra la circunstancia en la que le ha tocado vivir es hablar, decir y conocer. El hombre habla porque tiene algo que decir, dice porque se define a sí mismo ante la circunstancia en la que vive en cada momento, y esto es posible porque conoce de forma creativa. En este sentido el decir determina el hablar, por arriba, y el conocer por abajo. El conocer (...)
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  8. Je est un autre. Mimicries in nature, art and society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...)
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  9. Rechoreographing Homonymous Partners: Rancière's Dance Education from Loïe Fuller.Joshua M. Hall - 2022 - Journal of Aesthetic Education 56 (3):44-62.
    Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...)
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  10. La lingüística del decir: El logos semántico y el logos apofántico.Jesús Gerardo Martínez del Castillo (ed.) - 2004 - Granada, Spain: Granada Lingvistica.
    El decir es anterior y va más allá del hablar, se vale del hablar y constituye la determinación del hablar. No hay un hablar sin un decir y sí puede haber un decir sin un hablar. El acto lingüístico es la manifestación del lenguaje, la lengua, el pensamiento y el conocimiento. Es fruto de un hablar, está determinado por un decir, presupone un conocer y revela la actitud del hablante, un sujeto libre e histórico, que es, a la vez, sujeto (...)
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  11. Αἴσθησις, Ἐμπειρία, and the Advent of Universals in Posterior Analytics II 19.Gregory Salmieri - 2010 - Apeiron 43 (2-3):155-186.
    This makes three main interpretative points about the progression from perception to universals described in 'Posterior Analytics' II.19: (1) The noun "'aisthesis'" as used in the chapter may refer not to the act of perceiving but to perceptual contents retained in memory. (2) An 'empeiria' (experience) should be understood as a capacity to generate expectations about new members of an unconceptualized kind based on memories of other members of the kind. (3) The famous rout analogy is a metaphor for the (...)
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  12. Empirische Ästhetik: Kognitiv-semiotische Prozesse der Wirklichkeits-Konstruktion in Alltag, Kunst und Design.Klaus Schwarzfischer - 2016 - Hamburg: Verlag Dr. Kovac.
    Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...)
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  13. Gelingendes Leben, Epikurs Weg zur Stressfreiheit.Erwin Sonderegger - manuscript
    Wissen wir, wer oder was unseren Lebensgang bestimmt? Wissen wir überhaupt, was in uns und ausserhalb von uns abläuft? Das einzig Gewisse ist unser Tod, doch was hilft die Gewissheit unseres Todes, wenn ungewiss bleibt, wann er kommt? Unsere Bedürfnisse kennen wir, aber wo sind die Grenzen der Befriedigung? Wenn unsicher geworden ist, wer oder was das bestimmt, was faktisch geschieht, wenn die Welt uns körperlich und seelisch bedrängt und die einzige Gewissheit in der Zukunft unser Tod ist, wenn uns (...)
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  14. A Taste for Habits: On Preference Self-Construction.Emanuele Arielli - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):265-279.
    This paper explores the tensions and potential contradictions in the “self-construction” of habits and preferences, arguing that preferences and tastes not only arise from habit formation but also contribute to the development of new habits. Changing tastes necessitates self-reflection on our current preferences and habits, which then become subjects of evaluation, transformation, and alteration from a higher-order perspective. It will be argued that modifying the structure of one’s habits and preferences requires various forms of (self)-distancing: these include the impossibility of (...)
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  15.  62
    Habits and Aesthetic Experience.Alessandro Bertinetto - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):61-78.
    It is often assumed that habits and aesthetic experiences are fundamentally and irreconcilably opposed. Typically, aesthetic experiences are considered to necessitate non-habitual behavior and to provoke unexpected mental states and extraordinary affective sensations. This article challenges this assumption. Moving beyond potential structural analogies between habitual behavior and aesthetic experience, I focus on two key aspects. Firstly, I argue that the experience of beauty and aesthetic experiences in general actually depend on certain habits, specifically those engaged in aesthetic agency and appreciation, (...)
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  16. Habits, Aesthetics,and Normativity,.Alessandro Bertinetto - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):247-263.
    This article explores the role of habits in shapingaesthetic normativity. It asserts that standards of value within aesthetic agency are not immutable, objective criteriadetached from personal engagement in appreciationand creation, nor should they be reduced to mere individualsubjective pleasure. The former stance fails to consider theessential expressivity and creativity at the heart of aestheticpractices, while the latter overlooks the normative frameworkthat underpins the significance, validity, and qualityof aesthetic agency. This framework is represented in theestablished rules of taste, the need for (...)
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  17. Cinematic street art? Exploring the limits of the philosophy of street art.Logan Canada-Johnson - 2023 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 16 (1):105-115.
    As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...)
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  18. Botany as Science and Exegetical Tool in Albert the Great.Amalia Cerrito - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (1):97-107.
    In the 13th century, the availability of Aristotle’s treatises of natural philosophy encouraged forms of integration between libri naturales and sapientia biblica. Instead of diving into allegory and symbolism, several Dominican exegetes began to explore more realistic approaches. The foremost figure is Albert the Great. In his biblical commentaries, philosophy of nature and theology join forces as complementary forms of knowledge. By focusing on Albert’s De vegetabilibus, this paper is aimed at analyzing in which ways the Dominican master reuses his (...)
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  19. Cose debitrici. Credenze, atmosfere, arte.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...)
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  20. Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna.Filippo Fimiani - 2010 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...)
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  21. L'art désœuvré, modes d'emploi. Entre esthétique et théorie de la restauration.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1):52-72.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...)
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  22. Vision, Image and Symbol.Fabio Fossa - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):165-174.
    During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I discuss (...)
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  23. E luce fu… L’evidenza senza ombre della bellezza.Roberta Guccinelli - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (1):145-158.
    In this paper I provide an ecological, Schelerian-based description of the aesthetic experience that, without being exhaustive, may account for its complexity, perspective character and stratifications. Aesthetic enjoyment, aesthetic object and the creative process of the artistic type are all specific and necessary moments of an experience – an aesthetic experience – shared by different experiential “individuals”, who also contribute to its formation process. The content of this experience grows and develops in conformity with its own laws, like a living (...)
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  24. The Textual Ecology of the Palimpsest: Environmental Entanglement of Present and Past.Mary Kristen Layne - 2014 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 7 (2):63-72.
    Utilizing the metaphor of the palimpsest, this paper looks at layering processes at work in the natural world and human perceptions of it, paying particular attention to the manifestations of the past visible in constructions in and of the landscape. History is made of constant reformations, in which pieces of the past make up the present. The palimpsest offers a useful tool for discussing a trans-temporal landscape. The layers of landscape construction go beyond the literal geological construction, encompassing human pasts (...)
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  25. Ordinary Expression and Musical Expressiveness.María José Alcaraz León - 2014 - Aisthesis. Practiche, Linguaggi E Saperi Dell’Estetico 1 (6):267-284.
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  26. Musica e Weltanschauung. Opera musicale, filosofia, cultura.R. Martinelli - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6:303-315.
    Can music express the world-view of a certain composer, or of a certain historical era – and how? In 19th Century, the wide-ranging philosophical implications of this question raised an intriguing quarrel between the formalists’ scepticism as to this point and their various opponents. Starting from the case study of the German psychologist and philosopher of music Georg Anschütz, it is argued that allowing for a systematic link of music and the world-views easily turns into the far more demanding claim (...)
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  27. (1 other version)Silence, in the Archives: Derrida’s Other Marx(s).Thomas Clément Mercier - 2020 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 13 (2):31-46.
    The idea that Derrida kept silent on Marx before the publication of Spectres de Marx, in 1993, has become a commonplace in Derrida studies and in the history of Marxism and French 20th century political thought. This idea has often been accompanied by a certain representation of the relationship between deconstruction and dialectical materialism, and fed the legend of deconstruction’s «apoliticism» – at least before what some have called Derrida’s «ethicopolitical turn», usually dated in the early 1990s. Against this narrative, (...)
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  28. Sublimidad e imaginación en el combate tierra-mundo: una lectura existencialista de la desgarradura del arte en Heidegger.Francisco Salinas - 2014 - Aisthesis 56:39-52.
    [ENG] On the basis of a reading of Heidegger's Der Ursprung des Kunstwerkes, the problematic of understanding the relational concepts of "earth" and "world" is developed. The proposal here is situated from an existential approach that links the earth with the concepts of sublimity and world, understood on the basis of an opening within imagination. To articulate these ideas, this paper fundamentally draws from arguments by Kant, Nancy and Arendt. The proposal here is that Heidegger seeks to explain how the (...)
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  29. Aesthetic Response to the Unfinished: Empathy, Imagination and Imitation Learning.Fabio Tononi - 2020 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 13 (1):135-153.
    This contribution proposes how beholders may internally process unfinished works of art. It does so by considering five of Michelangelo Buonarroti’s interrupted sculptures and pointing out their empathic and imaginative potential. The beholder focused on the surface, I propose, is inclined to mentally simulate the artist’s gesture that drafted the sculptures through the visible graphic signs of the chisels. This inner simulation takes place within the activation of various brain networks, located in the brain’s motor system. Renaissance authors associated the (...)
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  30. La pantalla digital y el exceso representacional: pliegue y espectáculo.Guillermo Yáñez Tapia - 2009 - Aisthesis 45.
    Abstract: The purpose of this article is to highlight the aesthetic layout created by the digital device in the ontological autonomy of the digital representation. As a result, in the digital screen, as a simulated immersive area, the object is alienated through the hyper-representation of a hyper-reproduction: a hyper-reproduction which causes the data and its image to be the monadic support that multiplies it in always livable creases by interactivity. A digitally-represented world would become the ultimate alienation of the modern (...)
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