THE SENSE OF BEAUTY : BEING THE OUTLINES OF AESTHETIC THEORY PDF, EPUB, EBOOK

George Santayana | 294 pages | 08 Aug 2015 | Andesite Press | 9781296520298 | English | none The Sense of Beauty : Being the Outlines of Aesthetic Theory PDF Book

And Levinson c proposes an account of aesthetic pleasure in which the cognitive is similarly central: pleasure in an object is aesthetic, says Levinson, when it is grounded in a perception of and reflection on the object's individual character and content, both for themselves and in relation to the structural base on which they rest. For the work of art should put before our eyes a content, not in its universality as such, but one whose universality has been absolutely individualized and sensuously particularized. Want more? Thus the question then arises whether such a universal and thoroughgoing opposition, which cannot get beyond a mere ought and a postulated solution, is in general the absolute truth and supreme end. Further, in its content, science is occupied with what is inherently necessary. Wollheim argued against identifying all artworks with physical objects, and against the opposite conception of artworks, perhaps attributable to Croce, Collingwood, and Sartre, according to which works of art are mental entities. Heidegger, as we shall see further on, later picked up on and radicalized these same thoughts. What fills his mind he just makes clear to himself and others in particular cases always, real or invented, in adequate examples, and so forth; for in his ideas anything and everything is shaped into concrete pictures, determined in time and space, to which there may not be wanting names and all sorts of other external circumstances. Undertaking the act of synthesis is, as in Kant, left to the productive imagination, which must form the material, concurrently bestowing appearance Erscheinen upon both intuition and the object. What is before us is only elements and aspects of it as they occur already in the different ideas of the beautiful and art held by ordinary people, or have formerly been accepted by them. Now this relation of desire is not the one in which man stands to the work of art. The first that we may encounter is the doubt whether fine art shows itself deserving of a scientific treatment. The extent to which this is true has become obvious since the dominance of the technosciences, which rely not only on mathematical formulas, but also on visualization and diagrammatic tools. Indeed, his summation remains a flawless classical statement. The expression of - or the association with - monetary value is one Santayana addresses very directly. Perhaps we should therefore favor Theodor W. Of course this form may be manifold in itself, as hope, grief, joy, pleasure; and, again, in this variety it may encompass different contents, as there is a feeling for justice, moral feeling, sublime religious feeling, and so on. In a second part of the book, Kant wrestles with the concept of teleology, the idea that something has an end, or purpose. Subscriber sign in You could not be signed in, please check and try again. Vermazen, B. Gaut and D. Goodman's moderate nominalist conception of a musical work, in particular, is that it is a class of performances compliant with a score, scores being complex symbols in a notation. This is the case, for example, with the gods of Greece. Some Turns of Thought in Modern Philosophy. But in such examples and others it must at least occur to us at once that, instead of praising works of art because they have deceived even doves and monkeys, we should just precisely censure those who think of exalting a work of art by predicating so miserable an effect as this as its highest and supreme quality. Santayana is perhaps best known today for his remark that "Those who cannot remember the past are condemned to repeat it", and the line "only the dead have seen the end of war"—the latter often falsely attributed to Plato. Nietzsche is at the beginning of a discovery of two different truths or concepts of truth, as well as of two different means of gaining knowledge. In this style, so untypical of the professionalized philosophy common in the English-speaking world during his lifetime, Santayana nevertheless articulated an epistemological critical realism and an ontology of essence and matter that drew the attention and admiration of philosophers and scholars. Currie believes that all artworks are types, even those that, like paintings and drawings, are ostensibly unique particulars see also Zemach Thought and reflection have spread their wings above fine art. While much of what Kant writes about aesthetics might strike us now as a bit dated, his work is historically very significant. In Sibley's view, the distinctive feature of aesthetic concepts is their non-condition-governedness , or non-rule-governedness: that an aesthetic term is true of some object cannot be justifiably inferred from any description of the object in non-aesthetic terms. In its first guise, aesthetics was an epistemological question that did not aim to define the difference between truth and falsity, because it constantly oscillated between the two, culminating in a discourse on beauty as the perfection of the phenomenon perfectio phaenomenon , as Baumgarten wrote in Metaphysica, which corresponds with the perfection of sensate knowledge perfectio cognitionis sensitivae. For example, there are the issues of whether film is an inherently realistic medium; of whether poetry can be usefully paraphrased; of p. It reveals something which had previously been invisible and readjusts the constellations of perception. The Sense of Beauty : Being the Outlines of Aesthetic Theory Writer

Indianapolis, Ind. Theory of the Arts. Account Options Anmelden. London: Phaidon. For scepticism, see Carroll Hanfling, O. On this topic we shall speak at greater length later [in Part I, ch. Predelli, S. Vorwort In: Florian Dombois Hg. Yet even within the non-philosophical disciplines, doubts may arise about the existence of their objects, as, for example, in psychology, the science of mind, there may be a doubt whether there is a soul, a spirit, i. The non-condition-governedness of aesthetic concepts does not, however, prevent aesthetic properties from being dependent on and determined by non-aesthetic properties; the relation between those sets of properties, however, remains broadly causal rather than conceptual. Truth as difference is for Heidegger no longer a moment of sublime suddenness, but of a conflict that cannot be resolved. Taste in this sense concerns the arrangement and treatment, the aptness and perfection of what belongs to the external appearance of a work of art. Only so is it grasped absolutely in its truth : for, on the one hand, over against the sterility of one-sided reflection, it is in that case fertile, since, in accordance with its own Concept, it has to develop into a totality of specifications, and it itself, like its exposition, contains the necessity of its particularizations and of their progress and transition one into another; on the other hand, the particularizations, to which a transition has been made, carry in themselves the universality and essentiality of the Concept, as the proper particularizations whereof they appear. For nature and its products, it is said, are a work of God, created by his goodness and wisdom, whereas the art-product is a purely human work, made by human hands according to human insight. Yet Meyer in the book mentioned above thinks that this view has been superseded without trace and, as he maintains, to the benefit of art, on the ground that this idea would probably have led to something like caricature. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use for details see Privacy Policy and Legal Notice. In this style, so untypical of the professionalized philosophy common in the English-speaking world during his lifetime, Santayana nevertheless articulated an epistemological critical realism and an ontology of essence and matter that drew the attention and admiration of philosophers and scholars. Mandelbaum also p. The influence of the passion of love. Take a Study Break. This view has roots in the work of the eighteenth-century German philosopher Immanuel Kant, who thought that the beauty of objects, artworks and natural phenomena alike, consisted in their ability to stimulate the free play of the cognitive faculties in virtue of their pure forms, both spatial and temporal, and without the mediation of concepts. Concurrently, art decidedly does not connote actions concerned with mirroring or representing the world and what holds it together, rather it springs from a practice of non-identity. Username Please enter your Username. It is remarkably appropriate that this work on aesthetics should have been written by George Santayana, who is probably the most brilliant philosophic writer and the philosopher with the strongest sense of beauty since Plato. The first that we may encounter is the doubt whether fine art shows itself deserving of a scientific treatment. Oxford Handbooks Online. Lopes, D. Please consider supporting us by disabling your ad blocker. Kant granted art a role no greater than fine-tuning our powers of cognition just as we tune musical instruments to fulfill another purpose , after which he banned it to the outskirts of metaphysical cognition. These two paths or alternatives are related, but remain independent. Artists have also created environments for different senses, including exhibitions where blind people and seers were subjected to diverse haptic sensations. Still, how can original works of art for the touch be produced, without repeating a previous experience? In a second part of the book, Kant wrestles with the concept of teleology, the idea that something has an end, or purpose. Yet, on the other hand, it also cuts itself free from this servitude in order to raise itself, in free independence, to the truth in which it fulfils itself independently and conformably with its own ends alone. Aesthetics instead becomes a site for critique, for resistance, and for a break with reality. But Hegel also believed this to be exactly the problem, the irreparable defect of art and its inventions. Apprehended from inside, lived situations are comparable to fields of forces, in which what attracts the subject is invested with a positive value and what rejects it with a negative one, in the double sense of repulsion and lack of interest. The Aesthetics of Music. After these preliminary remarks, we now come closer to our proper subject, the philosophy of the beauty of art, and, since we are undertaking to treat it scientifically, we have to make a beginning with its Concept. In it all depends on the presentation, full of content and thought, of man, of his deeper interests, and of the powers that move him; and therefore the spirit and heart must be richly and deeply educated by life, experience, and reflection before genius can bring into being anything mature, of sterling worth, and complete in itself. Ugliness for its part is closely related to the subject-matter, so that it may be said that the principle of the characteristic involves as a fundamental feature an acceptance of the ugly and its presentation. The Sense of Beauty : Being the Outlines of Aesthetic Theory Reviews

Mixture of the expressions including that of truth. Accordingly, knowledge gained through art cannot be derived from the manifestation of an as or from the form and its purpose. Santayana is perhaps best known today for his remark that "Those who cannot remember the past are condemned to repeat it", and the line "only the dead have seen the end of war"—the latter often falsely attributed to Plato. When, to his horror, he sees how logic curls up around itself at these limits and finally bites its own tail, then a new form of knowledge breaks through, tragic knowledge, which, simply to be endured, needs art for protection and as medicine. The key notion in attempts to theorize the aesthetic by Beardsley, beginning in and continuing into the s, is that of aesthetic experience. Reference Works in Aesthetics. This is a very important principle which may be justified in certain respects. Four very recent studies may be mentioned which go in the same historicist and contextual direction as Levinson and Currie: D. Modern civilization has been described as the process of an increasing the limitation of touch and olfaction deodorization. Key Words touch, smell, taste, aesthetic stimuli 1. Yet the intellect cannot cut itself free from the rigidity of these oppositions; therefore the solution remains for consciousness a mere ought, and the present and reality move only in the unrest of a hither and thither which seeks a reconciliation without finding one. The possibility of finite perfection. Mandelbaum, M. Further dangers of indeterminateness. Account Options Anmelden. According to this view, imitation, as facility in copying natural forms just as they are, in a way that corresponds to them completely, is supposed to constitute the essential end and aim of art, and the success of this portrayal in correspondence with nature is supposed to afford complete satisfaction. Subscriber sign in You could not be signed in, please check and try again. There is no word sufficient to break out of the constraints of meaning and keep that which shows itself in a constant, unfulfilled limbo. This objection, once raised by Harold Osborne for smells, was invalidated by the creators of fragrances, who emphasized the high number of components of each scent, as well as its multileveled structure and temporal development. But nevertheless this higher standing of the work of art is questioned by another idea commonly entertained. It has often been argued that touch, smell and taste cannot produce art because they deal with ephemeral stimuli and consume their objects. New Haven, Conn. That however went hand in hand with putting the aesthetic above the philosophical and its enlightened, rational discourse. Reflecting on Art. They are different and yet intertwined dispositifs of identification and mystification. In This Article 1.

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While Baumgarten did aim to elevate perception, he never let go of the established hierarchy. This article offers first an outline of the structure of philosophical aesthetics as a whole, and then a selective sketch of the development of Anglo-American aesthetics over the past fifty years, focusing on five central topics: the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art. Discussion in analytic aesthetics of the problem of defining art begins in scepticism, scepticism rooted in the anti-essentialism of Wittgenstein. Some blind people were not able to recognize their own sculptures only few days after they had shaped them, which represents a serious problem any tactile aesthetics has to deal with. His multivolume work The Life of Reason expresses his naturalistic philosophy of history and culture. Hjort and S. The question of how art and thought as well as art and truth are connected must be posed again from this perspective and their relationship delimited anew. Arthood, for Carroll, resides in connections to the past, ones that can be exhibited in a coherent and convincing narrative showing how a candidate object is related, either by repetition, amplification, or repudiation, to artworks that preceded it. Form and adventitious ornament. This opposition seems at first to revive the old dichotomies between form and material or idea and materiality. Already a Member? Finally, a concern with the nature of aesthetic experience opens up into discussions of the nature of various mental states —e. It is necessary to at least touch on some of the problems falling under the concerns just enumerated. Art-as-art is nothing but art. Concerning artistic style, attention has focused on the distinction between individual and period style, on the psychological reality of style, on the interplay between style and representational objective, and on the role that cognizance of style plays in aesthetic appreciation Gombrich ; Wollheim ; Lang Contemporary Aesthetics. Quite the contrary: They appear to be more developed in the case of primitives and women, whereas civilized humans should at least endeavor to repress them in favor of the so-called higher, theoretical senses, such as sight and hearing. For instance, Scruton insists that aesthetic experience is necessarily permeated by imaginative thought, that such experience always involves conceptions of objects or their features under certain descriptions. Or aesthetic experience might be conceived as the sort of experience that figures centrally in the appreciation of works of art or the aesthetic properties of things, whether natural or man-made. As for the feminine privilege in the field of the secondary senses, seems to be confirmed in part empirically women are less attracted of e-shopping than men, they are able of a finer olfactory differentiation, etc. The Nature of Fiction. Further dangers of indeterminateness. Cover of the first edition. It meant knowledge that stems from perception itself. Theorists have offered accounts of p. So I wrote this wretched potboiler. Key Words touch, smell, taste, aesthetic stimuli 1. London: Routledge contains over forty substantial articles on aesthetics. EMBED for wordpress. Image and Mind. He wrote in English and is generally considered an American man of letters. Gombrich, E. Physiology of the perception of form. Are all things beautiful? The early twentieth-century Italian philosopher Benedetto Croce located the essence of art in the expression of emotion, underlining the indissociability, amounting even to identity, of content and vehicle in such cases. Examples of the first direction is provided by body art, land art in which a person as a sensory whole interacts with the environment , contemporary dance focusing on proprioception and enacting the bodily cogito , etc. There are moments in which it becomes clear that aesthetics is unclassifiable, that it is defined by its indefinite nature—withholding judgment and reproducing meanings. Lopes, D. On that account, an artwork is roughly anything intended for regard or treatment in the way some past artworks were correctly regarded or treated. In this short history of beauty we can see its growing subjectivization as well as its subservience and link to an ever-sharper instrumentalization of truth. But other communities seem to have developed a more refined terminology for these senses, which in the West are considered secondary in importance. Picture, Image and Experience. For example, Quechua, the language spoken by the Incas and still used in the Andes, has different names for the following acts: to smell something, to smell a good odor, to smell a bad odor, for a group to smell something together, to make someone smell something, to secretly sniff out what is being planned, to let oneself be smelled and to come across a food odor. Influence of the first term in the pleasing expression in evil. What are the arguments for this rejection, and are they still sustainable? To be true thus means to say something like it is and, correspondingly, beauty means that something shows itself the way it is ideally meant to be shown. The problem of the demarcation of aesthetic properties from non-aesthetic properties, exacerbated by Cohen's critique, has generated a fair amount of discussion.

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