Suchergebnisse

R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is 'Idea of History'), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is 'Principles of Art.' He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very original and outstanding ideas about Metaphysics, Epistemology, Ethics and also Aesthetics. This article is an attempt to understand the influence of Kant's Aesthetics on the Aesthetics of Collingwood and to present before the readers the great similarities between the Aesthetic ideas of these two philosophers. According to Kant, Aesthetics is the fourth most important function of human mind. Apart from pure reasoning, pragmatic thinking and moral concerns, Aesthetics is that aspect of human mind which deals with beauty. The problem with the Aesthetics of Kant or the Aesthetics of Collingwood is that both of the philosophers present Aesthetics as the divider and in the humble opinion of the writer of this article it is not divider but a connector – connector of moral, pragmatic and pure reason.

Art Style | Art & Culture International Magazine Abstract Staging processes and choreographies of contemporary dance and performance: do they have to be perceived as a mere passing of choreographic notations from a single choreographer to dancers who have to repeat them "mindlessly" (Laermans 2015, 196)? Or should these rather be discussed as a reciprocal situation providing aesthetic experiences for participants in a singular- plural mode? To put it differently: Might choreography have the capacity to create an environment for the refinement of a democratic grass-roots consciousness? In order to discuss these questions, I have adapted various scientific perspectives in my research (Julian, forthcoming, autumn 2021). The starting point of my studies lies in theatre studies based on comparative methods. Artistic practices are juxtaposed in order to highlight their specificity. In a second step––inspired by the discourse as developed in theatre studies (Tatari 2017; Ruhsam 2011) ––I discussed staging processes in conjunction with an ontological principle as conceptualised by the philosopher Jean-Luc Nancy (2000): the specificity of being-with makes it possible to theorise a range of infinite possibilities and differences that evolve by the mere execution of movement patterns. The third perspective is based on sociological methods that were adapted in order to embed the staging process in real-life conditions. My consideration here is that only by knowing imbalances that may exist in social life we understand the dynamics unfolding throughout a group that gathers in order to create a piece. The fourth perspective I apply in this article is based on a method called the aesthetic field as conceived by the philosopher Arnold Berleant (1970): having similarities to being-with makes it possible to cover not merely human interactions and social conditions but also interactions and permeations with a thing world, such as architectures, a stage design, costumes. Thus, the thing world can be seen as co-choreographing ...

Presuming that the problem of political equality, as it bears on both persons and assemblages, is about being accorded access to the material and symbolic resources needed to manage an effective civic presence, Michael J. Shapiro's critical interventions engage the way a wide variety of aesthetic genres address this problem. In 'Aesthetics of Equality', Shapiro offers a guide to aesthetic methods, focusing on how to conceive equality issues through conceptual engagements with diverse artistic genres.

This article develops the conceptualization and analysis of aesthetic labour in two parts. The first part focuses on conceptualizing aesthetic labour. We critically revisit the emotional labour literature, arguing that the analysis of interactive service work is impeded by the way in which its corporeal aspects are retired and that, by shifting the focus from emotional to aesthetic labour, we are able to recuperate the embodied character of service work. We then explore the insights provided by the sociological perspectives on the body contained in the works of Goffman and Bourdieu in order to conceptualize aesthetic labour as embodied labour. In the second part, we develop our analysis of aesthetic labour within the context of a discussion of the aesthetics of organization. We discern three ways in which aesthetics is recognized to imbue organization: aesthetics of organization, aesthetics in organization and aesthetics as organization. We contend that employees are increasingly seen not simply as `software' but as `hardware', in the sense that they too can be corporately moulded to portray the organizational aesthetic. We ground this analysis in a case study from research conducted by the authors.

"Property in Modern Aesthetics," grapples with how discourses of race, gender and class affected US literary and visual modernist forms. I examine art objects ranging from Marcel Duchamp's Fountain (1917) and Noah Purifoy's White/Colored (2001) to texts such as Susan Howe's My Emily Dickinson (1985) and Don Mee Choi's The Morning News Is Exciting (2010). Utilizing critical gender, race and legal scholarship, I trace how legal notions of exclusionary properties situate the politics of modern abstract forms. Modernist artistic and literary productions were the historical manifestations of US racial and gender formations, and I argue that the abstract forms of modernist art and literature were politically consistent with early 20th-century property laws. The modernist found-object form can be understood as the aestheticization of property. Inspecting the aestheticization of property as a formal imperative allows for analyses of historical and political strictures, and for the production of diverse cultural narratives to converge.In order to investigate visual and literary production that expounds colonial and legal understandings of property, I contrast canonical, modernist approaches with Black and Asian American cultural producers whose bodies of work interrogate the very premise of property, by re-imaging provenance beyond its current origin/financial narrative. In my project, Black and Asian American cultural producers, though marginalized by current canonical constructs, are poets and artists currently offering modes of expression outside systems of the colonial imaginary. I contextualize the interactions of individual poets and artistic movements with and against the social movements of their time, offering a broader view of US visual cultures and poetics.

The article conceptualizes the ideas about the aesthetic dominant of humanitar­ian knowledge and the importance of the works and scientific and educational activities of Nikolai I. Kiyashchenko for the consolidation of this dominance. The special importance of aesthetics as a science and practice of forming ideas about the harmony of personality and harmonious worldview is emphasized. Special attention is paid not only to the training course called "Aesthetics", but to all training sessions where aesthetic knowledge is in demand. The understand­ing inherent in the works of Nikolai I. Kiyashchenko and important for scientific research devoted not only to art as a well-known sphere of aesthetic activity, but also to research devoted to man, his moral sphere and socio-cultural activity is noted. It is emphasized that aesthetics is of crucial importance for modern educa­tional process at all its levels, from school to higher education, from postgradu­ate studies to scientific studies of experienced scientists. This follows from the idea that aesthetics is a broad field of human intellectual activity. We present the efforts of Nikolai I. Kiyashchenko to unite researchers (at the level of con­ferences, joint scientific publications, work on grants). The attention of Niko­lai I. Kiyashchenko, teacher, mentor in a broad sense, to young researchers and their works is particularly noted. The fact that Kiyashchenko, an aesthetician, was also an educator is specifically evaluated, in connection with which the unique publication "Aesthetics of Life" is analyzed. It was intended for school­children and teachers who can work with teenagers. Problematization of aes­thetic knowledge and educational pathos turn the works of Nikolai I. Kiya­shchenko into a solid corpus, aesthetically significant and relevant.

Aesthetics and Economics is a pioneering effort at treating aesthetics from the point of view of economic theory, and addresses the contradictions which have arisen from economists' work in this field over the years. Starting from an historical review of the treatment of aesthetics in economic thought, Aesthetics and Economics goes through the integration of a number of recent advances in economic thinking with the main topics of aesthetics, from creativity to interpretation. The subject is systematically treated on the grounds of a restatement of the optimization analysis on non-consequentialist bases, starting from the Kantian definition of aesthetic judgement up to its contemporary developments. A specific information asymmetry characterizing the agents' behaviours arises from the aesthetic qualification of consumption, production and investment processes, thus affecting the usual equilibrium and optimization conditions, resulting in new institutional interventions in the market. `Certification' of the aesthetic nature of goods and stocks is needed and gives place to original market strategies and optimization problems

Excerpt from the introduction by Peter McNeil: (pp. xxiv-xxv) The anthology concludes with a provocative essay by Daniel Koch, "Training the Aesthetics". Koch, who has written a masterful PhD analyzing the architectural space of Åhléns department store, Stockholm City, aims to investigate "the matter of consumption choices, and to raise the question of how expert judgement communicates with and within populist quality judgement". He argues that "one of the primary roles of retail architecture is that of performing aesthetic training, or perhaps education in taste". Using wide-ranging theory drawn from art theory, philosophy, spatial theory and literature, Koch argues that a series of profound staging effects are enacted in entering a department store. Fashion is interrogated as akin to representative art, a subject that requires "inherent rarity and value – suggesting taste". His is a useful corrective to the idea that fashion is democratic today. Not at all, suggests Koch. The perusal and acquisition of fashion still operates within a system not dissimilar to entering a gallery space. Although the "bazaar" still exists, much contemporary fashion gains its charge from being displayed in austere spaces in to which untrained consumers can enter but not engage. In an important link back to Ane Lynge-Jorlén's essay on niche magazine readership, Koch resists the cliché of shop as gallery or cathedral space. Rather, he focuses upon the products themselves: "it is figured first as a subject rather than a practice, and it is presented with a disinterest as to how the real clothes look, and especially how they would look in a "normal" situation. Presentation constantly takes forms reminiscent of both popular or high art practices". In a strong statement that brings together the many strands contained in this book, Koch's comment will conclude our anthology: "Meaning is relative to other spaces as well as other systems of meaning, such as the mediation of fashion through magazines, advertising, television and online ...