Suchergebnisse

Abstract
Whether the aesthetic is something we actively make or whether it just appears to us, can be formulated as the distinction between notions of act and event-as defined by the Finnish philosopher Georg Henrik v. Wright. Moreover, the concepts of geno- and phenosign refer to this crucial foundation of any aesthetic treatise, i. e. genosigns carrying along all the phases of its production aiming for such a goal, i. e. Kantian Zweck, and phenosigns as a kind of phenomenal, immediate qualities. However, insofar as the aesthetic manifests a value, we can consider it a sign of such an abstract entity. Such transcendental values gradually get dense and concretized, become 'beings' when they arrive at Dasein via modalities. So, values become modalities, certain modal constellations, and at the end signs. Analogously, aesthetic values become aesthetic experiences when they are 'modalized', and then manifest as artworks, as aesthetic signs.

Purpose
– The purpose of this paper is to explore the phenomenon of dress codes in professions. Since they can be considered as carriers of both organizational communication and individual identity, they will be central in professions as communities and through the professionalization process. Therefore, we will ask the following question: what is the role of understanding and complying with dress codes in becoming a professional?


Design/methodology/approach
– The empirical study consists in a series of ethnographic interviews and observations aiming at understanding dress codes' roles and dynamics in financial professions.


Findings
– Exploring dress codes in three typical professions in finance, we have discovered that they also are mediums of communication within the group, strengthening a certain aesthetic sense of belonging and of presenting the self.


Originality/value
– In this, becoming a professional can be understood as an aesthetic experience through which all senses are involved. Considering professions as being also aesthetic communities shifts the focus – or rather enlarges it – toward symbolic, corporeal and sensorial elements.

Članek je del širše raziskave v okviru doktorske disertacije s področja športnih znanosti na Fakulteti za šport Univerze v Portu na Portugalskem. Omenjena raziskava proučuje »gibanje telesa« in estetsko izkušnjo taekwon-do športnika med borbo in izvajanjem tehnike poomsae ter estetsko vrednost, lastno temu športu. Telo skozi igro ustvarja lepe vzvišene oblike, v času in prostoru za rekreacijo deluje kot estetski objekt. Športniki si prizadevajo preseči svoje omejitve, da bi izvedli čim lepše, zahtevnejše in natančnejše gibe, njihova izpolnitev in športnikovo samopriznanje pa postaneta vir estetske izkušnje. Trdimo, da estetski užitek, ki ga doživlja taekwon-do športnik, izhaja iz celovitega prepleta odnosov, ki združujejo med drugim občutek strahu, žalosti, negotovosti, tveganja, zmage, mehkobe, miline in agresije in ki vzbujajo hkrati privlačnost in navdušenje. Članek se sklene s trditvijo, da se taekwon-do športnik, ko med tekmo udari po glavi svojega nasprotnika, ko izvaja skladno zaporedje poomsae ali precizno tehniko, s katero bo prelomil kos lesa, sooča z izjemno lepoto, ki ga vključuje in izpolnjuje.

Članek je del širše raziskave v okviru doktorske disertacije s področja športnih znanosti na Fakulteti za šport Univerze v Portu na Portugalskem. Omenjena raziskava proučuje »gibanje telesa« in estetsko izkušnjo taekwon-do športnika med borbo in izvajanjem tehnike poomsae ter estetsko vrednost, lastno temu športu. Telo skozi igro ustvarja lepe vzvišene oblike, v času in prostoru za rekreacijo deluje kot estetski objekt. Športniki si prizadevajo preseči svoje omejitve, da bi izvedli čim lepše, zahtevnejše in natančnejše gibe, njihova izpolnitev in športnikovo samopriznanje pa postaneta vir estetske izkušnje. Trdimo, da estetski užitek, ki ga doživlja taekwon-do športnik, izhaja iz celovitega prepleta odnosov, ki združujejo med drugim občutek strahu, žalosti, negotovosti, tveganja, zmage, mehkobe, miline in agresije in ki vzbujajo hkrati privlačnost in navdušenje. Članek se sklene s trditvijo, da se taekwon-do športnik, ko med tekmo udari po glavi svojega nasprotnika, ko izvaja skladno zaporedje poomsae ali precizno tehniko, s katero bo prelomil kos lesa, sooča z izjemno lepoto, ki ga vključuje in izpolnjuje.

If, as Susan Buck-Morss (2003) suggests, aesthetic experience is an occasion for "making critical judgments about not only cultural forms but social forms of our being-in-the-world," or if it is linked, in David Hesmondhalgh's (2013) account, to the possibilities of collective flourishing, potential changes in the nature of that experience merit critical attention. This article reflects on the ways in which these social or ethical dimensions of the aesthetic experience of music are affected by digitization. It moves from a discussion of aesthetic experience as a form of encounter that refers to a common world, to consideration of recent work in music sociology that engages themes that emerge from that discussion: aesthetic judgment, and the question of difference and commonality. With illustrations from focus group interviews, I suggest that the quantization associated with digital environments is altering the cultural form of aesthetic judgment, just as personalization is changing the meaning of "difference" in this context. The essay is intended as a disclosive critique that takes as its primary object not the world observable through thick description or hermeneutic interpretation of actual cultural practice, but a world evoked through critical reflection on its actual and potential constellations of meaning.

Purpose
The purpose of this paper is to show the mechanism of aesthetic experiences of work in a research and innovation context – an R&D laboratory of a multinational communications and information technology company. Analysing memorable projects of this laboratory through the lenses of aesthetics is a useful way to understand organizational and innovation culture and the quality of life of researchers and innovators.


Design/methodology/approach
An exploratory study focusing on memorable projects of 31 researchers who worked on 70 projects during four years was conducted. The data analysis is based on the grounded theory.


Findings
The study reveals six key dimensions that describe the dimensions of R&D researchers' aesthetic experiences: perceptive, emotional, intellectual, communicative, collective and organizational. These dimensions are closely related and support an innovation culture in an R&D environment.


Research limitations/implications
The aesthetic dimensions have to be correlated to innovation performance indicators to better understand which aspects are the most relevant for innovation.


Practical implications
The paper proposes first examples of implications for the industry to foster an innovation culture through aesthetic experiences.


Originality/value
No study has been done on aesthetic experiences in an R&D environment.

The author explores Ingarden's aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden's position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden's refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.