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Kant's Aesthetic Theory: An Introduction
... Kantçı düşüncede güzel kendi başına estetik bir değer olarak kabul edilir ve iyi ve hoş olandan ayrılır. İyi ya da hoş özneldir ancak güzel (beğeni yargısı) evrenseldir (Kemal, 1997;Tunalı, 1983). Kant estetiğin anlamını güzelliğe ve beğeni yargılarına doğru kaydırırken hem sistematik bir estetik teorisi oluşturmuş hem de doğadaki güzellikle sanattaki güzelliği birbirinden ayırmamıştır (Risatti, 2007: 263). ...
Estetik herşeyden önce güzel ve sanatla ilişkilendirilen bir kavramdır. Güzel, güzellik
ve sanat düşünce tarihinin ilk dönemlerinden beri ilgi odağı olan bir konudur. Estetik
düşüncenin temellerini oluşturanlar, estetik kavramını kullanmamakla birlikte güzelin ve
sanatın felsefi yorumları ile Antik Yunan düşünürleri olmuştur (Risatti, 2007; Tokdil, 2021;
Ülger, 2013; White, 1996). Kavram 18. yüzyılla birlikte felsefenin içinde özel bir alan, özel bir bilgi türü olarak kabul edilmiş ve modern felsefenin ve yaşamın ayrılmaz bir parçası haline gelmiştir (Huron, 2008; Lopes, 2015; Strati, 1996; Timuçin, 2013).
Ana akım, estetiği daha çok sanat ve güzelle ilişkilendirse de, onun duyuşsal ve bilişsel
bir bilgi türü olması (Gorodeisky ve Marcus, 2022), hayatın farklı alanlarında ve farklı
disiplinlerle birlikte ele alınmasına engel olmamıştır (Santayana, 1904). Özellikle bir yaratım sürecinin bulunduğu, bir yapının, ürünün, düşüncenin ya da hizmetin eser olarak kabul edildiği her durumda estetik aranmıştır. Bu bağlamda yönetim ve örgüt alanlarında çalışanlar da estetiği, yönetime ve örgütlere farklı bir bakış açısı yakalamak amacıyla kullanmışlardır (Gagliardi, 2002; Goodsell, 1992; Ostrom, 1980; Strati, 1992; vd.).
Günümüz yönetim ve örgütleri çok daha karmaşık ve hızla değişen bir dünyada varlıklarını sürdürmektedir. Bu ortamda rasyonellikten ve entelektüel bilgiden daha fazlasına ihtiyaç duymaktadırlar (Dangmei, 2017). Sanatın ve güzelin dilinin hem yönetsel hem de örgütsel süreçlere ve deneyime aktarılması gerektiği fikri geniş kabul görmektedir. Bu nedenle yönetimin bir sanat/zanaat ve örgütlerin birer sanat eseri olduğuna ilişkin inanç artmaktadır (Ottensmeyer, 1996).
Yönetim ve örgüt alanlarına estetik bir bakış açısı getiren, bu alanlara yönelik estetik bir
teori veya model öneren çalışmalara sıklıkla rastlanmaktadır. Ancak yönetimin özel bir alanı olan ve kendine has bir takım özellikleri bulunan kamu yönetimi alanı için bu tür çalışmalar sınırlıdır. Kamu yönetimi alanı uzun süredir teoride ve pratikte dönüşüm süreci içerisinde olan bir alandır. Bu süreçte alana farklı bakış açıları katmak mevcut tartışma ve sorunların üstesinden gelmeye katkıda bulunacaktır. Bu nedenle bu çalışmada mevcut literatür çerçevesinde “estetik bir kamu yönetiminin mümkün olup olmadığı” sorgulanmaktadır.
... Kant states that the pleasure in the judgment that an object is beautiful generates no interest because the judgment leads to no desire to act (Zangwill, 2021). This statement has been influential (Kemal, 1997), as seen in its use by Stecker. However, the statement is not compatible with our definition of aesthetic values and has been criticized (Guyer, 1978;Nietzsche, 1989;Zangwill, 2021). ...
Obtaining information from the world is important for survival. The brain, therefore, has special mechanisms to extract as much information as possible from sensory stimuli. Hence, given its importance, the amount of available information may underlie aesthetic values. Such information-based aesthetic values would be significant because they would compete with others to drive decision-making. In this article, we ask, “What is the evidence that amount of information support aesthetic values?” An important concept in the measurement of informational volume is entropy. Research on aesthetic values has thus used Shannon entropy to evaluate the contribution of quantity of information. We review here the concepts of information and aesthetic values, and research on the visual and auditory systems to probe whether the brain uses entropy or other relevant measures, specially, Fisher information, in aesthetic decisions. We conclude that information measures contribute to these decisions in two ways: first, the absolute quantity of information can modulate aesthetic preferences for certain sensory patterns. However, the preference for volume of information is highly individualized, with information-measures competing with organizing principles, such as rhythm and symmetry. In addition, people tend to be resistant to too much entropy, but not necessarily, high amounts of Fisher information. We show that this resistance may stem in part from the distribution of amount of information in natural sensory stimuli. Second, the measurement of entropic-like quantities over time reveal that they can modulate aesthetic decisions by varying degrees of surprise given temporally integrated expectations. We propose that amount of information underpins complex aesthetic values, possibly informing the brain on the allocation of resources or the situational appropriateness of some cognitive models.
... Hermed bliver sensus communis til en ideel standard, som forvandler de vurderinger, den omfatter, til regler, der omfatter alle. Selvom princippet kun er subjektivt, er der tale om universel subjektivitet, og det kan derfor -på samme måde som med et objektivt princip -påkalde sig universel bekraeftelse i forbindelse med enighed blandt de vurderende personer [15]. ...
Forfatterprofessionen har mistet legitimitet, men kan fremmes ved hjælp af en grøn omstilling, der omfatter hele kulturlivet. Omstillingen forudsætter nytænkning og satsning på kulturprodukter med længere levetid, der kan tjene som samfundsmæssige forbilleder og i kraft af deres eksemplariske funktion opdrage til bæredygtighed ved at være en del af et grønt oplysnings- og dannelsesprojekt.
... As long as the questions of what the art is or related with that what is an artistic work and who is an artist, answers given to these questions also have a long and a well-known history (Croix, H. and R. G. Tansey: 1986;Gombrich, 1995). Answers given to these questions have usually been produced under the domination of reductionist sociology approaches which either neglects the influence of the social or reduces it to a conceptual discussion ( Kemal, 1997;Chadwick, R. F. and C. Cazeaux, 1992) or conversely claims that the art is almost entirely shaped by social resources (Hauser, 1999ab) Aside from many other problems they create, it is a necessity to take the subject by another way apart from these approaches, related with the fact that they introduce reality free and more than that time and space free definitions just by preventing a holistic analysis of art. One of the things to be done not to repeat the mistakes of these approaches is to seek an answer to the question of "why do the people define art as they do" instead of answering the question of "what the art is". ...
For sure, to carry out a debate on the whatness of art is an attempt that should be affirmed. However, to discuss the whatness of art just through the concepts may end up with the ignorance of the most important element for creation of art, human being and its social and artistic position. For this reason, what should be done is to answer the whatness of art through analyzing the people in the field of art. As it is known, in modern differentiated societies, entrance to the field of art is usually performed through the processes of formal education. Therefore, the aim of this study is to discuss on the social resources of the dominant art definitions by focusing on those that appear most likely to have the possibilities of reproducing, transforming or refusing the existing approaches to art. To achieve this goal, semi-structured interviews were made with 20 first class students who have just started their education and 20 fourth class students who will graduate in 2011 -2012 academic year from Dicle University, Department of Fine Arts Training. As a result of these interviews, it was established that the university students’ relationship with the art is very limited before and during their university education, their knowledge is insufficient and in accordance with this, they seem to agree on a definition of art which enables them to enter the field of art.
This essay analyses the interplay of indeterminacy and determinacy in the experience of images generated through text-to-image (T2I) models. Through an interdisciplinary approach, it uncovers three layers of indeterminacy: the computational indeterminacy inherent in text-to-image model processes, the indeterminacy of imagination in Husserl’s concept of protean phantasy, and finally the visual indeterminacy that figures in meaning making in all images. Generated images pass through these stages of indeterminacy, transforming indeterminate phantasy into determined visual objects, resulting in a conflict of consciousness between potential and actual. A distinction emerges between artificial phantasy, characterized by quasi-experience, and artificial imagination, grounded in images both as training data and perceptual image objects. As mediators between indeterminacy and determination, T2I images appear as technical media that mediate multiple forms of indeterminacy, showing the circulation between phantasy and imagination, between continuous and discrete. The generated image marks the limit of the unlimited indeterminate imagination.
In this paper, I examine the theoretical aspects of world-building in Murasaki's and Tolkien's imagined worlds and accentuate the role of aesthetic landscape creation through which spatio-temporal layers are negotiated. As a starting point, I refer to Thomas Ryba's Husserl, Fantasy and Possible Worlds (1990), where he evaluates the believability of secondary worlds via Husserlian phenomenology. To shed light on Ryba's statement that authors must be "adept at describing the qualities of characters and the world in which they live" (232) through the lens of engagement, I contend that critically acclaimed imagined worlds such as Heian Japan in The Tale of Genji (c.1000 A.D.) and Middle-earth in The Lord of the Rings (1954-1955) demonstrate two fundamental qualities: the physical environments possess aesthetic qualities and the emotional experience of the place is integrated into the fabric of world-building, generating an aura of believability.
The aim of this paper is to resolve some of the inconsistencies within Kant's theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant's text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively.
This paper explores the benefits of incorporating arts in second language (L2) learning from a Kantian approach. From a Kantian perspective, the use of arts in L2 learning enhances learners’ motivation and engagement in their language learning by focusing on learners’ subjective meanings, lowering the burden of cognition of employing categories for reasoning, lowering learners’ instrumentalism in their language learning through a sense of disinterestedness, allowing a free play between imagination and understanding, providing learners with a purposiveness of form which enhances learners’ cognitive capacity, allowing learners to achieve universal assent, and enhancing learners’ morality. The proposed pedagogical suggestions based on the above benefits are emphasizing the subjective meanings of learners, emphasizing the non-reasoning aspect in arts integration in L2 teaching, highlighting the internal rewards of artistic activities learners engaged in the language classroom, using poetry for the enhancement of imagination, using natural beauty and diverse arts forms, using interactivity, and using arts of different cultures and historical eras in L2 teaching.
PT
A sociedade atual é influenciada pelos padrões de beleza que são transmitidos pela moda e pelas marcas de beleza. Inevitavelmente os indivíduos desenvolvem-se nestes ideais e todo o mercado funciona com base nos mesmos. No entanto, nos últimos anos a beleza ganhou outras proporções e o interesse em explorar esta indústria por parte de marcas de moda cresceu ainda mais. Abordando a relação entre moda e beleza, esta investigação estuda a ligação entre marcas das duas áreas que surgiram com uma natureza de co-branding. A investigação incide principalmente em marcas de moda de luxo, explorando as razões e significados da sua presença na indústria da beleza através de co-branding entre marcas de luxo e marcas de beleza acessíveis. Para conseguir entender esta estratégia de negócio, é crucial estudar comportamentos de consumo da sociedade, assim como os efeitos psicológicos que estas indústrias têm na sociedade atual, principalmente a atração que traz o objeto de luxo. Um dos objetivos fulcrais da investigação é entender se esta extensão da marca de moda adiciona ou retira valor à marca de luxo, sendo que torna a marca de luxo por vezes mais acessível e “acessível” não é o adjetivo mais comum no luxo. Esta é uma estratégia que está a ser cada vez mais popular em vários sectores e as suas consequências, tanto positivas ou negativas podem não ser imediatas. A colaboração das marcas pode resultar em intenção de compra ou desmistificar o desejo pela marca de luxo. Para conseguir analisar esta relação, são definidos conceitos de moda, beleza, luxo, consumo, marca e co-branding. Exemplos de marcas que representam esta relação nos últimos tempos são tomadas como exemplos para análise: Balmain x L’Oréal e Moschino x Sephora, ajudando a concluir e a verificar que esta estratégia tem mostrado potencial para obter resultados muito satisfatórios sendo inovadora e atrativa. O co-branding, apesar dos riscos associados, que podem ser calculados e evitados, demonstra- se ser uma estratégia sólida, positiva e promissora para as marcas de moda.
EN
The actual society is influenced by the beauty standards that are communicated by the beauty and fashion brands. Inevitable the individuals develop in this ideals and the whole market works based on them. Meanwhile, in the last years the beauty won other proportions and the interest from fashion brands in exploring the beauty industry has grown even more. Approaching the relationship between fashion and beauty. This investigation studies the connection between brands from the two fields that have emerged with a co-branding strategy. The investigation focuses mainly fashion luxury brands, exploring the reasons and meanings of its presence at the beauty industry through a co-branding strategy between luxury brands and accessible beauty brands. To understand this business strategy its crucial study consumer behavior of the society, like the psychologic effects that these industries have in actual society, mostly the attraction that brings the luxury object. One of the main objectives of the investigation is to understand if the luxury fashion brand extension adds or takes value to the brand, because it transforms the luxury brand into a more accessible brand and “accessible” it’s not the most common characteristic in the luxury sector. This strategy its becoming more popular in various markets and its consequences, positives or negatives, may not be immediate. The collaboration of brands may result in intention of buying or demystify the desire for the luxury brand. To analyze this relationship, are defined concepts of fashion, beauty, luxury and co-branding. Examples of brands that represent this relation in the last times are taken has example for analyses: Balmain x L’Oréal and Moschino x Sephora, helping to conclude and verify that this strategy has showed to have potential to obtain very satisfied results being innovative and attractive. The co- branding, despite the associated risks, that can be calculated and avoided is proving to be a solid, positive and promising strategy for fashion brands.
In the preceding chapters we have been introduced to four classical theories of art. In spite of their mutual differences these theories nevertheless have one characteristic in common. They tell us how we should consider or define art. Time and again they assume that the own point of view reveals the essence of art in an unproblematic way. The theories give us a decisive answer to the fundamental question “what, actually, is art?”. This also explains why they are so exclusive. They identify art respectively with “imitation”, “expression”, and “form” and/or “a synthesis of form and expression”, without leaving any room for nuance or ambiguity. The theories previously discussed can also be considered as providing us with a well-defined norm art should meet. These theories thus have very specific normative implications. We have already seen how each of these theories has served certain artists as a guideline in their artistic quest, but their normative implications, however, reach much further. On close inspection, these theories offer us different criteria for judging individual works of art. In this respect, they are relevant for the critical appraisal of artworks, especially within art criticism.
The Enlightenment killed God, and though religion does not depend on God’s survival, it came through the Enlightenment hobbled. Religion’s inscrutability set it against the eighteenth-century drive to comprehend, and did not find redemption among the genuine mysteries of Romanticism that further alienated the individual from the world and from his fellow man. In the twentieth century, religion in the West endures as a relic, the object of modern civilization’s attachment to the roots of its culture, and postmodern civilization’s disposition to approve anything without commitment. Religion now clings to Western culture as a curiosity, a peculiar quality that defies the conditions of contemporary life but will not disappear. In fact, the experience that sustains religion may not be so strange, so at odds, with modern life. At least, religious experience may not be any more strange, any more at odds, with modern life than other apparently groundless experiences that Western culture not only accommodates, but appreciates. Râs lila patrons little distinguish between the religious and the aesthetic: Krishna is an artist. The theatrical performance is of a piece with everything else as the product of Krishna’s artistry, and the experience of the artistry of the performance is indistinguishably an encounter with Krishna. An individual’s aesthetic experience of a performance of Streetcar Named Desire may not be an encounter with the Judeo-Christian God, but the mystery of the experience runs as deep.
É bem sabido que a estética de Kant está estruturada intersubjetivamente, porque ele honra a reivindicação do gosto pela universalidade. No entanto, o fundamento transcendental desta universalidade compartilhada é uma base suprasensível tida por certa, mas que não pode ser trazida diretamente para dentro da experiência comunicativa. O apelo kantiano à estrutura sintética a priori do juízo estético também remove-o da esfera da interação pessoal observável. Esta estratégia argumentativa expõe-no a desafios céticos e gera referências inacessíveis às representações internas (sejam elas intuições, categorias do entendimento ou idéias racionais). Não é suficiente, como faz Kant, propor uma descrição da experiência estética que seja subjetivamente plausível e, a partir disso, reivindicar sua validade intersubjetiva. É indispensável encarnar a intersubjetividade no comportamento e na linguagem. Na intersubjetividade prática, lida-se com as atitudes estéticas em um modo concreto e acessível, sem depender de pressupostos mentalistas como fundamento. Termos conceituais como 'agradável', 'belo', 'sublime', 'feio', 'universalidade' adquirem novo significado em um contexto interativo e reivindicações estéticas são testadas em um modelo dialógico de jogo semântico.
In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques, the Critique of Pure Reason and the Critique of Practical Reason. Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis, genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century.
This article re-visits the problematic of evaluation in the academy with particular reference to fictions for the small screen. It traces value positions informing approaches in everyday life and particularly in British television institutions at a moment when “American Quality
TV” is much-vaunted. It reflects upon tensions between a perceived need for academic critical distance and the personal investment that scholars as fans might have in cultural products. It questions the tendency amongst intellectuals to dismiss television and re-affirms the possibility,
even in relativist times, for shared values to be posited, outlining a role for scholars in this process.
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