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Aesthetic Experience and Aesthetic Value
Philosophy Compass, 2006Abstract What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable.
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2022
Abstract Aesthetic experiences describe mental states that usually involve a perception of deep beauty or the sublime. These experiences are often best captured in the psychological literature by the emotion of awe. Most people will have some familiarity with these kinds of experiences, through art, music, or natural scenery.
David B. Yaden, Andrew B. Newberg
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Abstract Aesthetic experiences describe mental states that usually involve a perception of deep beauty or the sublime. These experiences are often best captured in the psychological literature by the emotion of awe. Most people will have some familiarity with these kinds of experiences, through art, music, or natural scenery.
David B. Yaden, Andrew B. Newberg
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Aesthetic Experience and Aesthetic Analysis
Journal of Aesthetic Education, 2003The "raw data" that aesthetics is meant to explain is the aesthetic experience. People have experiences that they class off from other experiences and label, as a class, the aesthetic ones. Aesthetic experience is basic, and all other things aesthetic aesthetic properties, aesthetic objects, aesthetic attitudes are secondary in their importance to ...
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Choice Reviews Online, 2009
This article surveys attempts by aestheticians writing in the Anglo-American analytic tradition during the last half of the twentieth century to clarify, defend, and use the idea of a distinctively aesthetic state of mind. Their ambitions typically include most or all of the following: giving an account of what distinguishes the aesthetic state of mind
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This article surveys attempts by aestheticians writing in the Anglo-American analytic tradition during the last half of the twentieth century to clarify, defend, and use the idea of a distinctively aesthetic state of mind. Their ambitions typically include most or all of the following: giving an account of what distinguishes the aesthetic state of mind
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AESTHETIC CONCEPTS AND AESTHETIC EXPERIENCES
The British Journal of Aesthetics, 1996In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'.
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Psychological Reports, 2004
This study assessed the dynamic relationship between person and object in aesthetic experience. Patterns of the structure of aesthetic experience were derived from a conceptual model based on philosophical and psychological ideas. These patterns were further informed by interviewing individuals with extensive involvement in aesthetic activities and 25 ...
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This study assessed the dynamic relationship between person and object in aesthetic experience. Patterns of the structure of aesthetic experience were derived from a conceptual model based on philosophical and psychological ideas. These patterns were further informed by interviewing individuals with extensive involvement in aesthetic activities and 25 ...
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Anthropology and Humanism Quarterly, 1987
Jacques Maquet. The Aesthetic Experience: An Anthropologist Looks at the Visual Arts. New Haven, CT: Yale University Press. 1986. xi plus 272 pp. $35.00 (cloth).
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Jacques Maquet. The Aesthetic Experience: An Anthropologist Looks at the Visual Arts. New Haven, CT: Yale University Press. 1986. xi plus 272 pp. $35.00 (cloth).
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1957
Beyond doubt there is truth in the saying that analysis can destroy or at least distort that which is analyzed. It courts the danger of committing the fallacy which Dewey called “compartmentalization”. We are to attempt to understand the experience of art by analyzing the experience into subject, object, and a relation between them.
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Beyond doubt there is truth in the saying that analysis can destroy or at least distort that which is analyzed. It courts the danger of committing the fallacy which Dewey called “compartmentalization”. We are to attempt to understand the experience of art by analyzing the experience into subject, object, and a relation between them.
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Abstract This chapter explores the role of cognitive feelings, particularly feelings of familiarity and unfamiliarity, in aesthetic experiences. It argues that cognitive feelings are not merely contingent additions to aesthetic experiences but are constitutive of them.
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