Download Aesthetic Experience by Richard Shusterman, Adele Tomlin PDF
By Richard Shusterman, Adele Tomlin
In this volume, a staff of across the world revered contributors theorize the concept of aesthetic event and its worth. Exposing and increasing our restricted cultural and highbrow presuppositions of what constitutes aesthetic event, the e-book goals to re-explore and verify where of aesthetic experience--in its evaluative, phenomenological and transformational sense--not basically with regards to artwork and artists yet to our internal and non secular lives.
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II Any attempt to articulate the essence of the aesthetic runs up against the problematic scope of the aesthetic. For there are different conceptions of its scope, no one of which has a proper claim to be the right one. Consider purely sensory (or sensuous) pleasure. The crucial feature of purely sensory pleasure, understood as pleasure in the perception of a single undifferentiated color expanse, as such, or in the perception of a sound of a constant pitch, loudness and timbre or a taste or smell in which a single sensory quality, sweetness or acidity, for example, is detected, is that there is no variety in the object as it is perceived, just a single, structureless, homogeneous quality.
Alienated from authentic emotional engagement with the world. Again, if a person judged God to be almighty and redemptive, but without ever feeling awe before the almighty or the joy of the redemption, then we would rightly say that they had not experienced the world in a distinctively religious way. It is, in other words, analytic to the religious use of such terms as almightiness and redemption, that they should engage the heart as well as the mind. g. mathematics, science, and sociology) and our emotional and religious engagement with the world, has a further crucial aspect.
18 This is a simpliﬁcation, for more than one reason. In the ﬁrst place, it needs to be adjusted to accommodate the fact that overall aesthetic value is a matter of degree and involves the weighing of merits and demerits. But this rectiﬁcation is easily made. Second, the notion of an item’s overall aesthetic value—where this means its overall aesthetic value considered as the kind of thing it is (work of art, non-artistic artifact, or natural object, more speciﬁcally, cubist painting, church, or Scots pine .