Aesthetic Object Research Articles

Literary theory between contingency and contiguity: Yakov Druskin’s “Law of Heterogeneity”

The notion of chance epitomizes the limits and challenges of any theory’s struggle for control over itself as well as over its objects. Although contemporary literary theory has adapted its terminology and conceptual framework in line with the emergence of dynamic, “open forms” (Wölfflin in Principles of art history: The problem of the development of style in later art, Dover Publications Inc, New York, 1986), chance has nevertheless remained a highly problematic category to come to terms with. How can literary theory embrace chance? The paper approaches this question in three steps. First, it reconstructs three basic poetological propositions against whose backdrop contingency gains profile: the proposition of causal connections as a means to transform literature into a realm of necessity, the proposition of form as means to reduce arbitrariness, and the proposition of control as a means to protect the aesthetic object against the risks of external intrusions. The second part of the paper discusses a largely forgotten but highly relevant approach to the problem of contingency by Yakov Druskin. Druskin links the function of contingency in theoretical investigation with concepts of contiguity and proximity, first of all touch. His fragmentary sketch of a “law of heterogeneity” represents a paradoxical attempt to theorize contingent obstruction as a privileged systematic device to establish physical contact. The third part of this paper unpacks the implicit urge to rethink the traditions of theory formation itself through the “law of heterogeneity.” It argues that Druskin’s law introduces a different type of theory, one which is deeply indebted to the tactile, thus challenging the ocularcentrism of theoría.

‘미적 체험’을 통한 교육적 경험의 변용과 창조

The purpose of this study is to design a curriculum with works of art that are aesthetic objects, and to present through actual learning activities how the transformation and creation of educational experiences develop in the course of instruction. The school field has long lost its vitality due to the problems with mem-orization education and the resulting dead knowledge irrelevant to the learner. Aesthetic experiences are the prototype of educational experiences that revitalize this educational field and actively motivate learning. The curriculum was designed as 'art-based educational research', and works of art were textured and classes were conducted through storytelling. Through Picasso's works, it was reorganized into educational experiences such as 'expanded perspective on the world', 'self-reflection for effort and development', 're-cognition of human nobility', and 'a source of positive energy'. From the point of view of each character, Sophocles' work saw the image of a tyrant in arrogance and narcissism who forced others to sacrifice to maintain his power through Creon and thought about the fate of a young man who had no choice but to choose death out of responsibility for his lover and self-destruction for his father. These results served as an opportunity to experience the possibility of transformation from visual to cognitive images, and it was found that recognition of problems from various perspectives is a stepping stone for expanding the eye.

Works of Art and the Future

Will adding an artistic layer to our future exercises eventually improve them? Why? How? Will this supposed improvement contribute to the entire exercise or only to some of its aspects? Moreover, will such an improvement have long-term, stable consequences or only momentary and occasional ones? The research question I would like to unfold may then be summarized by the claim “Works of art as gates to the future.” Unsurprisingly, this claim needs further qualifications, such as works of are always/often/occasionally/rarely/never gates to possible/preferable/obnoxious future. Furthermore, what does it mean to be a “gate to the future”? To make the future visible? To make the future understandable? To pave the way toward the future? This vast array of preliminary qualifications suggests that the question of the connection between works of art and the future is awfully tangled. I would be satisfied if this paper provides a frame to be eventually improved by subsequent works. Specifically, I would be happy to explain the first, basic question: why works of art may eventually improve futures exercises. I will focus primarily on Nicolai Hartmann, and secondarily on Roman Ingarden and Ernst Bloch. The conclusion I shall arrive at is that works of art can definitely improve futures exercises, because both aesthetic objects and the futures are unreal objects and presents irreducible points of indeterminateness.

The Aesthetic Analysis of a Garden

Abstract Offering aesthetic judgments of gardens is common. These judgments follow an evidentiary structure that is common to the evaluation of other aesthetic objects: summary judgments evidenced by the attribution of narrow formal aesthetic properties, “formal-adjacent” aesthetic properties, and relevant contextual relations. Yet, in a garden, these evidencing properties and relations take on forms that are different from those of other aesthetic and/or art objects. In this article, I consider these differences and consider whether aesthetic analyses of gardens rest on one or more conceptual mistakes. In the end, I conclude that we can meet all challenges.

Tra forma e senso. Kandinsky e Bergson. Correlazioni fenomenologiche verso una fisica dell’anima

The mode of evolution from figurative to abstract and from abstract to concrete in Kandinsky’s work seems to follow the path of a Bersonianan creative evolution. From the first melodic paintings to the explosion of his improvisations, the aesthetic material contracts and condenses itself in a pure shape with no connections with the representativeness. This eidetic shape is also the result of a phenomenological approach and analysis, revealing correlating meanings in an interesting living time of perception. Oscillations between shape and content, color and sound in resonance space will become for Kandisnky scope for the constitution of a possible aesthetic phenomenological experience, that looks for unveiled qualities. For Kandinsky and Bergson the quality in which an element contracts or thickens itself is in fact a new spiritualized value.
 Kandinsky looks for a real intense time of perception, of creation, of fruition that finds in the real movement and the Bergsonian durée réelle his theoretical confirmation. At the same time his creative act seems to be able to fit into the dual modality of Bergsonianan life of consciusness: frist like an élan vital and explosive action of abstract expressionism and subsequently as a work of qualitative contraction and condensation of vibrations that create a new kind of material. Tensions for the philosopher and the painter are the material established to ensure continuity between real and ideal. The experience in the field of sensibility for Kandinsky follows the paths of intuition and intelligence in the dual Bergsonian modality of a double vital and evolutionary movement : listening the melodic curvature of soul that exposes and explodes sense and forms and contracting itself in a rhythmic tension of Bergsonianan durée, so that tension will be an orchestral partiture where the flow could be read. The aesthetic object presents itself as a movement towards the fullness of a eidetic unity, paying attention to its morphogenetic movement towards the possibility to take shape of that movement.
 In fact, the artist’s gaze is a grasp on the movements of being, it is a gaze that doesn’t leave the movement of Sense, and like music tends to guarantee its continuity, The flow that he follows is the flow of music that he tries to become more and more concrete. The form of the Sense is instead correlation of contracted quality understood as expressive density, like a quantum. Sense and form objectify themself to create abstract art. Shape that can condense a flow of a special time of consciousness letting move its inner sound and contracting and diluting itself in a vectorial sense that can orchestrate forms and write scores. Sense insinuates itself into material and the same material reveals, redefines, redirects. The Sense of the form is pure quality in progression, vibranting eternity in the first expressionism period, and expressive density in the following Bauhaus period until it becomes an organic complete unveiling resonant shape. Unveiling qualities flow as a bridge between spirit and material, speaking about a deep interesting space-time that suggests a hidden and special physics of soul. The bridge that can reveal and connects possible inner worlds is a space-time experience of a living inner time of perception that make sense in the music. Space and time vibrate and grow in rhythmic resonance until becoming an organon, a pure body. Space time will become correlation and redefinition scope of essence, form and soul.

Husserl and the Radical Individuality of the Aesthetic Object

Husserl and the Radical Individuality of the Aesthetic Object

Disinterested attention and aesthetic experience.

Research studies have focused on stimulus features as well as internal or contextual factors to understand aesthetic experience. An important question is the nature of processes that are involved in all aesthetic experiences. One possible process is "disinterested attention" that may be necessary for one to have an aesthetic experience. This can be contrasted with a perceiver who attends to an object or event only in a goal-directed or instrumental or practical manner. It has been claimed that "disinterested attention" involves attention being focused on the aesthetic object or event while being distributed across its features or components. Other ideas have focused on better reallocation of attention over time. The potential nature of attention could be linked to aspects of mindfulness. Studies looking at the effects of mindfulness on aesthetic experience have shown it increases the frequency of having aesthetic experience. The nature of attention needed for an aesthetic experience can be thought of as a form of generosity that could be linked to the notions of a gift. Mindful attention to objects or life as a gift, perhaps enables us to see objects and perhaps life itself in non-instrumental terms resulting in an aesthetic experience.

The Ubiquity of Asia: Cai Guo-Qiang's Fireworks and Spectral Marxism

Asia is everywhere. Asia feels ubiquitous, from soft to hard power; from high to low culture; and from the Americas to Africa. In the American cycle of capital accumulation, under Giovanni Arrighi's schema, the overrepresentation of the United States was marked through representation-based and symbolic notions like Disneyfication (Jean Baudrillard) and “the ascendancy of whiteness” (Rey Chow). Under our contemporary Asian cycle of capital accumulation, this geographic area's affective ubiquity appears much like that of the US by saturating global public sentiment. However, considering that Asia's ubiquity emerges across sites like China, South Korea, India, and Japan, among others, what might we use to capture this sense of affective intensity and spread beyond representation-based frames? More specifically, how do we contend with geographic space within racial capital today, and how might we update our models for understanding race and capital so as to fully grapple with this transitional moment from American empire to Global Asia? Under the American cycle, representational frames like Orientalism and white supremacy emerged to understand Asian racialization. Can these frames still help explain the ubiquity of Asia today? This essay explores how we might discuss the subject beyond representation and in light of the ubiquity of Asia and what methods we deploy for Marxist analysis. This essay focuses less on Asian bodies and Asian spaces and turns toward aesthetic objects and practices that engage the affective sublime. More specifically, it examines the aesthetics of fireworks for what they might offer as a lexicon to contend with the transition in cycles of capital accumulation and changes in our ideas of space and race. The article thus turns to the artist Cai Guo-Qiang for insight on the subject amid contemporary racial capital and the methods available for critique.

Relations between the arts: The stratification theory

This article is dedicated to Hartmann?s stratification theory, which he develops within his aesthetics. The first part of the article discusses Hartmann?s idea about the two strata structure of the aesthetic object, consisting of its foreground and background. In the second part of the paper, an initial comparative analysis of the aesthetic objects of fine arts, poetry, music and architecture is carried out based on his thesis about the relationship of appearance of the background in the sensory foreground. The last part of the paper is dedicated to the reconstruction and interpretation of Hartmann?s more detailed scheme of primarily background layers of the aesthetic object, and further analysis in which this scheme is applied to the arts.

Artistic communication as an object of semiotics and linguistic aesthetics

The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.

Designing ‘Swedishness’

This article explores the early development of Swedish costume design during the reign of Gustav III (1771-1792). From the beginning of his rule, the Swedish king consciously and actively developed the local cultural scene, funded the Swedish Royal Opera and other institutions, as well as wrote and performed theatrical works himself. He also intervened in the scenography of pieces and was very interested in dress in general, using it often for his political aims. Theatre and dress were not only treated as aesthetic objects, but also as tools for creating a sense of Swedish national identity among the people. The ‘Swedishness’ of costume design is thus primarily connected to the subjects represented in those initial plays which addressed Swedish themes: historical figures and people from different Swedish regions. On the other hand, both the designers and forms used to create this Swedish design were often imported and adapted from abroad, especially from France and Italy. Using a transnational perspective and material-oriented approach, this study examines certain strategies and milestones in Swedish costume making, highlighting international exchange, but also showing unique cases of adaptation to the local stage.

Egy Adorno-összeállítás elé

By this compilation we celebrate Adorno’s 120th birthday. Adorno’s lecture points to the importance of criticism for a future theory of aesthetics, while Gorsen questions the narrowing of the object of aesthetics to the analysis of canonized works, stressing that art thereby loses the subversive potential to which it was attributed for the student movements. In their interpretations, the authors reconstruct Adorno’s concept of “late work” and his analysis of the culture industry, and carry out a comparative analysis of Adorno and Deleuze.

Controlling (Mental) Images and the Aesthetic Perception of Racialized Bodies

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, Mariana Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals.

The Body Flâneur: Body-Biased Gaze and Ocular Inspections of Women’s Bodies in Swedish Serial Literature, 1850–1890

ABSTRACT The article analyses the male body-biased gaze in serial fiction in the Swedish press 1850–1890, by using the concept of the body flâneur as an analogy to the well-known city flâneur. The normative construct of the body flâneur was a discursive practice, normalising the male gaze in media representations in period still poor on visual representations. It gave authors an opportunity to describe, in detail and in an educated manner, female bodies as aesthetic objects. It had a twofold educational function. First, the body flâneur taught readers, both female and male, what the ideal female body looked like and how it could be detailed in words, but also that the woman was a natural object of scrutiny, and a field of expertise. Second, it presented to readers to various conceivable female reactions to being stared at.

Literature Survey: The Potential of Integrating Immersive Experience and Aesthetic Experience in Virtual Reality Historical Event

This study intends to explore the potential of integrating of two major theories that stemmed from two entirely different disciplines, namely the human-computer interaction and the arts. Indeed, there are vast gaps when two different theories, such as technology and art, are to be unified to develop a new element that complements to both disciplines. Empirically, virtual reality as immersive technological innovations are progressively developed and evaluated among various disciplines. Virtual reality technically is customarily to immersive experience as a measurement tool while virtual three-dimensional animated environment in virtual reality is an aesthetic object that requires an aesthetic-friendly method as its measurement tool. The proposition of evaluation is to measure the user immersive experience and aesthetic experience when dealing with an art object that imbues with digital technology. Therefore, an integrative multidimensional evaluation is required to evaluate virtual reality environment. This study uses scientific literature survey which research papers are retrieved from Google Scholar, ScienceDirect, and Scopus. Thus, this paper reports on the potentials of integrating the immersive experience and aesthetic experience theories to evaluate a virtual reality historical event. It explains the concept of immersive experience and aesthetic experience in immersive virtual reality applications in general and museum digital preservation practices in particular. Then focuses on the concept idea of how to integrate immersive experience and aesthetic experience in virtual reality historical event application by discovering the construct and element from both theories. Thus, the finding unveils the possibilities of integration immersive experience and aesthetic experience in terms of integrating the construct and elements, contributing to contemplate new possibilities and discoveries in both fields and become catalysts for future research. This initial concept idea could become fundamental conceptual design reference of developing virtual reality system in museum context used by designers, developers and museum professionals. In the conclusion, this study concluded that there is a significant and lucrative potential to integrate both theory in developing immersive virtual reality systems. Hence recommend to a new integrative framework development that is applicable to immersive product development.

SOME SCIENTIFIC AND THEORETICAL ISSUES OF ESTH-FOLKLOROISTICS

Esth-folkloroistics is one of the structural branches of integrative folklore studies. It provides for the re-artistic reproduction of aesthetic objects within the framework of the art of speech. The wide range of research possibilities of folklore as a source of integrative science today and the dynamics of integrative justifications in the art of speech led to the formation of this term. Therefore, the presentation of a new scientific and methodological concept of national-level esth-folkloroistics studies will be one of the most innovative and relevant synergistic studies in accordance with modern trends in the humanitarian sphere. At the same time, attention should be paid to a number of topical issues: identification and systematization of types of folklorism; consideration of the level of folklorization of literary works. In particular, the problem of the National Art of speech is the disclosure of the theoretical nature of the "feedback" built on the relationship "written literature –oral literature"; the formulation of the concept of "initiatory environment". To demonstrate the possibility of connecting the concepts of initiative creative –author's oral literature with the discussion of foreign experiences; to propose innovative ways of teaching the theory of esth-folkloroistics based on modern concepts ofeducation. The implementation of such tasks will form the basis for the formation of the scientific theoretical status of esth-folkloroistics in the national scientific system, with the definition of qualitative integration value-content, and not quantitative indicators of folklore.

Bias Seksisme dalam Penulisan Berita Olahraga

This article reveals sexist bias in reporting on the 2018 Asian Games event on the online media Liputan6.
 com. The theoretical basis used is the theory of commodification, gender theory and feminism and representation. 
 The research method takes into account Sara Mills’s critical discourse analysis, with news subjects selected 
 purposively with a sexual bias. The results of the study reveal that the bias occurs through the representation of 
 women who have been reduced in such a way that they only construct female athletes as beautiful aesthetic objects. 
 Women are selected, defined, and displayed as objects and it no longer corresponds to the relevance of sports 
 reporting. This reduction occurs both in texts and in visual image displays.

The Application of Painting Language in Literary Translation from the Perspective of Translation Aesthetics: A Case Study of Wiley's English Translation

Points, lines and surfaces are the expression forms of painting, while words, phrases and sentences are the expression forms of language. The mutual reference and combination of painting art and language art enriches the expression of literary translation, and makes literary translation, like painting, give full play to its unique aesthetic value and artistic emotion. Based on Liu Miqing's translation aesthetics theory, this paper analyzes the aesthetic object and aesthetic subject of translation, combines the viewpoint of painting language with translation, and discusses the use of painting language in Chinese poetry translated by Arthur Waley from two aspects: the use of lines and the construction of geometric figures, and the reproduction of painting language in poetry translation.

Aesthetic Experience and the Ability to Integrate Beauty: The Mediating Effect of Spirituality.

The ability to integrate beauty (AIB) is the ability to inner transformation including thinking about oneself, perceived phenomena, or the world through exposure to an aesthetic object (or phenomenon). Previous research indicates that the AIB is positively related to aesthetic experience. Still, it is unclear whether spirituality can mediate the relationship between the two variables. Spirituality is understood as an experience of transcendence that relates to the unseen and is "larger than human". The aim of the study was to analyze the relationship between emotional and cognitive experiences related to the reception of art (as the most representative form of beauty) and the ability to connect with spirituality and aesthetic experiences. The online survey included a sample of N = 195 adults (74% female) between the ages of 18 and 54. The Spirituality Scale (SD-36), the Aesthetic Experience Questionnaire (AEQ) and the Ability to Integrate Beauty Scale (AIBS) were used to test hypotheses. The analysis revealed a statistically significant, moderate relationship between the ability to integrate beauty and both the total aesthetic experience score and the spirituality scale score. The results support the hypothesis that there is a relationship between aesthetic experience in art and spirituality. The study also confirmed the mediating effect of spirituality on the relationship between aesthetic experience and aesthetic intelligence. Individuals with a higher level of spiritual development tend to have a greater ability to integrate beauty and have more intense aesthetic experiences, which in turn may increase their aesthetic intelligence. The results suggest that a deepened spirituality contributes to a greater ability to integrate beauty.

Special Features of the Framework Text in the Novel “The Red and the Black” by Stendhal

The authors of the article analyze Stendhal’s novel “The Red and the Black” from the standpoint of intertextuality. The main attention is focused on the paratextuality of the work, that is, on the relationship of the text with the titles, epigraphs, preface and afterword – its frame. The novel has all the elements of a framework: a title complex, a framework text, a division into chapters, parts. The text is structurally divided into two parts and chapters (2 and 75 respectively). The element of the framework is the content at the end of the text (both in the original and in various translations). The authors of the article note that the content is used by Stendhal with a traditional purpose. The elements of the framework text in the novel are "Preface" – "To the reader" (explanation about the time of publication and writing of the work) and "Afterword" – section L, the author's notes related to artistic fiction. It is the "Afterword" that is connected with the genre subtitle of the novel and the main Epigraph, they form the additional frame of the text. The authors pay special attention to the headings – to the main one and to each chapter (71 of 75 chapters are titled). The names of the chapters in Stendhal's novel "The Red and the Black" are diverse in terms of substantive and factual information: they indicate the characters of the work, convey chronotopic information, name the theme, concentrate the main idea of the work, present the plot of the work or name one culminating event, express the author's assessment of the work and its characters, etc. The headingss analyzed, the writer is noted to use various artistic means to nominate the chapters of the novel, which activates the reader's perception, creating a certain obstacle for understanding, and arouses interest: titles-symbols, titles-metaphors, titles-epithets. In such headings, the meaning is reinterpreted, expanded. Besides, extratextual information is used, when the essence of the heading is not only the content of the novel, but its associative connection with other aesthetic objects. In general terms, the authors analyze the epigraphs to both parts of the novel, 71 chapters, and explain the writer's use of "own" and "other people's" quotations in the inscriptions before the text, their linguistic design and functions.