History of Modern Aesthetics

Guyer, Paul

doi:10.1093/oxfordhb/9780199279456.013.0002

Cited by 20 publications

(9 citation statements)

References 611 publications

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“…Although the study of the general field of aesthetics reaches back to classical philosophy, aesthetics was first named in 1735 by Alexander Baumgarten who defined it as the ‘science of sensory cognition’ (quoted in Guyer, 2014, p. 5). In the eighteenth and nineteenth centuries, in Britain and on the Continent, aesthetics emerged as an important subfield of philosophy.…”

Section: Aesthetics Nature and Valuementioning

confidence: 99%

Environmental aesthetics: A synthetic review

Brady

Prior

2020

People and Nature

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Environmental aesthetics has emerged in the last 50 years from the philosophical fields of aesthetics and environmental philosophy. The questions and issues which shape this subfield have been drawn principally from the Western philosophical tradition. Other disciplinary perspectives have also shaped environmental aesthetics, including landscape architecture, human geography, restoration ecology and empirical studies on landscape preferences in developmental and environmental psychology. This review and synthesis mainly addresses the theoretical approaches and concepts that provide a framework to the key debates in the field, but also considers, to some extent, how empirical approaches have shaped recent developments, and how conceptual issues arise with respect to empirical cases. We note that our expertize and, thus, the expertize of this review, is primarily confined to UK, European and North American scholarship. Abstract 1. The main aim of the article is to provide up-to-date knowledge of environmental aesthetics for an interdisciplinary audience, and to signal the importance of research in this area for studying people-nature relationships. 2. Environmental aesthetics has emerged in the last 50 years from the philosophical fields of aesthetics and environmental philosophy. Other disciplinary perspectives have also shaped environmental aesthetics, including landscape architecture, human geography, restoration ecology and empirical studies on landscape preferences in developmental and environmental psychology.3. This review and synthesis mainly addresses the theoretical approaches and concepts that provide a framework to the key debates in the field, but also considers how empirical approaches have shaped recent developments, and how conceptual issues arise with respect to empirical cases. 4. We outline the background and context of environmental aesthetics, its key concepts, and provide a critical review of contemporary theories in the field. We then consider how aesthetics features in issues pertaining to the conservation, preservation, and restoration of nature.5. Finally, we identify some new directions for environmental aesthetics scholarship that can productively contribute to ongoing debates regarding various relationships between people and nature.

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Section: Aesthetics Nature and Valuementioning

confidence: 99%

Environmental aesthetics: A synthetic review

Brady

Prior

2020

People and Nature

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“…Nämlich das, was Paul Guyer in seiner History of Modern Aesthetics »emotional impact« genannt hat. 137 Mein ›matter of concern‹ hier. Eine der auf Rezeptionsseite erkundbaren ästhetischen Qualitäten der Sache.…”

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“…Ausgehend von diesen beiden Prämissen Carrolls und Walds, ist es dann ein ganz spezifischer ästhetischer Wert für das Hier und Jetzt, der von mir mit Paul Guyer in den Blick genommen wird: »emotional impact«. 163 Guyer verwendet »emotional impact« als einen zentralen Begriff in seiner monumentalen History of Modern Aesthetics. Für Guyer ist »emotional impact« eine der wesentlichen Neuerungen der Ästhetik des 18.…”

Section: »Emotional Impact« Als Fokus Der Perspektiveunclassified

“…Spätestens ab Kant hat die Emotion in der Ästhetik einen schweren Stand in der Begründung der Spezifik und Relevanz ästhetischer Erfahrung wie des Wertes von Kunst. 176 (Und in der Musikwissenschaft seit Eduard Hanslick, wie Nicholas Cook ergänzt. 177 ) Abgeschoben in die vermeintlichen Untiefen von Journalismus und Alltagsgespräch.…”

Section: »Emotional Impact« Als Fokus Der Perspektiveunclassified

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Emotional Impact: 67 Situationen seit Schumann

Döhl¹

2019

Musik Und Klangkultur

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Dieses Buch ist eine kleine Meditation über etwas, das mich schon lange beschäftigt: Die Rolle des eigenen ästhetischen Erlebens für das Schreiben von Musikgeschichte. Ich habe es verfasst, um mir einiger Sachen klar zu werden. Vielleicht nützt es anderen, es zu lesen, die mit ähnlichen Fragen ringen. Es entstand im Rahmen meiner Aufgaben als Strategiereferent für Digital Humanities im Leitungsstab der Generaldirektion der Deutschen Nationalbibliothek und als wissenschaftlicher Mitarbeiter am Lehrstuhl für Musikjournalismus am Institut für Musik und Musikwissenschaft der Technischen Universität Dortmund. Beide Aufgabengebiete haben deutliche Spuren in dem hinterlassen, was folgen wird. Ich danke insbesondere Thomas

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“…1 1 According to Alexander Baumgarten, an 18th‐century philosopher, aesthetics is the ‘science for directing the inferior faculty of cognition or the science of how something is to be sensitively cognized’ (cited in Guyer 2005, 25). …”

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confidence: 99%

Creating the semi‐living: on politics, aesthetics and the more‐than‐human

Dixon

2009

Trans Inst British Geog

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Though geographers have remarked on the aesthetic and political character of a technoscientific biology, there has been an accompanying tendency, following disciplinary trends and social theory more broadly, to read these as being separate issues at the analytic as well as substantive level. Whereas the former becomes read as a matter of artistic practice and appreciation, or visual appraisal, the latter is considered to be the exercise of power through discipline and regulation. Here, I draw upon Rancière’s The Politics of Aesthetics (2007, Continuum, London) to make a stronger claim for the role of the aesthetic, wherein a political regime is understood to be comprised of a ‘distribution of the sensible’ that orders what can be seen and what can be said about it, that determines who has the ability to see and to speak, that organises the properties of spaces and the possibilities of time, and that locates the identity of the quick and the dead within a grid of intelligibility. Political struggle is necessarily aesthetic insofar as it is an attempt to reconfigure the place not only of particular groups, but also the social order within which they are embedded. For Rancière, artistic practices are but particular ways of making and doing; they can have a distinctly political function, however, in the way that they reorder the relations among spaces and times, subjects and objects. To animate this discussion I draw on examples from critical BioArt that address the more‐than‐human world of Semi‐Living Objects. From overt manifesto to ironic commentary, the practices, understandings and artefacts that comprise BioArt work to challenge the political, economic, cultural and ethical contexts within which a modern‐day technoscientific biology operates.

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History of Modern Aesthetics

Cited by 20 publications

References 611 publications

Environmental aesthetics: A synthetic review

Environmental aesthetics: A synthetic review

Emotional Impact: 67 Situationen seit Schumann

Creating the semi‐living: on politics, aesthetics and the more‐than‐human

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