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Contents.Etymology The word aesthetic is derived from the αἰσθητικός ( aisthetikos, meaning 'esthetic, sensitive, sentient, pertaining to sense perception'), which in turn was derived from αἰσθάνομαι ( aisthanomai, meaning 'I perceive, feel, sense' and related to αἴσθησις ( aisthēsis, 'sensation'). Aesthetics in this central sense has been said to start with the series of articles on “The Pleasures of the Imagination” which the journalist Joseph Addison wrote in the early issues of the magazine The Spectator in 1712. The term 'aesthetics' was appropriated and coined with new meaning by the German philosopher in his dissertation Meditationes philosophicae de nonnullis ad poema pertinentibus ('Philosophical considerations of some matters pertaining the poem') in 1735; Baumgarten chose 'aesthetics' because he wished to emphasize the experience of art as a means of knowing. Aesthetics, a not very tidy intellectual discipline, is a heterogeneous collection of problems that concern the arts primarily but also relate to nature. Even though his later definition in the fragment Aesthetica (1750) is more often referred to as the first definition of modern aesthetics. Aesthetics and the philosophy of art Aesthetics is for the artist as is for the birds.

—Some separate aesthetics and philosophy of art, claiming that the former is the study of beauty while the latter is the study of works of art. However, most commonly Aesthetics encompasses both questions around beauty as well as questions about art.

It examines topics such as aesthetic objects, aesthetic experience, and aesthetic judgments. For some, aesthetics is considered a synonym for the philosophy of art since, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an ), while artistic judgement refers to the recognition, appreciation or criticism of art or an.Philosophical aesthetics not only has to speak about art and to produce judgments about art works, but also has to give a of what art is. Art is an entity for philosophy, because art deals with the (i.e.

The etymology of aesthetics) and art is as such free of any moral or political purpose. Hence, there are two different conceptions of art in aesthetics: art as or art as action, but aesthetics is neither nor ethics.Aestheticians compare historical developments with theoretical approaches to the arts of many periods. They study the varieties of art in relation to their physical, social, and culture environments. Aestheticians also use psychology to understand how people see, hear, imagine, think, learn, and act in relation to the materials and problems of art. Aesthetic psychology studies the creative process and the aesthetic experience.

Aesthetic judgment, universals and ethics Aesthetic judgment Aesthetics examines our response to an object or phenomenon. Judgments of aesthetic value rely on our ability to discriminate at a sensory level. However, aesthetic judgments usually go beyond sensory discrimination.For, delicacy of taste is not merely 'the ability to detect all the ingredients in a composition', but also our sensitivity 'to pains as well as pleasures, which escape the rest of mankind.' Thus, the sensory discrimination is linked to capacity for.For (, 1790), 'enjoyment' is the result when pleasure arises from sensation, but to be 'beautiful' has a third requirement: sensation must give rise to pleasure by engaging our capacities of reflective contemplation. Judgments of beauty are sensory, emotional and intellectual all at once. Kant (1790) observed of a man 'If he says that canary wine is agreeable he is quite content if someone else corrects his terms and reminds him to say instead: It is agreeable to me,' because 'Everyone has his own ( of) '.

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The case of 'beauty' is different from mere 'agreeableness' because, 'If he proclaims something to be beautiful, then he requires the same liking from others; he then judges not just for himself but for everyone, and speaks of beauty as if it were a property of things.' Viewer interpretations of beauty may on occasion be observed to possess two concepts of value: aesthetics and taste. Aesthetics is the philosophical notion of beauty. Taste is a result of an education process and awareness of elite cultural values learned through exposure to. Bourdieu examined how the elite in society define the aesthetic values like taste and how varying levels of exposure to these values can result in variations by class, cultural background, and education. According to Kant, beauty is subjective and universal; thus certain things are beautiful to everyone. In the opinion of, there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression and innovation.

However, one may not be able to pin down these qualities in a work of art. Factors involved in aesthetic judgment. Example of the aesthetic, 's Fountain 1917Early-twentieth-century artists, poets and composers challenged existing notions of beauty, broadening the scope of art and aesthetics.

In 1941, American philosopher and poet, founded, the philosophy that reality itself is aesthetic, and that 'The world, art, and self explain each other: each is the aesthetic oneness of opposites.' Various attempts have been made to define Aesthetics. The challenge to the assumption that beauty was central to art and aesthetics, thought to be original, is actually continuous with older aesthetic theory; Aristotle was the first in the Western tradition to classify 'beauty' into types as in his theory of drama, and Kant made a distinction between beauty and the sublime. What was new was a refusal to credit the higher status of certain types, where the taxonomy implied a preference for tragedy and the sublime to comedy and the.suggested that 'expression' is central in the way that beauty was once thought to be central.

Suggested that the sociological institutions of the art world were the glue binding art and sensibility into unities. Suggested that art always functions as a 'counter-environment' designed to make visible what is usually invisible about a society. Felt that aesthetics could not proceed without confronting the role of the culture industry in the commodification of art and aesthetic experience.

Attempted to portray the reaction against beauty and Modernist art in The Anti-Aesthetic: Essays on Postmodern Culture. Has described this reaction as 'kalliphobia' (after the Greek word for beauty, κάλλος kallos). Explains that the notion of beauty was connected to a particular conception of art that arose with the Renaissance and was still dominant in the eighteenth century (but was supplanted later). The discipline of aesthetics, which originated in the eighteenth century, mistook this transient state of affairs for a revelation of the permanent nature of art. Suggests to reconsider beauty following the aesthetical thought in the philosophy of.

Walter Benjamin echoed Malraux in believing aesthetics was a comparatively recent invention, a view proven wrong in the late 1970s, when Abraham Moles and Frieder Nake analyzed links between beauty, information processing, and information theory. In 'The Art Instinct' also proposed that an aesthetic sense was a vital evolutionary factor.re-invokes the Kantian distinction between and the. Sublime painting, unlike, '. will enable us to see only by making it impossible to see; it will please only by causing pain.' Inaugurated aesthetical thinking in mainly via the 'Uncanny' as aesthetical affect. Following Freud and, theorized aesthetics in terms of sublimation and the Thing.The relation of to post-modern aesthetics is still a contentious area of debate.Recent aesthetics has pioneered efforts in analytic philosophy to develop a rigorous theory of aesthetics, focusing on the concepts of beauty, love and sublimity. In contrast to romantic theorists, Sircello argued for the objectivity of beauty and formulated a theory of love on that basis.British philosopher and theorist of aesthetics, makes the point that ' aesthetic does not concern a particular type of so much as the historical- condition for the production of contemporary art in general.' Osborne noted that in a public lecture delivered in 2010.Gary Tedman has put forward a theory of a subjectless aesthetics derived from 's concept of alienation, and 's antihumanism, using elements of Freud's group psychology, defining a concept of the 'aesthetic level of practice'.has suggested that the subject is key in the interaction with the aesthetic object.

The work of art serves as a vehicle for the projection of the individual's identity into the world of objects, as well as being the irruptive source of much of what is uncanny in modern life. As well, art is used to memorialize individuated biographies in a manner that allows persons to imagine that they are part of something greater than themselves.

Aesthetics and science. The with continuously coloured environmentThe field of was founded by in the 19th century. Experimental aesthetics in these times had been characterized by a -based, approach. The analysis of individual experience and behaviour based on is a central part of experimental aesthetics.

In particular, the perception of works of art, music, or modern items such as websites or other IT products is studied. Experimental aesthetics is strongly oriented towards the.

Modern approaches mostly come from the fields of or ( ).In the 1970s, and were among the first to analyze links between aesthetics, and.In the 1990s, described an theory of beauty which takes the of the observer into account and postulates: among several observations classified as comparable by a given subjective observer, the aesthetically most pleasing one is the one with the shortest description, given the observer's previous knowledge and his particular method for encoding the data. This is closely related to the principles of. One of his examples: enjoy simple proofs with a short description in their. Another very concrete example describes an aesthetically pleasing human face whose proportions can be described by very few of information, drawing inspiration from less detailed 15th century proportion studies. Schmidhuber's theory explicitly distinguishes between what's and what's, stating that interestingness corresponds to the of subjectively perceived beauty.

Here the premise is that any observer continually tries to improve the and of the observations by discovering regularities such as repetitions. Whenever the observer's learning process (which may be a predictive; see also ) leads to improved data compression such that the observation sequence can be described by fewer than before, the temporary of the data corresponds to the number of saved bits. This compression progress is proportional to the observer's internal reward, also called curiosity reward.

A algorithm is used to maximize future expected reward by learning to execute action sequences that cause additional input data with yet unknown but learnable predictability or regularity. The principles can be implemented on artificial agents which then exhibit a form of. Truth in beauty and mathematics Mathematical considerations, such as and, are used for analysis in theoretical aesthetics. This is different from the aesthetic considerations of used in the study of.

Aesthetic considerations such as and are used in areas of philosophy, such as and and to, outside of considerations. Beauty and have been argued to be nearly synonymous, as reflected in the statement 'Beauty is truth, truth beauty' in the poem by, or by the Hindu motto 'Satyam Shivam Sundaram' (Satya (Truth) is Shiva (God), and Shiva is Sundaram (Beautiful)). The fact that judgments of beauty and judgments of truth both are influenced by, which is the ease with which information can be processed, has been presented as an explanation for why beauty is sometimes equated with truth.

Indeed, recent research found that people use beauty as an indication for truth in mathematical pattern tasks. However, scientists including the mathematician and physicist have argued that the emphasis on aesthetic criteria such as symmetry is equally capable of leading scientists astray.Computational approaches Computational approaches to aesthetics emerged amid efforts to use computer science methods 'to predict, convey, and evoke emotional response to a piece of art. It this field, aesthetics is not considered to be dependent on taste but is a matter of cognition, and, consequently, learning. In 1928, the mathematician created an aesthetic measure M = O/C as the ratio of order to complexity.Since about 2005, computer scientists have attempted to develop automated methods to infer aesthetic quality of images. Typically, these approaches follow a approach, where large numbers of manually rated photographs are used to 'teach' a computer about what visual properties are of relevance to aesthetic quality. A study by Y.

Hu employed Birkhoff's measurement in their statistical learning approach where order and complexity of an image determined aesthetic value. The image complexity was computed using information theory while the order was determined using fractal compression.

There is also the case of the Acquine engine, developed at, that rates natural photographs uploaded by users.There have also been relatively successful attempts with regard to chess and music. Computational approaches have also been attempted in film making as demonstrated by a software model developed by Chitra Dorai and a group of researchers at the IBM T.J. Watson Research Center.

The tool predicted aesthetics based on the values of narrative elements. A relation between 's mathematical formulation of aesthetics in terms of 'redundancy' and 'complexity' and theories of musical anticipation was offered using the notion of Information Rate. Evolutionary aesthetics. Main article:Evolutionary aesthetics refers to theories in which the basic aesthetic preferences of are argued to have in order to enhance survival and reproductive success. One example being that humans are argued to find beautiful and prefer which were good in the ancestral environment.

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Another example is that body symmetry and proportion are important aspects of which may be due to this indicating good health during body growth. Evolutionary explanations for aesthetical preferences are important parts of, and the study of the.Applied aesthetics. Main article:As well as being applied to art, aesthetics can also be applied to cultural objects, such as crosses or tools. For example, aesthetic coupling between art-objects and medical topics was made by speakers working for the US Information Agency Art slides were linked to slides of pharmacological data, which improved attention and retention by simultaneous activation of intuitive right brain with rational left. It can also be used in topics as diverse as, and website design. Criticism The philosophy of aesthetics as a practice has been criticized by some sociologists and writers of art and society., for example, argues that there is no unique and or individual aesthetic object which can be extrapolated from the art world, but rather that there is a continuum of cultural forms and experience of which ordinary speech and experiences may signal as art.

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By 'art' we may frame several artistic 'works' or 'creations' as so though this reference remains within the institution or special event which creates it and this leaves some works or other possible 'art' outside of the frame work, or other interpretations such as other phenomenon which may not be considered as 'art'. disagrees with Kant's idea of the 'aesthetic'. He argues that Kant's 'aesthetic' merely represents an experience that is the product of an elevated class habitus and scholarly leisure as opposed to other possible and equally valid 'aesthetic' experiences which lay outside Kant's narrow definition. Timothy Laurie argues that theories of musical aesthetics 'framed entirely in terms of appreciation, contemplation or reflection risk idealizing an implausibly unmotivated listener defined solely through musical objects, rather than seeing them as a person for whom complex intentions and motivations produce variable attractions to cultural objects and practices'. See also.References.