aesthetics

trolley problem

metaphysics

phenomenology of spirit

purpose of life

is a cult of hedonism and technique which fetishizes style and surface much like voices of ghosts returning from the past.

in The Ideology of the Aesthetic (1990) he argues that the 'art in the 'postmoddern' age has lost its emancipatory potential, and that aesthetic has come to represent either the agent oflat capitalism characterized by a 'fetishism of style and surface' and a 'cult of hedonism and technique' or the echo chamber of the voices of ghosts returning from the past armed with a 'panoply of myths, symbols, and orgiastic spectacles' (Between the technique of the living an Endless routine. . . ' (Yukiko Iida. . . Positions 2000).

is a genre in which the politicization of modern reproducible art is demanded both to reflect the state of a society and to incite change.

Benjamin's call in 'The Work of Art in the Age of Mechanical Reproduction' for the politicization (i.e., a literal reflection of perceived political realities) of modern, reproducible art both to reflect the state of a society and to incite change.[1]

is a non-anthropocentric concept of feeling. The basic condition of experience which all experience, including science emerges out from.

To say that Whitehead's ontology is aesthetic means that he posits feeling, or prehension, as a basic condition of experience. For him, even science emerges out of aesthetic experience. His ontology revolves around a nonanthropocentric concept of feeling. This notion of prehension exceeds the phenomenological demarcation of the human body as the center of experience and at the same time adds a new inflection to an understanding of the feelings, sensuous and nonsensuous, concrete and abstract, of such entities. To feel a thing is to be affected by that thing. The mode of affection, or the way the 'prehensor' is changed, is the very content of what it feels. Every event in the universe is in this sense an episode of feeling, even in the void. (Goodman 2010 95-96)

is concerned with the beauty of art (not natural beauty) because art is one of the modes, along with religion and philosophy, in which mind comes to know itself and its activities.

For Hegel, aesthetics is concerned essentially with the beauty of art rather than with natural beauty or some free-floating aesthetic experience. This is because art is one of the modes, along with religion and philosophy, or absolute spirit, in which mind comes to know itself and its activities.

is contrasted with ethics in that the person who lives ethically sees tasks everywhere while the man who lives aesthetically sees possibilities everywhere.

[T]he person who lives esthetically sees only possibilities everywhere... for him these make up the content of future time, whereas the person who lives ethically sees tasks everywhere.

is devoid of the distinction between subjective and objective. This is because the subject (i.e. The willing individual with his own personal demands) is the enemy of what art is, not its origin.

In marked contrast to this, we maintain that the entire opposition of the subjective and the objective, which even Schopenhauer uses as a measurement of value to classify art, has generally no place in aesthetics, since the subject, the willing individual demanding his own egotistical purposes, can only be thought of as an enemy of art not as its origin. (Nietzsche 'birth of tragedy' pdf 15)

is divisible into the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed and makes the world into its instrument, forging beyond spatial and temporal prisons, a personal vision.

Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision. Jorge Luis Borges

is for the artist like ornithology is for the birds.

Aesthetics is for the artist like ornithology is for the birds

aesthetics, n.All

aesthetics