Aesthetic Experience - download pdf or read online

By Richard Shusterman, Adele Tomlin

In this volume, a staff of across the world revered contributors theorize the concept of aesthetic adventure and its price. 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 merely in terms of artwork and artists yet to our internal and non secular lives.

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Hence it is a logical condition of the distinctively moral and political use of such terms as ‘‘fairness’’ and ‘‘obligation,’’ that they can figure in judgments that provide the motives for actions that are not themselves simply judgments. If a person confined him or herself to moral and political judgments rather than moral and political deeds, we would regard them as amoral or apolitical, or even alienated. On these terms, then, our moral and political engagements with the world are aptly defined as modes of action.

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 . )—not only imposes requirements on the cognitive stock of the perceiver but is afflicted by a number of uncertainties. For example, the notion of the aesthetic value of a natural object, so I have argued, suffers from an indefiniteness that does not attach to the idea of the aesthetic value of a work of art.

Sibley’s position is well defended in Jerrold Levinson’s ‘‘Aesthetic Properties, Evaluative Force, and Differences of Sensibility,’’ in Emily Brady and Jerrold Levinson (eds) Aesthetic Concepts (Oxford: Clarendon Press, 2001). 20 The best discussion of this issue is Jerrold Levinson’s ‘‘Pleasure and the Value of Works of Art,’’ conveniently reprinted in his The Pleasures of Aesthetics. 21 See my Values of Art (London: Allen Lane, The Penguin Press, 1995) part I. For a general conception of an aesthetic response in terms of an experience that is found to be intrinsically rewarding (or not inherently worthwhile, even worth not having), see my The Aesthetic Appreciation of Nature (Oxford: Clarendon Press, 2002) 14–15.

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