This book investigates
the nature of aesthetic experience and aesthetic objects.
Rob Marks writes about
the nature of the aesthetic experience and its effect on self and society.
Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question
the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.
Not exact matches
At first they may be taken merely as
aesthetic moments, such as communing with
nature, savouring memories andimages, meeting mysteries, the heightened sensing
of musical sounds, odours, colours, the thrill
of acute poetic expression, or moving encounters with other human beings; but on further reflection people often cite such
experiences as having a spiritual quality and as hints
of the divine.
Any
aesthetic which eliminated entirely the propositional
nature of art, reduced art to something physical and
aesthetic experience to a physical encounter, would be silly.
For him, it is not the systematic world
of the speculative philosopher that is
of greatest value, but the natural, chaotic process which lies hidden behind the falsifying face
of reason, a process whose true
nature can only be known on a purely
aesthetic level through
experience in its immediacy («Beyond Good and Evil,» BWN Section 213; «Will to Power,» Section 794).
By approaching the question
of mind and
nature in this way Whitehead is able to provide us with an aesthetically rich understanding
of nature, which at the same time preserves a necessary role for reason and the search for truth as an indispensable element in the determination
of conscious
experience, the enhancement
of our
aesthetic sensibilities, and the general advancement
of civilization as such.
Is there a greater
aesthetic value in participatory
experiencing «in accordance with the
natures of things» than in a mode
of experiencing which involves the active construal and perhaps even domination
of the
experienced object?
I see no consistent basis within the framework
of Hall's own thought for asserting that this particular kind
of experience is somehow «illegitimate,» that its
aesthetic quality is greatly inferior to that which results from the
experience of art or
nature or interpersonal relationships or even
of mystical contemplation.
An essential element
of Hall's novel vision
of the future is the idea that once technology has been fully established as a self - governing, self - sustaining system, a sort
of «automatic rationality» with which we need no longer concern ourselves, we will be free to turn away from «actions over against
nature,» to turn our attention «inward» to the sort
of «actions» which enhance the
aesthetic value
of experience.
In his first book, entitled The Philosophy and Psychology
of Sensation, Hartshorne announces his agreement with the Whiteheadian idea that the materials
of all
nature are events composed
of aesthetic feeling,» claiming the additional support
of modern physics for the contention; and he has never wavered in this conviction.17 Moreover, he also expounds in this work the further Whiteheadian notion, which he tirelessly repeats in his later works, that what the Constituent
experiences or feelings
of the universe
experience are other
experiences.
The first
of our two schemes is framed in terms
of the hierarchical structure
of nature and the second in terms
of aesthetic experience.
The emphasis on immanence, the rejection
of any substance underlying the succession
of experiences, the relation
of man to
nature, the primacy
of aesthetic categories in the understanding
of ethics, all have affinities to this or that Asiatic philosophy or religion.
Lindsay will oversee all aspects
of the culinary
experience at Bardessono and for Lucy Restaurant & Bar, the hotel's award - winning, signature restaurant presenting innovative, garden - inspired cuisine that embodies the property's «exceptional by
nature» modern
aesthetic and eco-spirit.
Her analog
aesthetic blurs boundaries and creates a multimedia
experience that blends appreciation for the beauty
of nature.
They strove to challenge and transgress the traditional dictums
of art making, to transport art into new spaces, to create an
experience for the viewer, and to dissolve boundaries between
nature, art and technology, all with an optimistic enthusiasm and unrestricted
aesthetic.
His critical interests concern the intersection
of processes, motivations, and outcomes in music, art and design; art as a social practice; and generally, the
nature of cognition and
aesthetic experience.
Combining the empirical qualities
of technology and the subjective
nature of painting, Finch created light boxes that produce an
aesthetic experience of the fleeting, temporal
nature of the observed world.
Despite the diverse
nature of the 20 artists» work, reflecting a great variety
of concerns, ideas and media, they have in common an attempt to construct compelling
aesthetic universes, to convey their own intensity
of experience and perception
of the world.
«While each painter exemplifies a kind
of hybrid
experience in his or her work, they differ vastly in their execution,
aesthetic, and biography — creating an eclectic commentary about the
nature of modern amalgamation.
With each installation, Lima consistently reinvents the viewer's encounter with her work, skillfully considering the
nature of perception, social relationships, and human behavior, while creating profound and startling
aesthetic experiences.
Finch is widely recognized for his work across a variety
of media that captures the artist's
aesthetic probing
of nature, human culture, and memory through a unique cross current
of science, perception, and personal
experience.
Kroll asserts his individual freedom by expressing his inner
nature in a kind
of spiritual
experience that confers a joyous authenticity to his work and reveals his deep and personal vision in a serene affirmation
of his
aesthetic and pictorial mastery to which this exhibition bears witness.