Sentences with phrase «of aesthetic experience in»

This reality helps us understand Henry's exasperated incredulity at the spectacle of the nation becoming richer and richer while its public realm became poorer and poorer — his deep - seated anger at the inconceivably extensive degradation of aesthetic experience in postwar America.

Not exact matches

Borges, for instance, believed him a far more important figure in French letters than any of his more celebrated near contemporaries, and credited him with having invented an entirely new approach to aesthetic experience, reconciling (without merging) the traditions of Asia and Europe.

-- The difference between an aesthetic experience and a «religious» experience IS one of the questions raised in this movie, and you haven't even begun to address that question, other than to restate it.

In modern societies, Weber argued, the biblical God must compete with worldly gods such as aesthetic experience, material success, nationalistic fervor, erotic pleasure, and the many other forms of self - transcendence and this - worldly immortality that call out to our inner demons.

However, the aesthetic model of cosmic purpose suggests that our own experiences may be lacking in perspective.

If we take seriously Whitehead's claim that the fundamental form of order and hence of value is aesthetic, and the accompanying principle of relatedness, it is obvious that unilateral power (the ability to affect without being affected) inherently inhibits the growth of value in human experience.

When humans experience this harmony «they call it aesthetic experience Aesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciouaesthetic experience Aesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciouAesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciousness....

However, to paraphrase Martin Buber, while they may accompany the event they do not constitute it.4 Our aesthetic sensitivities, important as they are in experiencing life to the full, are a part of the world, a part of creation.

Thus relational power is here understood as the ability (1) to be affected, in the sense, especially, of being open, sensitive, receptive, and empathic; (2) to create oneself out of what has been experienced by synthesizing that data into an aesthetic unity; and (3) to influence others by the way in which one has received and responded to their influence.

The pervasive, universal values are not moral and are not mere pleasure, they are aesthetic in the sense of the intrinsic harmonies and intensities of experiencing.

Moral discernment is never the whole of experience, but the aesthetic values of experiences are their entire intrinsic values, what makes them good simply in themselves.

But it explains why contemplation of the majestic figures in Michelangelo's Medici Chapel is an experience more spiritual than aesthetic.

Aesthetic texts, so went the claim, present an experience which is shared between an author and a reader in the communicative act of reading.

I refer also to the human experience of aesthetic appreciation, along with our capacity for evaluating, enjoying, suffering, and in other ways becoming sensitively aware of what is both within us and around us.

Both Whitehead and Charles Hartshorne have repeatedly argued that art and aesthetic experience arise within a structure of contrast within identity, or unity in variety.3 This structure enables the mind, or the rationalizing self, to grip the beautiful, to hold it within a category, sometimes called a proposition.

26 See William Shea's effort to establish this and to show the religious meaning manifest for Dewey through the aesthetic discernment of quality in «Qualitative Wholes: Aesthetic and Religious Experience in the Work of John Dewey» The Journal of Religaesthetic discernment of quality in «Qualitative Wholes: Aesthetic and Religious Experience in the Work of John Dewey» The Journal of ReligAesthetic and Religious Experience in the Work of John Dewey» The Journal of Religion, Vol.

His A Whiteheadian Aesthetic has subtly influenced numerous process philosophers and theologians.1 Sherburne's rationalistic approach is embodied in his specific suggestion that for Whitehead an art work is a proposition or a part of a proposition and that aesthetic experience is a feeling of such a proposition; this approach is derived primarily from Whitehead's Process andAesthetic has subtly influenced numerous process philosophers and theologians.1 Sherburne's rationalistic approach is embodied in his specific suggestion that for Whitehead an art work is a proposition or a part of a proposition and that aesthetic experience is a feeling of such a proposition; this approach is derived primarily from Whitehead's Process andaesthetic experience is a feeling of such a proposition; this approach is derived primarily from Whitehead's Process and Reality.

Aesthetic value, in the sense of the beauty of experience, is the primary issue.

Nevertheless, Sherburne, his colleagues, and even the particular Whitehead of Process and Reality, in their devotion to rationalizing the meaning of the world, including the world of art objects, fail to appreciate the aesthetic power of the experienced world.

This theory is rationalistic in that it identifies aesthetic experience with a clear, distinct, and ordered estimation of the external artistic reality.

In this context, Gandhi stresses the analogy between Collingwood's reformed metaphysics and Strawson's descriptive metaphysics, two conceptions that, on Gandhi's view, have to be rejected.3 A concept of metaphysics such as that of Whitehead necessitates, on the contrary, «the analysis and critical evaluation of scientific presuppositions in connection with presuppositions of other domains of civilized thought (moral, religious, sociological, aesthetic, etc.), so as to arrive at a satisfactory conception of the most fundamental characteristics of all that we encounter in our experiencIn this context, Gandhi stresses the analogy between Collingwood's reformed metaphysics and Strawson's descriptive metaphysics, two conceptions that, on Gandhi's view, have to be rejected.3 A concept of metaphysics such as that of Whitehead necessitates, on the contrary, «the analysis and critical evaluation of scientific presuppositions in connection with presuppositions of other domains of civilized thought (moral, religious, sociological, aesthetic, etc.), so as to arrive at a satisfactory conception of the most fundamental characteristics of all that we encounter in our experiencin connection with presuppositions of other domains of civilized thought (moral, religious, sociological, aesthetic, etc.), so as to arrive at a satisfactory conception of the most fundamental characteristics of all that we encounter in our experiencin our experience.

The recreation of this proposal in the conscious, definite, and intellectual awareness of the beholder is called a «propositional feeling,» and it is this feeling which is aesthetic experience.

4 Interestingly, Leonidas C. Bargeliotes has interpreted aesthetic experience from the perspective of propositions in his «Propositions as a Lure for Aesthetic Feeling,» Diotima 9 (1981):aesthetic experience from the perspective of propositions in his «Propositions as a Lure for Aesthetic Feeling,» Diotima 9 (1981):Aesthetic Feeling,» Diotima 9 (1981): 29 - 35.

May I emphasize the fact that the elements and functions coming from the superconscious, such as aesthetic, ethical, religious experiences, intuition, inspiration, states of mystical conscious - ness, are factual, are real in the pragmatic sense... producing changes both in the inner and the outer world.

«Spiritual» is used in psychosynthesis to include specifically religious experiences but also the whole range of ethical, aesthetic, and humanistic values.

Here, the psychic act of distancing was applied to that quality of experience which gives rise to man's sense of the normative, and this was conceived as standing over against man, possessing just the objectivity that belongs to a visual form when it is distanced in aesthetic experience.

As his mind turned increasingly to philosophy, the physicist in him sought to understand the whole of reality and not only man, whilst the aesthete in him interpreted all reality by extrapolation from human experience, thus finding aesthetic value in all actuality.

The reader and the text are partners collaborating as co-creators in an aesthetic event of understanding that, by generating an experience of meaning, originate something that did not exist before.

His reciprocal analysis retains the importance of a rational expression of the real (as the primary means whereby we express an explicit understanding of the world as such, both to ourselves and to others) while at the same time recognizing the aesthetic dimension that is present in any level of understanding (as grounded in the immediacy of experience).

Whitehead's well - known notion of the Stage of Romance in education gets its power from the fundamental aesthetic need of the human organism for novelty and zest in experience.

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.

He says in Religion in the Making, «The metaphysical doctrine, here expounded, finds the foundations of the world in the aesthetic experience... All order is therefore aesthetic order, and the moral order is merely certain aspects of aesthetic order.»

In aesthetic distancing, the content of the receptive consciousness plays the primary role, although significantly organized experience can also be objectified in this waIn aesthetic distancing, the content of the receptive consciousness plays the primary role, although significantly organized experience can also be objectified in this wain this way.

Moreover, he corrects Plato, who said that love is the search for supreme beauty, and declares that love simply is the supreme beauty.39 In addition, he avers that the whole range of emotional and aesthetic experiences in whatever sensory form can be interpreted most illuminatingly as the manifestations and self - enjoyment of love.In addition, he avers that the whole range of emotional and aesthetic experiences in whatever sensory form can be interpreted most illuminatingly as the manifestations and self - enjoyment of love.in whatever sensory form can be interpreted most illuminatingly as the manifestations and self - enjoyment of love.40

The panexperientialist version of physicalism does justice to this fact by portraying the mind in each moment (that is, each dominant occasion of experience) as having both a physical pole, which is constituted by the causal influences from the physical environment, and a mental pole, which entertains ideal possibilities, including logical, ethical, and aesthetic norms.

Hope can be based upon components of process itself: (1) the generally available vision of God; (2) the openness of the future; (3) the everlastingness of the past in the memory of God; (4) freedom to create novel experience at all levels of the cosmic process; (5) aesthetic enjoyment of existence, and (6) the possibility of a better society through intelligent use of the first five elements.

The delight and the discipline in the aesthetic experience are nicely recorded by Pablo Picasso and Georges Braque, two of the greatest modern painters.

Moskop claims that there are five points of agreement between the two philosophers: both maintain that ethics is» (1) teleological, (2) having its telos in experience, (3) requiring qualitative distinctions among experiences, (4) based on an aesthetic criterion of good experience, and (5) altruistic» (MH 19).

Finite beauty powerfully points towards the infinite but unreachable beauty of God, arousing in us who experience it both joy in possession, and pain in the perceived absence, of the one to whom we may be drawn and directed by a particular aesthetic event.

The «aesthetic,» in this profound sense, with its expression in appreciation, evaluation, enjoyment or displeasure, and the like, is as much a part of our human experience as the rational and volitional aspects.

These principles can themselves be seen as «aesthetic» in both the narrower and the broader sense: they define the conditions for the achievement of value in a work of art, or in the experience of any actual occasion.

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?

If indeed we are to judge all thought by the way it «promotes the art of life,» then I think that we must recognize that there are many ways in which that «art» can be promoted, just as there are many different forms and styles within the fine arts, all of which can give rise to particular kinds of rich aesthetic experience.9

If this is so, then the issue becomes not one of distinguishing those modes of human thought and experience which are «aesthetic» in character from those which are not, but one of evaluating and comparing (insofar as this can be done) different experiences with diverse textures and degrees of aesthetic intensity.

Doing a long series of arithmetical calculations or working all day entering data at a computer terminal may result in almost total «an - aesthesia,» while proving a new mathematical theorem or writing a complex computer program may bring about intense involvement and the enjoyment of vivid immediate experience.8 «Aesthetic» experience in the more usual sense of tile term can also y ~ ry fi - om trivial to highly intense, even when it relates to a single object; one is reminded of the cliche situation in which one member of a couple listens in rapture to a concert while the other writhes in boredom.

As has been pointed out, he stresses the importance of the aesthetic element in all experience, thought, and action.

Yet if we are to judge purely on the basis of immediate aesthetic quality, of «intensity» in a Whiteheadian sense, on what grounds are we to prefer the experience of «passive» contemplation to that which comes from the active exercise of instrumental reason?

Given his panpsychism or «psychicalism,» Hartshorne holds that the ultimate units of reality are, in the broadest sense, feelings, or that feeling is a «cosmic variable» which can range from the most primitive, unconscious aesthetic reactions of subatomic particles to their environment to the most elaborate conscious experiences of God's.

It must be recalled that the intrinsic actuality of things consists in their aesthetic patterning of experience.