Revised interpretation of founding's and concepts through an history of aesthetics

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Reevaluation of Prinziples in Aesthetics

Essay von Burgy Zapp

Kategorie

Kunst Kultur Aesthetik

Summary

Revised interpretation of founding's and concepts through an history of aesthetics In englischer Sprache gibt dieser - der Verständlichkeit halber nur halb-wissenschaftliche - Artikel der Philosophie einen kompletten Abriss der Geschichte und Entwicklung der Aesthetik und ihrer Begriffe wieder.

warning.png"Revised interpretation of founding's and concepts through an history of aesthetics In englischer Sprache gibt dieser - der Verständlichkeit halber nur halb-wissenschaftliche - Artikel der Philosophie einen kompletten Abriss der Geschichte und Entwicklung der Aesthetik und ihrer Begriffe wieder." cannot be used as a page name in this wiki.

Revised interpretation of founding's and concepts through an history of aesthetics uses the same conceptual structure and matches with regards to contents of the article "History of Aesthetic" in order to serve scientific standards of completness; and be conclusive with state of scientific knowledge. On attainments of the article "History of Aesthetic" builds the revised interpretaion, that actualy is the effort of this present essay.

Context

This article belongs to a group of three, dealing with History of Aesthetics (english) Aesthetik (german) state of the scientific knowledge theory and Problems of Aesthetics (english) concerning problems within an integrated concept and looking at further externals.

Antique

• beginning of aesthetic as a science
• In the west, philosophy of arts starts with Plato and further achievements based on his work has been made in the following 200 years.

appearance of reality

First humans had to develop a consciousness for the difference between the object and presentation. The well known analogy, seeing shadows of people at the wall of a cave as true but untrue representation of the real people it shadows, can be pinned down as a new meme of understanding the connection between an idear or object and its presentation or imitation.

appearance of appearance

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In some aspects as in the following, reality itself can be put on the same level as art. Art appears to the recipient in a way according to the method of perception (seeing, hearing, etc.) and not as it actually is. Only art is more so an human crafted interpretation of an appearance representing reality. Therefore art again is an art crafted appearance on top of the sensible appearance of reality.

aesthetic as appropriateness or fitness to function

Cultural aesthetics are depending on knowledge and context in order to discover fitness to function or understand the function itself and therefore being able to discover appropriateness of appearance. Other aesthetics like those created by nature are more so understandable in an universal way. It is timeless and absolute by nature and less determined by culture.

 ?? Might beauty be a child of aesthetics or are they independent but interacting systems? ??

art and knowledge

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where art is not able to embed knowledge directly into the art craft it relies and therefore emits an appearance of intellectual maps / or on knowledge. Knowledge is not put into an artwork but is transported the artworks language of expression. The artist uses knowledge and skills to encode an interpreted second level appearance of the (true) objects with an relational link to surrounding mind maps. In the process of encoding reality into an artwork aspects of the underlying knowledge is transfered to the artwork like a mutated meme. Where quality changes in transfer and integrity of knowledge is lost a new reduced and also expanded appearance of the knowledge can be found in the artwork. If the artworks receiver has the cultural knowledge of encryption to his proposal, likewise a key, he is able to decrypt the artwork into a new mutation of the originating idea behind. Therefore the objects underlying knowledge is available again to the recipient as a decendend of the original as is the idea. Both the process of encryption and decryption as well as losses and addition due to interpretation are responsible for mutations of ideas and underlying knowledge in communication transfer and artwork manifestation.

moral and art

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Not only can the teacher been seen as an artist who teaches intellectual maps of reality but also as responsible as every artist for his work and its externals or effect on recipients. Where giving examples and storytelling of bad behavior followers will be found and professionalism will be embedded into asocial behavioral patterns. On the other side positive effects like great cultural diversion can be gathered through education without censorship. To discuss matters like these and become aware of responsibility is the duty of every artist, teacher and/or emitter of normative s, morals and values in society. Contradicting socially positive behavior will make it more easy for people to behave the same way. This implicates a great chance of improving social standards by the ideal behavior displayed by view and followed by many.

This may lead to the general responsibility every understanding human has just by beeing bystander to negative devellopment trends. As long as the artists, teachers, jornalists and others who are capeable of changing, intercepting or emitting informations which could change trends to a possitive turnaround. These negative for tendencys and developments in society we are all bystanders but do not feel anought responsible or capable for. How far this deduced responsibility can reach my the reader judge on his own but not foreget this would could be better than emaginable.

knowledge as basis for literal art kraft

In order to build a good plot the author or artist has to understand the principles of human behavior as an underlying knowledge below the plot or the psychology behind the plot. Both are necessary in order to invoke human feelings based on authenticity of the storyline. This is how strong reactions are provoked in the audience and not by taking drastic steps and brute plots. Generalizing one can say, literal art relies on general psychological truths and authenticity of ideas.

?? Does the good or nongood has a connection with aesthetics??

?? Love can be seen as always the love of beauty and of absolute and ultimate beauty through its lesser and dimmer manifestations in nature or in the work of the artist-craftsmen. ??

utopic aesthetics

Aesthetics (creatures, alive or dead objects) created by men or nature are always imitations of the most perfect and henceforse most fit for survival ideals. Therefore aesthetic creatures created by men or nature always are improvable by the other / both. Whereas aesthetics depend on the recipient to be readable a utopic aesthetic can be found only from the subjective perspective because one can not imagine an absolute truth and therefore no perfect functionality.

middle ages

first attempts of objective operationalization

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The interest to discover objective criteria or indicators for aesthetics, triggered different theories how to explain the phenomena of aesthetic. By seeing the perception of aesthetics, based on a normative judgment in the foreground of normative values and conventions, an objective point of view became possible.

Only because aesthetics criteria are partly universal one can speak of true objectiveness. Where a perfect fitting form to the function of an object is imaginable as aesthetic perfection, there will be always individuality in perception due to an individual intellectual setup of the recipient and therefore no absolute perfection. Besides individuality the sense for aesthetics seems to be an universal mechanism of nature which varies very few in its deversety from human to human.

Different tastes can be better explained through the great varrarity of cultural setups and education. In the determination, weather the appropriateness of form, layout and looks implies perfect functionality, knowledge / education plays a vital role.

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We can abide by beauty is what pleases on being seen. As objective indicators for some areas of aesthetic there can be named: 1. integrity of perfection 2. due proportion or harmony 3. brightness or clarity 4. each thing is beautyfull in its own way. If objects are textual or art the specific language and encryption have to be taken into account. eg. metaphors (poetry) and symbols (Christian art)

??This truths leaves questions of discrimination conserning bad taste, and conectiosn to beauty as a lesser form?? ??The context of beauty and aestetics is not yet perfectly clear, conserning the authers first notes Aesthetik??

renaissance

cultural influence

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Reception of aesthetics can be influenced by education or authority. A normative standard introduced and secured by the ruling class can not only influence new objects in creation but determine contents of education and therefore the aesthetics underlying knowledge.

The subjective part of aesthetics can be traced back to cultural determination.

second attempt of objective operationalization

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By combining the four criteria of the first attempt and formalization operation of aesthetics can be pushed even further. To meet the requirements of object specific aesthetics categories or artdisciplines can be used to further formalize and specify operationalization. Only by restriction on only one categorize, precise operationalization of aesthetics can be hoped for; because appropriateness and fitness is to be judged according to the objects nature. A way to distinguish categories can be by example the sign´s uses to give functionality / reality an appearance / imitation.

empiricism

psychology of art

For the creation of art there is memory, imagination and reason necessary. Memory in order to invoke images then by imagination produce new layer of reality as appearance of the invoked image. And finally reason to make the appearance associable to the originating idea and finally encode the artwork into language and/or symbols. By studying the humans ability to learn, sense and create we can assume neural processes, measure brainwaves and compare results. By doing this we can assure theories like the above but will not yet or maybe never be sure what happens inside our heads when aesthetics are sensed or created.

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It can be assumed that most languages and/or signs art´s are encrypted in have to be interpreted and associated to other intellectual maps in order to retrieve information.

The unfixed line between subjective and objective aesthetic measurements and models may in future be more enlighted thanks to psychology science.

The psychological investigation of the way art and aesthetics perceptions effects feelings and decisions can be divided as: 1. search for adequate explanation of objective aesthetics 2. inquiry into justification of critical judgment as the problem of taste as subjective aesthetics

aesthetics and the problem of taste

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If a moral sense can be assumed to administer appropriateness and fitness in both, aesthetic and ethical appearances may they not be just two sides of the same mechanism of nature. Taste can be described as determined through nature and nurture with additional cultural - object, object - individual, culture - individual relations. Where education, knowledge and intellectual maps are lacking or the ability to associate or interpretation does not suit the object the sense of aesthetic will not be gatherable.

Judgment of taste can`t be explained exclusively interlectualy because the judgments underlying knowledge does only partly influence judgment directly but more so through feeling of intuition. It may build through association of intellectual maps and recognition of patterns.

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A more precise explanation could be: The intellectual process of recognition and interpretation is not an aesthetic judgment itself but indirect knowledge about the object. It triggers the universal mechanism of aesthetic judgment as a layer of evaluation in an emotional way supporting and influencing and/or guiding cognition and decision making.

Arguing an judgment of taste is possible where the triggering, connected and underlying knowledge is accessible in a reasonable way. As long as thoughts themself (through neural process of judgment, decision, sense, work) are uncommunicative to ourself an exhausting explanation of any judgment, etc is not possible. As we now seem to know there is awarding or non awarding sense of aesthetic (mixed with other emotions) involved in any judgment, etc as controller. Therefore we will have to stay with the judgments surrounding knowledge in debate of taste where some uncontious aspects of judgment stays unaccessible, as is aesthetic itself uncommunicative.

-Schiller from Sensual to intellectual as development of human through education is sensuous system (Stoffwechsel) formal impulse (Stoffbetrieb) respond to form of life

romanticism

emotion, decisions and aesthetic

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Where emotions not only control how accurate and lasting informations (knowledge) are memorized but also attribute judgments and valuations to the gathered intellectual maps. Memorizing again is attached by emotions controlling change of moods through chains of thought and even the capability to commemorate associated context or information at all. Why not shell they be part of intellectual maps or knowledge and any other concept originated by rational thinking. If so, we can be sure that aesthetics are capable not only of catching notice and optimizing flow rate of information but is part of the very same by transporting a building judgment.

organic aesthetic

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Gathering the above interpretations together the enormas complexity of influentials and determinants of aesthetics as well as influence and externals of aesthetics can be grasped. Metaphorically expressed aesthetics are as complex as organics. Both are more then summation of all parts and connections due to interacting systems and unknown terrain. As long as there can be seen aesthetic aspects in an object, especially art, organic nature can be imputed.

symbolism a system of language and vice versa

By exploring the connections between symbolism, language and aesthetics great cognitions can be gathered. Human systems of communications are alike each other using the brain as the same encripter and decripter. They distinguish from another by using other methods of comemorising, compression, encryption, transport, description, interpretation, memororising. By comparing these different methods, certainly axioms can be found, leading to greater understanding of aesthetic and it's insights.

aesthetics and society

art for arts sake

Not the arts have a selfpurpose but living creatures and by creating arts (assumed it makes the creature happy) the creature fulfills his one purpose of existence. Art for itself, yes it can be seen as entity, whereas this can't justify immoral behavior, hurting others. Because they as living creatures have a higher selfpurpose then any thinkable entity which would be based on individuals but does not consist of them. And even if an entity does consist of individuals its rights could not be higher then that of its individuals on the same level but perhaps in a metaphorical or moral way (religion, gaia, all living creatures etc). Better ones could say "art for the arts entitys sake" which does not mean externals can be overlooked and do not concern social responsibility. When talking about arts, there are aesthetics involved, manipulating the receivers engagement in communication and reception of the arts idea / true nature.

society and aesthetic

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Assuming that aesthetics are an universal mechanism like disgust, it will work in an universal way but be determined by cultural background, education, and context. Therefore society and its diverse cultural settings are an important determinant how aesthetics effect subjective reality.

aesthetics, responsibility and society

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As arts and society used to reflect one another by interaction through cultural activity, nowadays aesthetics are professionally used in all different kinds of media to influence the recipients way of perception. Therefore now we have to overthink the importance of aesthetics in everydayslife. Aesthetic as a mechanism provided by nature presumably increases fitness to survive by optimizing communication and focus on important cognitions and contend. As such creatures of aesthetics will have to think about the responsibility and chances involved in using such forces to manipulate the recipient of the chosen media. And more so we as society shall debate acquaintance of aesthetics as we did before with criticism, manipulation and socially acceptable behavior. Less the aesthetics themselfs bear the moral aspect but the message or idea supported through it carries an ethic point of view into aesthetic dialog.

Where the costs of creation are concerned the author can't see a way, under the given circumstances of economy, the social and economic costs of arts or aesthetic shall be the subject to moral debate.

recent influences

intuitive knowledge

An concept that divides knowledge into logic and intuitive knowledge and postulates aesthetic as an science of "images". The most interesting aspect seems to be the raw sense data as "impressions" on the lower levels of conscious.

arts and culture

Time it was to take into account that there is no clear line between fine and useful arts or objects of everydayslive as there is no professional nor unprofessional aesthetic because aesthetics are always true in its universal nature.

aesthetics as indicator of pervasive quality By going back to aesthetics as indicator of pervasive quality we do accept aesthetics to be an evolutionary influence on communication; a selective mechanism to identify pervasive quality.

aesthetic and semiotic

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Through interdisciplinary thinking the influence of semiotic on aesthetics can be described as following: Methods and systems of communications are optimized to our brain. Evolutionary inference: Brain was optimized for common communication patterns (symbols, system, density of information, etc) in selective process. -> The conclusion must be our brain and communication standards (languages etc) nowadays are partly made for each other. By knowing aspects of one we can induce consolidated findings into the other.

One deduced axiom could be named like that: Archaic systems of communication, although archaic do not by this very same reason have to be trained or learned but can be understood by intuition or instincts. Psychology: Mimic eg. crying, laughing etc are part of an universal (body?) language.

Literature

Structure of the article

Revised interpretation of founding's and concepts through an history of aesthetics uses the same conceptual structure and matches with regards to contents of the article "History of Aesthetic" in order to serve scientific standards of completness; and be conclusive with state of scientific knowledge. On attainments of the article "History of Aesthetic" builds the revised interpretaion, that actualy is the effort of this present essay.

The articel (History of Aesthetics) was published in "The Encyclopedia of Philosophy" (Volume one, Published by Macmillan Publishing Co & The Free Press in New York, Collier Macmillan Publishers in London) Whereas the list of contributers is longer than a normal article there is only "Paul Edwards is Editor in Chief" to be named.

More Literature

This article was written as part of "Programm der Aesthetik" an comtemporary art of thesame. In order to find more about the concept and nature of Aesthetics from another source the author recomends the Article Aesthetics in the Wikipedia. Why the Wikipedia is a great project worth of tribute is to be read on our Mainpage for the timebeeing only in german language.

--Burgy Zapp 21:47, 12. Sep 2005 (CEST) Template:Post kor

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Dokument von: Burgy Zapp
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