Aesthetics Essay -- Art

AestheticsKant defined esthetical as both, the analysis of taste and the analysis of sensible cognition or intuition . Aesthesis, means sensation, the Greeks made a distinction mingled with aesthesis autophues (natural sensation) and aesthesis epistemonike (acquired sensation). We may register that aesthetics is both the study of aesthetic objects and of the particular and subjective reactions of observers, readers, or audiences to the work of art. Aesthetics is necessarily interdisciplinary and may be interpretive, prescriptive, descriptive, or a combination of these. The big, obvious question astir(predicate) aesthetic value is whether it is ever re al angiotensin converting enzymey in the objects it is attributed to. This issue parallels the naive realism/anti-realism debates elsewhere in doctrine. Though there is little reason to subscribe that aesthetic value will behave in just the say way as for example, moral value. An extreme realist would say that aesthetic value reside in an object as properties independent of any observers receipts, and that if we make the judgment That is a beautiful flower, or this painting is aesthetically good, what we say is true or ill-judged true if the flower or painting has the property, false if it does not. We will hightail it to like the object if we blemish the aesthetic value in it, but, for the realist, whether we recognize it and whether it is are two separate questions.Consequently, much work in aesthetics has gone into trying to specify the nature of aesthetic experience or aesthetic response. One factor is pleasure, satisfaction, or liking. The second is experience the response we are looking for must be a way of attend to the object itself. In the case of music, it must be a response to perceived patterns of s... ...bility, however, so that a new question emerges The music all by itself somehow seems to point to, or stand for emotions how? Aesthetics has only to come to terms wi th this issue. There is a similar pattern in the case of artistic representation. In the question of what a picture depicts, what theatrical role is played by the artists intentions, and what by the interpretations which an observer may conjure up? Or does the painting itself have a heart and soul by standing in symbolic relations to items in the founding? If the latter, how similar, and how dissimilar are depiction and linguistic representation?. Once one starts to address problems at this level, the philosophy of art starts to concern the nature of philosophy as a whole.Work CitedKant, Immanuel. Critique of Judgement. Trans. J. H. Bernard. Hafner Library of Classics. New York Hafner Press-Macmillan, 1951.