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Download Aesthetic Experience by Richard Shusterman, Adele Tomlin PDF

By Richard Shusterman, Adele Tomlin

In this volume, a crew of the world over revered contributors theorize the concept of aesthetic event and its price. Exposing and increasing our restricted cultural and highbrow presuppositions of what constitutes aesthetic event, the publication goals to re-explore and confirm where of aesthetic experience--in its evaluative, phenomenological and transformational sense--not merely on the subject of paintings and artists yet to our internal and religious lives.

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There is an another problem for Walton’s account if admiration is not necessarily pleasurable. An item’s aesthetic value is said to be its capacity to elicit ‘‘reasonable’’ or ‘‘apt’’ pleasurable admiration. It follows that non-pleasurable admiration of a work of art is not a matter of judging the aesthetic value of the work favorably. But why does the addition of pleasure to admiration turn it into a judgment of aesthetic value? Furthermore, if it is possible to derive pleasure from listening to a piece of music or reading a poem or watching a movie for the sake of it without judging it to be good (‘‘I enjoyed it but it’s kitsch, sentimental .

In order to accommodate under the banner of the aesthetic pleasure in aspects of a work traditionally conceived of as being non-aesthetic, it is unnecessary 26 Malcolm Budd to insist that this pleasure must involve reflection on or appreciation (rather than mere awareness) of the manner in which they are realized in the work: it suffices that the pleasure should be pleasure in them as so realized. V We can bring away from our consideration of these accounts two significant features of aesthetic pleasure, whether this is aesthetic pleasure in a work of art or aesthetic pleasure in a natural item or an artifact that is not a work of art.

However, to experience their beauty involves sustained cognitive exploration of those relations of unity and diversity which characterize their phenomenal fabric. In following the relation between whole and parts in the crustacean shell, for example, what may engage us is how the overall shape restrains and directs aspects of texture and color, and other elements within the manifold. We not only relate parts and whole to one another, but also explore its possibilities in relation to sub-structures within the whole.

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