By Richard Shusterman, Adele Tomlin
In this volume, a staff of across the world revered contributors theorize the concept of aesthetic adventure and its price. Exposing and increasing our restricted cultural and highbrow presuppositions of what constitutes aesthetic event, the e-book goals to re-explore and confirm where of aesthetic experience--in its evaluative, phenomenological and transformational sense--not basically on the subject of paintings and artists yet to our internal and non secular lives.
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Additional resources for Aesthetic Experience
I leave aside the question whether this criterion succeeds in effecting the desired distinction. 9 One important distinguishing feature of ﬁction is that the engagement of the imagination, which is an essential feature of its aesthetic appeal, does not consist in the (imaginative) perception of the imagined characteristics or scenes in the constituents or material of the work itself. 10 Jerrold Levinson provides the clearest rationale of the distinction in his ‘‘Artworks and the Future,’’ conveniently reprinted in his Music, Art, and Metaphysics (Ithaca NY and London: Cornell University Press, 1990) 182–83.
From the consideration of Walton we take the important fact that aesthetic pleasure is a non-propositional pleasure: for the account of aesthetic pleasure as pleasure taken in the perception of aesthetic value to be adequate, pleasure in the perception of aesthetic value must not be understood as simply pleasure from that perception. From the consideration of Levinson we take a near neighbor of his conception, weakening his account in order to jettison the over-strong requirement imposed by his eliding the distinction between aesthetic pleasure and aesthetic appreciation: aesthetic pleasure, as distinguished from purely sensory pleasure, is pleasure taken in relations among the elements of the object and/or in higher-order properties of the object—by which I shall understand properties dependent on the nature of its elements and the relations among them—as they are realized in the object.
If difference of object were the only operative difference here, then to look upon such classes of cognition as also entailing a difference in variety or kind qua cognition would be in conﬂict with Ockham’s Razor. We would be multiplying our varieties and kinds unnecessarily. Let me now consider the aptness of psychological grounds for differentiating the aesthetic as a variety of perception, attention, awareness, or attitude. This approach has been very inﬂuential in the twentieth century, even amongst analytic philosophers.