This article is an attempt to give arguments for bringing aesthetics back into praxis. Often aesthetics is understood as something coming out of individual designers' or architects' creative talents. We challenge such a view by introducing an understanding of aesthetics as an aspect of praxis. The article builds on observations of a design project for a community centre in a Danish village. We argue that aesthetics is a result of struggles by participants in praxis, where aesthetic, material, functional, ethical, political, (...) and economic aspects are formed by each other in a dialectic process. The struggles are found in the client's reasons for starting the process, in the design and construction process and the use of the results. This means that descriptions of the aesthetics of buildings should incorporate relevant discussions and struggles of the design, construction and use of the building. It also means that the key to a fruitful ongoing collaborative process producing good aesthetic comes from managing together the many aspects of praxis in an open way. (shrink)

Die analytische Ästhetik baut zu erheblichen Teilen auf den Impulsen von Richard Wollheim auf. Doch Wollheim unterscheidet sich vom Hauptstrom der analytischen Ästhetik durch die Auffassung, dass ein angemessenes Verständnis der Kunst nicht ohne eine anspruchsvolle Konzeption des menschlichen Geistes in seinem Selbstverhältnis zu gewinnen sei, wie er sie insbesondere im Rückgriff auf psychoanalytische Theorieansätze entwickelte. Der Geist, der auf sich selbst aus ist, erkennt das Kunstwerk als ausgezeichnete Gelegenheit, zu sich selbst zu kommen.

The self evolved out of a sense of somatic motor orientation and body boundary awareness; and affective states as motivators furthered in conjunction with a sense of self evolutionary speciation. Affective states form to a greater extent than cognition the sense of experiential reality that is taken for granted. Neurophysiological and experiential culture-invariant evidence indicate the existence of eight (and possibly ten) basic affective states in mammals. These affective states have in humans found expression in mythic terms as well as (...) in the basic themes of world literature. According to classical Indian introspective analysis of aesthetics the basic emotions determine human activity and are the well- spring of literature and art, especially if the emotions become dis- sociated from a sense of egocentricity, i.e. if they become detached from a sense of self so that they no longer are in uenced by ex- istential fear. The comparatively close similarity between Indian aesthetics and the neurophysiology of the different affective states suggests the possibility that such aesthetic value judgments may be based on widespread evolutionary determinants. (shrink)

This chapter contains section titled: Neo‐classical French Theory: Boileau and Batteux The German Enlightenment: Gottsched and Lessing Baumgarten Hamann and the German Counterenlightenment.

Este ensayo se plantea las relaciones entre dos regímenes de visibilidad: pintura y televisión, que parecen constitutivos de la tradición cultural en Occidente. El propósito es analizar esa relación siguiendo tres estrategias: la primera, traza la genealogía que va del cuadro como modo privilegiado de representación visual a la pantalla como medio privilegiado de simulación; la segunda, rastrea los diferendos y las hibridaciones entre arte y televisión, contrastando el “déficit de realidad” que caracteriza al arte en relación con el exceso (...) de copias, reproducciones y simulaciones de “lo real” que caracteriza la televisión; por último, se sugieren formas de resistencia a las políticas de producción masiva de imágenes televisivas en el mundo actual. (shrink)