Shusterman And The Aesthetic E
Axperience
Oh, how the concept of analytical aesthetics has been construed, confused, consumed, massaged, reworked, wrestled, swallowed and digested and spat out in so many different forms of philosophical vomit (for lack of a better word). Can it be possible that the fruits of this immeasurable labor are unclear, after so many decades of toil, if present at all? Modernity is responsible for the coining of the term aesthetic. The word served to rid the art world of beauty, so to speak, in favor of a more specific, descriptive term that explained not only the work but also the experience coupled with the viewing of the work. Richard Shusterman would probably say that the term has gotten a ...
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implementation into the current art world. Shusterman makes a point of noting that the aesthetic experience from Dewey to Danto has made an obvious decline. He notes, "While Dewey celebrated aesthetic experience, making it the very center of his philosophy of art, Danto virtually shuns the concept." Why now, according to Shusterman, is this decline possibly tragic? We will see…
Before dissecting his formula, or rather map of the basics of aesthetic experience, it is necessary to fully understand the paradoxical and conflicting arguments previously made concerning the aspects most important to the aesthetic experience, as stated by Shusterman. The two basic schools are as follows: the first view states that aesthetic experience cannot be seen as unchanging and only applicable to fine art. This is because it can extend beyond fine art and because the experience is a conditioned one, susceptible to outside influence that can actually harbor or even prevent the experience ...
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this confusion and attempts then to "articulate its contrasting conceptions," as opposed to unifying them in one "univocal concept." How does he do so?
Shusterman explains that were we to break down these conceptions into three separate axes whose oppositions can include all conflicts and confusions, we will be closer to a realistic view of aesthetics from which we can iron out the inconsistencies. The first axis asks whether the concept of aesthetic experience is honorific and evaluative or descriptive. Dewey is used as the example of honorific beliefs in art. He strives for a unification of art and life, and within the experience of viewing, he is faced with a question of whether ...
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"Shusterman And The Aesthetic E." Essayworld.com. May 13, 2008. Accessed November 30, 2024. http://www.essayworld.com/essays/Shusterman-And-The-Aesthetic-E/83553.
"Shusterman And The Aesthetic E." Essayworld.com. May 13, 2008. Accessed November 30, 2024. http://www.essayworld.com/essays/Shusterman-And-The-Aesthetic-E/83553.
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