The Aesthetic Dimension of Visual Culture

The Aesthetic Dimension of Visual Culture

Language: English

Pages: 197

ISBN: 1443824283

Format: PDF / Kindle (mobi) / ePub

How can aesthetic enquiry contribute to the study of visual culture? There seems to be little doubt that aesthetic theory ought to be of interest to the study of visual culture. For one thing, aesthetic vocabulary has far from vanished from contemporary debates on the nature of our visual experiences and its various shapes, a fact especially pertinent where dissatisfaction with vulgar value relativism prevails. Besides, the very question ubiquitous in the debates on visual culture of what is natural and what is acquired in our visual experiences has been a topic in aesthetics at least since the Enlightenment. And last but not least, despite attempts to study visual culture without employing the concept of art, there is no prospect of this central subject of aesthetic theory ebbing away from visual studies. The essays compiled in this volume show a variety of points of intersection and involvement between aesthetics and visual studies; some consider the future of visual art, some the conditions and characteristics of contemporary visual aesthetic experience, while others take on the difficult question of the relation between visual representation and reality. What unites them is their authors willingness to think about contemporary visual culture in the conceptual frame of aesthetics. This book will be of great interest to students and scholars of philosophical aesthetics, art history, and cultural studies

Sight and Sensibility: Evaluating Pictures

Panaesthetics: On the Unity and Diversity of the Arts

Wittgenstein: A Guide for the Perplexed (Guides for the Perplexed)

Figures of Simplicity: Sensation and Thinking in Kleist and Melville (SUNY series, Intersections: Philosophy and Critical Theory)

Thinking Through the Imagination: Aesthetics in Human Cognition (American Philosophy)

Les théories des cinéastes (2e édition)













rather than the strong sense of identifying properties that are universally shared. This leaves Bredekamp’s conception open to the same challenge that he raises against SachsHombach: a genuinely universal science of images cannot be constructed merely by adding together the results of a plurality of different research projects. No matter how wide the net is cast, it is unclear how the transition is to be made from a multiplicity of discrete studies to a comprehensive and systematic account of the

if we consider the historical symbiosis between Fry’s revolt against Victorian mass-production, and the rift between Modernism and Pop in the 1960s, with its comparable expansion of the availability of material goods). Alloway’s pluralism undoubtedly shared certain characteristics with which Postmodernism would be defined. Unlike Fry, Alloway is content to be surrounded with the trappings of the burgeoning consumer culture of the post-war period. But here lies the problem in how to account for

emotions or the reflections in aesthetic experiences need necessarily differ from common experiences; what is essentially different is the free awareness and participation of the subject in deciding that concrete aesthetic qualities will lead to a concrete reflection. We can explain this point by going back to our Kandinsky example. Imagine two viewers in front of the work: one has read the museum guide and localized every element described in the book. And the book has also explained the

direct sense perception. That is how the introductory clause of our example (particularly its latter part) works: “illuminated with the kind of pearly light that drenches a room when rain is falling”. We not only picture Joel entering the hall “drenched with pearly light”; we also feel submerged in its smooth misty waves at the same time. Why? The effect is not just brought about by the artistic expression itself, that is, the metaphoric adjectiveʊthe attribute “pearly” is certainly a fresh,

2002. A Sceptical Introduction to Visual Culture. Journal of Visual Culture 1: 93–99. —. ed. 2006. Art History Versus Aesthetics. New York: Routledge. Halsall, Francis, Julia Janse, and Tony O’Connor, eds. 2009. Rediscovering Aesthetics. Stanford: Stanford University Press. Holly, Michael Ann, and Keith Moxey, eds. 2002. Art History, Aesthetics, Visual Culture. New Haven, CT: Yale University Press. Jay, Martin. 1993. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.

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