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Aesthetic experiences and their plac...

Roelofs, Monique.

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Aesthetic experiences and their place in the mind.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Aesthetic experiences and their place in the mind./
作者:	Roelofs, Monique.
面頁冊數:	340 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-11, Section: A, page: 4300.
Contained By:	Dissertation Abstracts International58-11A.
標題:	Fine Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9816522
ISBN:	9780591677737

Aesthetic experiences and their place in the mind.
Roelofs, Monique.

Aesthetic experiences and their place in the mind. - 340 p.

Source: Dissertation Abstracts International, Volume: 58-11, Section: A, page: 4300.

Thesis (Ph.D.)--University of Maryland, College Park, 1997.

What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them?

ISBN: 9780591677737Subjects--Topical Terms:

891065
Fine Arts.

Aesthetic experiences and their place in the mind.
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520 $a What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them?
520 $a The traditional view of aesthetic perception describes a mode of disinterested contemplation, free from the cognitive and utilitarian strictures conditioning ordinary awareness. Philosophers have challenged this view on analytical, marxist, feminist, pragmatist, and postmodernist grounds. Through interrelation and contextualization requirements, aestheticians have attempted to salvage the notion of an aesthetically appropriate mode of appreciation (Budd, Levinson, Danto and Walton). But the nature of this kind of appreciation depends on the nature of the small-scale experiential states that form its substance, namely, the experiences of aesthetic properties.
520 $a These experiences are peculiar. Conceptually complexer than pure sensations, and phenomenally richer than sheer imaginings and cognitions, aesthetic experiences exhibit significant parallels and differences with other states of mind. They display a rocky distribution over various sense modalities, a selective sensitivity to contextual factors, and a striking interconnectedness among themselves. Current analyses in terms of cognition, imagination, metaphorical understanding, nonaesthetic sensation, and counterfactual perception have trouble accommodating their coherence and stability. With the assistence of theoretical work on categorization, perception, and qualia (by Rosch, Rock, Fodor, Lormand, Rey, and Flanagan), I propose to locate a more fine-grained attitude at the basis of aesthetic experience, involving perceptually driven conceptualizations, arising through processes of progressive phenomenal differentiation. I substantiate this proposal by considering a number of pertinent phenomena in aesthetics, namely the role of imaginings in pictorial and musical perception; the function of artistic categories, and the experience of seeing objects in depictions.
520 $a This view, call it the conceptualizations view, allows us to identify the distinctive artistic functioning of aesthetic experience--its role as an intermediary between different domains of artistic meaning--while respecting its variety and its relations with other forms of mentation. Thus we can clarify its formative role within the aesthetic sphere at large, and, most importantly, its connection with value.
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