“If this is art, then it is evokes emotion.” denotes necessity – emotion is a necessary component but not sufficient to make something “art.”. Christopher Bobonich (Cambridge: Cambridge University Press, 2010), 217–31, correctly noting “that there is a clear and demonstrable relation between the concept of an ‘action,’ praxis, and that of a ‘life,’ bios (our life, after all, will be the sum of our actions)” (223). adapted). Kant introduces this language whenever he wants to tell us, not about the formal conditions of judgment alone, but about its motivating conditions. See also Menke, Force, 72 (asterisked note). In his treatises on poetry and rhetoric he gives us, along with a theory of these arts, certain general principles of beauty; and scattered among his other writings we find many valuable suggestions on the same subject. In systematizing, however, he is bound to interpret, and as an interpreter he may be resented. . My point is that the apprehension of beauty is no more intense than any other mental act, such as cognition or moral thinking. But to say that I, as it were, overlook the conceptual element of the intuition is not to say that the concept is not present in the intuition. This would appear to make a contrast with the beautiful, which is said to promote and not hinder the vital forces. In doing aesthetics we are taking up a particular stance on the world, giving it a special kind of attention, if not adopting an “aesthetic attitude” (a much controverted notion): we are engaging in the world by disengaging the world from itself and by isolating objects of a particular kind of value. . Art is an important part of our ways of living. Seeing the essential characteristic as “necessary” rather than “sufficient,” helps to a certain extent. Arcade: A Digital Salon by http://arcade.stanford.edu is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.Based on a work at arcade.stanford.edu. The harmonious fit of mind and world is reassuring. .” (Zwar spüren wir . ↩, “[A]esthetic judgment starts where the search for concepts collapses” (Longuenesse, “Kant’s Theory of Judgment, and Judgments of Taste,” 146). This page was last modified 11:06, 3 March 2014. [47] At stake in any act of aesthetic judgment is a representation (Vorstellung) that “accords with the conditions of the universality that is the general concern of understanding” and “that brings the cognitive faculties into the proportionate accord which we require for all cognition and which we therefore deem valid for everyone who is so constituted as to judge by means of understanding and sense conjointly (i.e. . He is describing a possible experience and, more to the point, a requirement of the mind. And objects to aid this, such as a book or a pen are not in themselves beautiful, but they lead to finding beauty. ↩, The distinctive feature of the experience is not the absence of (determinate) thought but only its irrelevance. Explain your position based on points made in the lecture, in 100-150 words. I don’t think this is a question that most writing in the area does a good job getting at. Guyer and Matthews). Another factor is the peculiar pleasure that comes from processing the praxis (the action) of a play in such a way as to result in a combination of pity, fear, and—somehow—the catharsis of both. Those things or events which have been or still are; (2.) . ↩, EN 10.5.1174a30–32, 1176a3–4 (trans. commentator must be prepared to systematize. The term “beauty” is customarily associated with aesthetic experience and typically refers to an essential quality of something that arouses some type of reaction in the human observer — for example, pleasure, calm, elevation, or delight. Identically, Zuckert “imaginative [i.e., reflective] synthesis . If this is right, then to appreciate Aristotle’s view of tragic pleasure we need to ask how tragedy engages our consciousness of ourselves as living. . The essence of art, considered as an activity, Aristotle found in imitation, which, unlike Plato, he considers not as an unworthy trick, but as including knowledge and discovery. This article was written by Gabriel Dinda. More developed versions were subsequently presented at Notre Dame University, Northwestern University, and San Francisco State University in 2015 and 2016. Aristotle’s notion of mimesis is similar to the view of Plato, since they both claim that art imitates nature. A supplemental resource (bottom of page) provides further investigation of definitions of art. “For they seem to be bound up together and not to admit of separation, since without activity pleasure does not arise, and pleasure completes and perfects every activity,” above all the activity of “life” (EN 10.4.1175a19–21, a15–16; trans.