Kant by Gabriela Baka

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LOOKING PERCEIVING AND EXPERIENCING THE BEAUTY OF AESTHETICS

There are no rules by which someone can be able to judge that something is beautiful.

Booklet colects Thoughts and quotes About aesthetics from:

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IMMANUEL KANT ROMAN INGARDEN JAMES ELKINS

I would like to mention all those things/objects in the world that surround us without our noticing, and then about the things we cannot notice unless scientific techniques make them visible. Out of the whole world, we see almost nothing! All the things out there shows, how unexpected and how uncontrollably exciting or frightening the world can be. how much apparition is out there?

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tio

—

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Kant: Beauty of nature

The artist cannot produce a beautiful work by learning, and then applying rules which determine when something is beautiful! no such rules can’t be specified.

An artist endowed with genius has a natural capacity to produce objects which are appropriately judged as beautiful, and this capacity does not require the artist him- or herself to consciously follow rules for the production of such objects; in fact the artist himself does not know, and so cannot explain, how he or she was able to bring them into being. / We have the feeling of the dynamically sublime when we experience nature as fearful while knowing ourselves to be in a position of safety and hence without in fact being afraid. In this situation “the irresistibility of [nature's] power certainly makes us, considered as natural beings, recognize our physical powerlessness, but at the same time it reveals a capacity for judging ourselves as independent of nature and a superiority over nature.

nature gives the ruleS to art

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Kant make remarks about the relation between the Beauty of Art and Nature, claiming in particular that fine art must “look to us like nature” in that he means, that art should seem to us free, wilde and unstudied...

(a) They can be influenced by the object's sensory or emotional appeal, that is, they can involve “charm” or emotion.

Kant: Pleasure and Judgment of Aesthetics

Judgments of beauty can fail to be pure in way:

That is, in making a judgment of beauty about an object, one willtake it in the same way as everyone else who perceives that object, also to judge it to be beautiful. relatedly, to share one's pleasure in it.

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Judgments of beauty are based on feelings,in particular feelings of pleasure. /

Kant shows those connections between aesthetics and morality:

(4) Beauty gives sensible (The highest) form to moral ideas. Because of this, the development of moral ideas ibecames treu form of taste.

(3) Taking a direct interest in the beauty of nature indicates “a good soul” and a “mental attunement favorable to moral feeling”

(2) Beauty serves as the “symbol” of morality.

(1) “the beautY prepares us to love something, For instence nature; WE love it without interest; the sublime, to esteem it, even contrary to our interest”

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from Kant's aesthetics and teleology First published Sat Jul 2, 2005 / http://plato.stanford.edu/archives/ fall2008/entries/kant-aesthetics/

nonrepresentational art

/ Judgments can either be, or fail to be, pure. Kant mostly focusses on the ones which are pure, there are reasons to think that most judgments about art (as opposed to nature) do not count as pure, so that it is important to understand Kant's views onÂ such judgments as well.

...that judgments about such art fail to be pure, might also invite the objection that Kant takes nonrepresentational art to be superior to representational art, so that, say, wallpaper designs are aesthetically more valuable than the ceiling of the Sistine Chapel.

â&#x20AC;&#x153;key to the critique of tasteâ&#x20AC;?

/ An aesthetic judgment, in Kant's usage, is a judgment which is based on feelings, and in particular on the feeling of pleasure or displeasure. According to Kant's official view there are three kinds of aesthetic judgment: 1. judgments of pleasing 2. judgments of beauty (taste) 3. judgments of the sublime

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Imagination and Understanding

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We wish to see ourselves translated into stones or plants and then take a walk in ourselves.. to discover more, to understand what mysteries are hidden in the nature.

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page 69

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Looking is a possessing or the desire to posses. We eat food, we own objects and we possess bodies. Can we say that there is no looking without thoughts of using, possessing, repossessing, owning, fixing, appropriating, keeping, remembering and commemorating, sheering, borrowing or stealing. Can you look at anything? â&#x20AC;&#x201D; Any object, any person and without any shadow of the thought of possessing that thing?

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James Elkins The objects stares back

OUR EXpERIENCE OF BEAUTY

IS The point of art, therefore, is not to be “realistic”— to imitate or mirror the contingencies of everyday life — but to show us what divine and human freedom look like. Such sensuous expression of spiritual freedom is what Hegel calls the “Ideal” or true beauty.

Freedom is given sensuous expression, therefore, when it is embodied in an individual who stands alone in his or her “self-enjoyment, repose, and bliss. Such an individual must not be abstract and formal, nor should he be static and rigid, but his body and posture should be visibly animated by freedom and life, without, however, sacrificing the stillness and serenity that belongs to ideal self-containment. Such ideal beauty. / (Aesthetics, 1: 179)

our EXPERIENCE OF FREEDOM AND Pleasure

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the world is full of eyes, and see through them everywhere.

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modern art, continues to perform the significant function of giving visible expression to our clear human freedom and to our understanding of ourselves in all our humanity.

These claims by Hegel are normative, not just descriptive, and impose certain restrictions on what can count as genuine art in the modern age. They are not, however, claims made out of simple conservatism. Hegel is well aware that art can be decorative, can promote moral and political goals, can explore the depths of human alienation or simply record the prosaic details of everyday life, and that it can do so with considerable artistry. His concern, however, is that art that does these things without giving us beauty fails to afford us the aesthetic experience of freedom. In so doing, it deprives us of a central dimension of a truly human life.

Hegel: beauty and freedom Hegel agrees with Schiller (against Kant) that beauty is an objective property of things. In his view, however,

Beauty is the direct sensuousmanifestation of freedom, not merely the appearance or imitation of freedom. It shows us what freedom actually looks like and sounds like when it gives itself sensuous expression:

Since true beauty is the direct sensuous expression of the freedom of spirit, it must be produced by free spirit for free spirit, and so cannot be aÂ product of nature. Nature is capable of a formal beauty, and life is capable of what Hegel calls â&#x20AC;&#x153;sensuousâ&#x20AC;? beauty (PK, 197), but true beauty is found only in works of art that are freely created by human beings to bring before our minds what it is to be free spirit.

Beauty, is not just a matter of form; it is also a matter of content. This is one of Hegel's most controversial ideas, and is one that sets him at odds with those modern artists and art-theorists who insist that art can embrace any content we like and, indeed, can dispense with content altogether.

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Beauty, for Hegel, has certain formal qualities: it is the unity or harmony of different elements in which these elements are not just arranged in a regular, symmetrical pattern but are unified organically.

looking at the object looking for the object looking among the objects

James Elkins The objects stares back

Looking is hoping, desiring, never just collecting datas or patterns.

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Looking also mean searching: having the eyes out for something.