I consider a third leadership aetiology based on charismatic power. So we have “consumer” art as the constant antithesis of “permanent” art, though there are actually times when an artist may favour the short, sharp impact of a work over a lasting appeal that rises gently over time. Consider h… The possibility of charismatic power, in turn, recommends a normative, aesthetic source that cannot be reduced to either deontological power or coercive power. At first sight this statement might appear exaggerated. What is Ethical Norms? It only founders if it is treated as an automatic necessity and not as the mere basis for evolutionary variants. A person’s feelings, imagination, memory, thinking and speaking take part in the process of apprehending art. *¡ In a lecture on the history of Czech criticism delivered at the Prague Linguistic Circle (April 1936), Arne Novák demonstrated quite accurately that, for example, [Josef Krasoslav] Chmelenský’s (1800–39) negative appraisal of Karel Hynek Mácha’s.The process of aesthetic evaluation is, then, connected with how society itself evolves, and enquiry into that process makes for a chapter in the sociology of art. This then shows that an artistic artefact’s independent aesthetic value resides in all respects in the tension which it is the perceiver’s task to surmount; this, however, is something quite different from the harmoniousness that is often portrayed as the highest form of perfection and the highest perfection of form in art.It is of course impossible to derive from the principles at which we have arrived any kind of detailed rules. Only with the noetic background expanded in this way could there be any return to those classical, but for a time overlooked, problems in the philosophy of art: the question of aesthetic norm and value. Foreword. Aesthetic definition is - of, relating to, or dealing with aesthetics or the beautiful. It is also evident that between an enthusiastically positive and fiercely negative evaluation there is not nearly so great a gulf as between both these and indifference; and it is far from unheard-of for praise and damnation to occur simultaneously during the appraisal of a single work. Its features are emotionality, intelligence, moment of assessment, and activity. What does this mean for the postulate of its independent aesthetic value? 2. We were already aware of this at the moment when we raised the question of an independently valid aesthetic value. Aesthetic values are considered as the graceful, the grandiose, the elegant, the sublime, the tragic and the ridiculous. How, for instance, do we explain the fact that among works of one and the same movement or even by the selfsame artist, that is, works arising out of the same state of the structure of all art and the same conditions of society, some come across with an urgency bordering on self-evidence as more valuable, others as less? For besides art made to last and to retain its validity for as long as possible, there are instances of art intended by their very creators to be short-lived, as “consumer” art. Decorum is known as a fact that has a strong aesthetic tone (on which see Max Dessoir:This application of norms is not entirely automatic either, because it subjects the norm to the influence of various forces, for example, fashion. The aesthetic ideal is at the same time a criterion of morality. Cultural norms and societal values also influence accepted aesthetic judgments. ), while his successors William Morris and Walter Crane were by conviction socialists. rural–urban), have their own aesthetic canon as one of their most distinctive hallmarks. It is of course customary to take as the main measure of aesthetic value the impression of unity that the work evokes. Therefore, it is the value judgments that an observer emits on the appearance of an object taking into account those feelings that it evokes in it (Values, 2014). The evidence is abundant: for example, as publishers’ questionnaires have revealed, readers most often decide to buy a book not on the basis of the views of professional critics, which strike them as too tinged by the taste of their authors, but on the basis of recommendations from friends, members of the same readership as themselves (see L[evin Ludwig] Schücking.It transpires, then, that aesthetic value is a process whose motion is determined on one hand by the immanent development of the very structure of art (think of the tradition applicable at a given time as the backdrop against which any work is evaluated) and on the other by the motion of and shifts in the structure of social coexistence. See F. W. J. von Schelling,The issues surrounding aesthetic value must, therefore, be examined in their own right. So, for example, the aesthetic function of food is evidently more powerful in France than in Czechoslovakia; the aesthetic function of clothing in the Czechoslovak urban environment is stronger with women than with men, though that distinction does not apply to environments in which folk costume is the norm; the aesthetic function of clothing also varies according to the typical situations that apply to a given social context: thus the aesthetic function of clothes worn to work will be much weaker than in the case of those worn to special occasions. Thus, for example, in the last quarter of the nineteenth century the sharp rise in socialist aspirations to wipe out class differences was accompanied systematically by the development of arts and crafts, the founding of folk theatres and schemes to foster art education. The independent aesthetic value inherent to a material artistic artefact, assuming that there is one, is, in comparison to the actual value of an aesthetic object, merely potential: a material artistic artefact constructed in such and such a way has the ability—irrespective of the stage of development of the whole structure of art—to evoke in the minds of observers aesthetic objects with a positive.In what way is a material artefact involved in the rise of an aesthetic object? value clearly rely on our ability to discriminate at a sensory level

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