aes·thet·ic
/esˈTHedik/
Origin
late 18th century (in the sense ‘relating to perception by the senses’): from Greek aisthētikos, from aisthēta ‘perceptible things’, from aisthesthai ‘perceive’. The sense ‘concerned with beauty’ was coined in German in the mid 18th century and adopted into English in the early 19th century, but its use was controversial until much later in the century.
What is the root word of aesthetic?
Etymology. The word aesthetic is derived from the Ancient Greek αἰσθητικός (aisthētikós, "perceptive, sensitive, pertaining to sensory perception"), which in turn comes from αἰσθάνομαι (aisthánomai, "I perceive, sense, learn") and is related to αἴσθησις (aísthēsis, "perception, sensation").
Aesthetics (also spelled esthetics) is the branch of philosophy concerned with the nature of beauty and the nature of taste and, in a broad sense, incorporates the philosophy of art.[1] Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgments of artistic taste;[2] thus, the function of aesthetics is the "critical reflection on art, culture and nature".[3][4]
history
The history of the philosophy of art as aesthetics covering the visual arts, the literary arts, the musical arts and other artists forms of expression can be dated back at least to Aristotle and the ancient Greeks. Aristotle writing of the literary arts in his Poetics stated that epic poetry, tragedy, comedy, dithyrambic poetry, painting, sculpture, music, and dance are all fundamentally acts of mimesis, each varying in imitation by medium, object, and manner.[10][11] Aristotle applies the term mimesis both as a property of a work of art and also as the product of the artist's intention[10] and contends that the audience's realisation of the mimesis is vital to understanding the work itself.[10]
Aristotle states that mimesis is a natural instinct of humanity that separates humans from animals[10][12] and that all human artistry "follows the pattern of nature".[10] Because of this, Aristotle believed that each of the mimetic arts possesses what Stephen Halliwell calls "highly structured procedures for the achievement of their purposes."[13] For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language.
The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation – through narrative or character, through change or no change, and through drama or no drama.[14] Erich Auerbach has extended the discussion of history of aesthetics in his book titled Mimesis.
aesthetic judgement
In the opinion of Władysław Tatarkiewicz, there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression and innovation. However, one may not be able to pin down these qualities in a work of art.[24]
Truth in beauty and mathematics[edit]
Mathematical considerations, such as symmetry and complexity, are used for analysis in theoretical aesthetics. This is different from the aesthetic considerations of applied aesthetics used in the study of mathematical beauty. Aesthetic considerations such as symmetry and simplicity are used in areas of philosophy, such as ethics and theoretical physics and cosmology to define truth, outside of empirical considerations. Beauty and Truth have been argued to be nearly synonymous,[65] as reflected in the statement "Beauty is truth, truth beauty" in the poem "Ode on a Grecian Urn" by John Keats, or by the Hindu motto "Satyam Shivam Sundaram" (Satya (Truth) is Shiva (God), and Shiva is Sundaram (Beautiful)). The fact that judgments of beauty and judgments of truth both are influenced by processing fluency, which is the ease with which information can be processed, has been presented as an explanation for why beauty is sometimes equated with truth.[66] Recent research found that people use beauty as an indication for truth in mathematical pattern tasks.[67] However, scientists including the mathematician David Orrell[68] and physicist Marcelo Gleiser[69] have argued that the emphasis on aesthetic criteria such as symmetry is equally capable of leading scientists astray.
n considering these theories (some of which are discussed below), a crucial distinction must be borne in mind: that between philosophy of mind and empirical psychology. Philosophy is not a science, because it does not investigate the causes of phenomena. It is an a priori or conceptual investigation, the underlying concern of which is to identify rather than to explain. In effect, the aim of the philosopher is to give the broadest possible description of the things themselves, so as to show how we must understand them and how we ought to value them. The two most prominent current philosophical methods—phenomenology and conceptual analysis—tend to regard this aim as distinct from, and (at least in part) prior to, the aim of science. For how can we begin to explain what we have yet to identify? While there have been empirical studies of aesthetic experience (exercises in the psychology of beauty), these form no part of aesthetics as considered in this article. Indeed, the remarkable paucity of their conclusions may reasonably be attributed to their attempt to provide a theory of phenomena that have yet to be properly defined.
aesthestics related to effiency, affectivity
What are the principles of aesthetics?
Aesthetic principles refer to the assembly of colors, forms, and ideas that may be present in a work of visual art and are used to communicate emotion, intention, values, or meaning, and define how beautiful or pleasant it is, or whether it belongs to a particular artistic movement.
we have lost sight of this connection ^ .