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- Vintage Aesthetic. The Vintage aesthetic is like a love letter to the past, primarily drawing inspiration from the 1920s to the 1970s. This style, which gained major popularity in the late 1990s and early 2000s, is all about celebrating timeless elegance, class, and the charm of yesteryears.
- Classiccore Aesthetic. The Classiccore aesthetic dives deep into timeless elegance and sophistication. Evoking images of stately libraries, grand ballrooms, and vintage chateaus, Classiccore emerged in the mid-2010s, marrying historical appeal with contemporary charm.
- Old Money Aesthetic. Old Money aesthetic encapsulates a sense of quiet wealth, refined taste, and generations of inherited elegance. Born from the enclaves of traditionally wealthy families from the early 20th century, this aesthetic portrays an effortless blend of classic luxury with the nuances of understated opulence.
- Mermaidcore Aesthetic. Diving deep into the world of fantasy and marine life, Mermaidcore emerged in the mid-2010s. I mean, there’s no one who doesn’t know about The Little Mermaid, right?
- Indie Aesthetic. Indie aesthetic is the style of independent people. Its main concepts are freedom, independence, philosophy, creativity, and uniqueness.
- Grunge Aesthetic. Grunge aesthetic is the fashion of people who are rebellious, independent, challenging authority, and breaking the rules. Just like their attitudes, grunge clothing is also rebellious.
- Soft Girl Aesthetic. Soft girl aesthetic is the style of cute and sweet girls. These girls are adorable, emotional, and vulnerable and look innocent but feminine.
- Y2K Aesthetic. Y2k aesthetic is the futuristic and feminine style of the mid-90s and 2000s. It was actually born as a protest against the grunge style.
- Overview
- The nature and scope of aesthetics
- Three approaches to aesthetics
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aesthetics, the philosophical study of beauty and taste. It is closely related to the philosophy of art, which is concerned with the nature of art and the concepts in terms of which individual works of art are interpreted and evaluated.
To provide more than a general definition of the subject matter of aesthetics is immensely difficult. Indeed, it could be said that self-definition has been the major task of modern aesthetics. We are acquainted with an interesting and puzzling realm of experience: the realm of the beautiful, the ugly, the sublime, and the elegant; of taste, criticism, and fine art; and of contemplation, sensuous enjoyment, and charm. In all these phenomena we believe that similar principles are operative and that similar interests are engaged. If we are mistaken in this impression, we will have to dismiss such ideas as beauty and taste as having only peripheral philosophical interest. Alternatively, if our impression is correct and philosophy corroborates it, we will have discovered the basis for a philosophical aesthetics.
Aesthetics is broader in scope than the philosophy of art, which comprises one of its branches. It deals not only with the nature and value of the arts but also with those responses to natural objects that find expression in the language of the beautiful and the ugly. A problem is encountered at the outset, however, for terms such as beautiful and ugly seem too vague in their application and too subjective in their meaning to divide the world successfully into those things that do, and those that do not, exemplify them. Almost anything might be seen as beautiful by someone or from some point of view, and different people apply the word to quite disparate objects for reasons that often seem to have little or nothing in common. It may be that there is some single underlying belief that motivates all of their judgments. It may also be, however, that the term beautiful has no sense except as the expression of an attitude, which is in turn attached by different people to quite different states of affairs.
Moreover, in spite of the emphasis laid by philosophers on the terms beautiful and ugly, it is far from evident that they are the most important or the most useful either in the discussion and criticism of art or in the description of that which appeals to us in nature. To convey what is significant in a poem, we might describe it as ironic, moving, expressive, balanced, and harmonious. Likewise, in characterizing a favourite stretch of countryside, we may prefer to describe it as peaceful, soft, atmospheric, harsh, and evocative, rather than beautiful. The least that should be said is that beautiful belongs to a class of terms from which it has been chosen as much for convenience’ sake as for any sense that it captures what is distinctive of the class.
At the same time, there seems to be no clear way of delimiting the class in question—not at least in advance of theory. Aesthetics must therefore cast its net more widely than the study either of beauty or of other aesthetic concepts if it is to discover the principles whereby it is to be defined. We are at once returned, therefore, to the vexing question of our subject matter: What should a philosopher study in order to understand such ideas as beauty and taste?
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Three broad approaches have been proposed in answer to that question, each intuitively reasonable:
1. The study of the aesthetic concepts, or, more specifically, the analysis of the “language of criticism,” in which particular judgments are singled out and their logic and justification displayed. In his famous treatise On the Sublime and Beautiful (1757), Edmund Burke attempted to draw a distinction between two aesthetic concepts and, by studying the qualities that they denoted, to analyze the separate human attitudes that are directed toward them. Burke’s distinction between the sublime and the beautiful was extremely influential, reflecting as it did the prevailing style of contemporary criticism. In more recent times, philosophers have tended to concentrate on the concepts of modern literary theory—namely, those such as representation, expression, form, style, and sentimentality. The study invariably has a dual purpose: to show how (if at all) these descriptions might be justified and to show what is distinctive in the human experiences that are expressed in them.
2. A philosophical study of certain states of mind—responses, attitudes, emotions—that are held to be involved in aesthetic experience. Thus, in the seminal work of modern aesthetics Kritik der Urteilskraft (1790; The Critique of Judgment), Immanuel Kant located the distinctive features of the aesthetic in the faculty of “judgment,” whereby we take up a certain stance toward objects, separating them from our scientific interests and our practical concerns. The key to the aesthetic realm lies therefore in a certain “disinterested” attitude, which we may assume toward any object and which can be expressed in many contrasting ways.
More recently, philosophers—distrustful of Kant’s theory of the faculties—have tried to express the notions of an “aesthetic attitude” and “aesthetic experience” in other ways, relying upon developments in philosophical psychology that owe much to Georg Wilhelm Friedrich Hegel, the phenomenologists, and Ludwig Wittgenstein (more precisely, the Wittgenstein of the Philosophical Investigations [1953]). In 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.
3. The philosophical study of the aesthetic object. This approach reflects the view that the problems of aesthetics exist primarily because the world contains a special class of objects toward which we react selectively and which we describe in aesthetic terms. The usual class singled out as prime aesthetic objects is that comprising works of art. All other aesthetic objects (landscapes, faces, objets trouvés, and the like) tend to be included in this class only because, and to the extent that, they can be seen as art (or so it is claimed).
If we adopt such an approach, then there ceases to be a real distinction between aesthetics and the philosophy of art; and aesthetic concepts and aesthetic experience deserve their names through being, respectively, the concepts required in understanding works of art and the experience provoked by confronting them. Thus Hegel, perhaps the major philosophical influence on modern aesthetics, considered the main task of aesthetics to reside in the study of the various forms of art and of the spiritual content peculiar to each. Much of recent aesthetics has been similarly focused on artistic problems, and it could be said that it is now orthodox to consider aesthetics entirely through the study of art.
Aesthetics is the philosophical study of beauty and taste, and their relation to art and nature. Learn about the different approaches, concepts, and examples of aesthetics, from Burke to Kant to Wittgenstein.
Aesthetics (also spelled esthetics) is the branch of philosophy concerned with the nature of beauty and the nature of taste; and functions as the philosophy of art. [1] Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgements of artistic taste; [2] thus, the function of aesthetics is the "critical ...
Apr 1, 2022 · – EXPLORING THIS POST. 01 – What Aesthetic Means. 02 – Aesthetic Wallpapers. 03 – Difference Between Aesthetic Pictures and Editorial Pictures. 04 – What Define my Aesthetic Style. 05 – List of Aesthetics. 5.1 – Pink Aesthetic. 5.2 – Royalcore / Royal Aesthetic. 5.3 – Softcore / Soft Girl Aesthetic. 5.4 – Fairycore / Fairy Aesthetic.
May 10, 2022 · From e-girls to cottagecore, here are a list of 16 types of aesthetics, what they mean, and how to distinguish them.
Learn what aesthetics means in philosophy and how it relates to beauty and taste in art. Explore the history and examples of aesthetics from ancient to modern times.
