论霍克海默的审美教育观及其当代价值

文章阐明了霍克海默的审美教育观及其当代价值,提出他的审美教育观是以主客体相互中介的"社会批判理论"为基础,以强调培育反思能力与自由个性的人为目标;他的这一审美教育观念不仅影响了现代德国美育教育学理论,也影响了美育教学和艺术创作,对于我国当代美育理论与教学实验及发展文化产业,都具有积极的借鉴及启示意义。     

美术专业与普通专业学生对中西方绘画作品的审美认知差异

审美认知是人类最高级最复杂的心理活动之一,在美育中具有重要的作用。本研究采用不同艺术类别及情绪效价的作品图片,考察美术专业与普通专业大学生对中西方绘画作品的审美认知差异。结果发现：美术专业学生与普通学生对西方画的审美认知差异极其显著,且美术专业学生对西方画产生的美感显著强于普通学生;而两类学生对中国画的审美认知差异并不显著;对于不同风格的绘画作品,两类学生都存在着审美偏好,且审美偏好一致,都对中国画产生的美感更为强烈;两类学生的审美认知反应时间差异极其显著,专业学生总体上要比普通学生进行更多更复杂的审美认知加工活动。研究表明,审美认知具有较强的可塑性,对于美育心理学的发展具有重要的价值。     

蔡元培:说美育到死方休的教育家

该文讨论了现代著名教育家蔡元培在美育方面的思想特点及其在今天的意义。蔡氏美育思想的核心是认为审美教育的本质乃是一种情感教育,它与德育、智育、体育在教育中占有同样重要的地位,因为在人性发展与社会进步的过程中,只有科学、知识与理性的教育与进步是不完备的,对人类感性的忽略与压抑会带来各种社会弊端。蔡元培还提出了具有可操性的美育实施措施,在今天也值得重视。     

Experience as art

Chinese philosophy views experience as intrinsically aesthetic. This world view could be elucidated through a consideration of John Dewey's aesthetics and features of Chinese art. Dewey's philosophy of art starts with an understanding of experience as ‘live processes’ of living creatures interacting with their environment. Such processes are autopoietic in being self‐sustaining, ever‐changing, capable of increasing complexity, capable of generating novelty, direction and progress on its own. Its autopoietic character is a precondition of the aesthetic in the process of experience. An aesthetic experience is rhythmic, focused, consummatory, and reaches beyond the transitory boundaries of concrete existence. The aesthetic is not confined to what is conventionally identified as art. Most important, the ethical‐political, the natural and the cosmic all have an aesthetic aspect, as the paper attempts to show by examining classical Confucianism.     

A Holistically Deweyan Feminism

The argument that a holistic analysis of Dewey's work, drawing not only on the major portions subject to extensive commentary (such as Experience and Nature ) but also on his aesthetics, provides fuel for feminist theorizing is sustained by advertence to the standard commentary and also to new work in aesthetic feminism itself. Sleeper, Rorty, Hickman and Russell are cited, and the recent resurgence of interest in developing the intersection between analytic aesthetics and feminist aesthetics is alluded to. It is concluded that the enterprising feminist theorist may suffer from an embarrassment of riches in attempting to approach Dewey but that such an approach is well worth the effort.     

Up the nose of the beholder? Aesthetic perception in olfaction as a decision-making process

Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that the active engagement with stimulus features in perceptual processing shapes the phenomenological content, so much so that the perceptual structure of trained smelling varies significantly from naive smelling. In a second step, I interpret the processes that determine such perceptual refinement in the context of neural decision-making processes, and I end with a positive outlook on how research in neuroscience can be used to benefit philosophical aesthetics.     

Secular ethics education as an alternative to religious education – Finnish teachers’ views

This study provides a Finnish perspective to international discussions on religious and worldviews education through the subject of secular ethics. This subject has been offered in Finland since 1985 throughout comprehensive schools and is primarily directed at students who are non-affiliated. Secular ethics education has scarcely been researched and is here investigated through secular ethics teachers’ views. The results highlight key characteristics of the subject, which in teachers’ views single out the subject from religious education classes. Key characteristics include gaining multiple perspectives on religions and worldviews, focusing on interactive, social and critical skills, and focusing on students’ personal identities and growth as human beings. In addition, specific challenges and possibilities of the subject of secular ethics arise, which may be taken into consideration in developing a future integrative subject of worldview education in Finland.     

‘For Beauty is nothing but the barely endurable onset of Terror’: Outline of a general psychoanalytic aesthetics

Even close to 80 years after Freud's words that psychoanalysis “has scarcely anything to say about beauty” (Freud, Civilization and its Discontents, SE 21, p. 82) the question of a specific psychoanalytic aesthetic is still faced with a deficit in theory. Since aesthetics is related to Aisthesis, the Greek word for ‘perception’, a psychoanalytic aesthetic can solely emerge from a psychoanalysis of perceptive structures. The term ‘kinaesthetic semantic’ is introduced in order to exemplify via music how perceptive experiences must be structured for them to be experienced as beautiful. The basic mechanisms – repetition of form (rhythm, unification) and seduction (deviation, surprise) – are defined. With the help of these mechanisms an intensive contact between perceiving object and kinetic subject, the physical self, is established. The intensive relatedness is a requirement for the creative process in art and also for psychic growth on the subject's level. The described basic mechanisms of the aesthetic process in music can also be encountered in painting and poetry. By the means of a self‐portrait by Bacon it will be examined how, in art, terror and traumatization are represented via targeted disorganization of beauty endowing mechanisms, hence finding an enabling form of confrontation and integration of fended contents.     

Dance,Knowledge, and Power

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge.     

Aesthetics as evaluative forms of agency to perceive and design reality: A reply to aesthetic realism

Following a naturalist-realist point of view, this paper attempts to contribute to the metaphysical question of whether or not reality includes aesthetics. During evolution, cognitive agents have constructed (goal-directed) regulatory abilities forming anticipatory contents in the form of feelings regarding opportunities for interaction. These feelings are considered to be the fundamental part of an evaluative or (what in this paper considered as aesthetic) behavior through which agents show a preference to aspects of their external world. Thus, ‘aesthetic’ denotes an agential behavior based on an organization of processes integrated in a form that identifies, evaluates, and compares sources of interaction-success or error in specific aspects of external reality. While agents approach the same aspects of reality as they all interact with the same world, our claim is that aesthetic normativity cannot be an objective feature of this reality. This model overcomes problems of correspondence in the sense that an agent's actions and thoughts ought to react to any pre-given (aesthetic) quality or norm, while at the same time it emphasizes the self-directedness of aesthetic behavior that enables the development of creative forms of cognition.     

Wisdom and Knowledge: The Outline of Eastern and Western Aesthetic Spirits?

Wisdom and knowledge are the basic spirits of Eastern and Western aesthetics. The shortcoming of the aesthetics based on knowledge, i.e., the aesthetics of knowledge, lies in the fact that it clings to the opposing differences between Western- and Eastern-centered theories. These differences include essentialism and anti-essentialism; harmonious and non-harmonious relationships between person, self, nature and society; art or nature as the highest aesthetic realm; metaphysics or psychology as the aesthetic domain; dualism and Advaita; and so on. The aesthetics based on wisdom, namely aesthetics of wisdom, is valuable due to its adopting an impartial attitude toward Eastern and Western aesthetics, essentialism and anti-essentialism, philosophical horizon and psychological horizon, theory of harmony and theory of antagonism, beauty of art and beauty of nature, dualism and Advaita, up to aesthetics of knowledge and aesthetics of wisdom. Contrasted with this understanding of the aesthetics of knowledge, non-dualism and non-Advaita are the soul of the spirit of the aesthetics of wisdom.     

Fabric-circle-slider: Prototype Exploring the Interaction Aesthetic of Contextual Integration

Traditionally, designers have explored the aesthetics of interaction through the relationship between the product form and the activity people use it for. However, in the increasing complexity of interconnected and multi-activity devices in the home, aesthetics have been sacrificed in a move to increase usability. In this paper, we present an emerging theory that interaction designs that take a contextual integration approach can draw interaction aesthetics from the context instead of the activity to address the increased complexity. In addition, we present a conceptual interaction widget called the fabric-circle-slider that draws its interaction aesthetic from a lounge chair – the context of use – and supports interaction with many devices.     

A dot that went for a walk: People prefer lines drawn with human-like kinematics

A dominant theory of embodied aesthetic experience (Freedberg & Gallese, 2007, Trends in Cognitive Sciences, 11, 197) posits that the appreciation of visual art is linked to the artist’s movements when creating the artwork, yet a direct link between the kinematics of drawing actions and the aesthetics of drawing outcomes has not been experimentally demonstrated. Across four experiments, we measured aesthetic responses of students from arts and non-arts backgrounds to drawing movements generated from computational models of human writing. Experiment 1 demonstrated that human-like drawing movements with bell-shaped velocity profiles (Sigma Lognormal [SL] and Minimum Jerk [MJ]) are perceived as more natural and pleasant than movements with a uniform profile, and in both Experiments 1 and 2 movements that were perceived as more natural were also preferred. Experiment 3 showed that this effect persists if lower-level dynamic stimulus features are fully matched across experimental and control conditions. Furthermore, aesthetic preference for human-like movements were associated with greater perceptual fluency in Experiment 3, evidenced by unbiased estimations of the duration of natural movements. In Experiment 4, line drawings with visual features consistent with the dynamics of natural, human-like movements were preferred, but only by art students. Our findings directly link the aesthetics of human action to the visual aesthetics of drawings, but highlight the importance of incorporating artistic expertise into embodied accounts of aesthetic experience.     

Integrating the philosophy and psychology of aesthetic experience: development of the aesthetic experience scale

This study assessed the dynamic relationship between person and object in aesthetic experience. Patterns of the structure of aesthetic experience were derived from a conceptual model based on philosophical and psychological ideas. These patterns were further informed by interviewing individuals with extensive involvement in aesthetic activities and 25 secondary students. Accordingly, patterns were tested by developing a large pool of items attempting to identify measurable structural components of aesthetic experience. Refined first in a pilot study, the 36-item questionnaire was administered to 652 Greek students, aged from 13 to 15 years. Correlation matrices and exploratory factor analyses on principal components were used to examine internal structural relationships. The obliquely rotated five-factor solution of the refined instrument accounted for the 44.1% of the total variance and was combatible with the conceptual model of aesthetic experience, indicating the plausibility of both. The internal consistency of the items was adequate and external correlational analysis offered preliminary support for subsequent development of a self-report measure that serves to operationalize the major constructs of aesthetic experience in the general adolescent population. The results also raise theoretical issues for those interested in empirical aesthetics, suggesting that in experiential functioning, expressive perception and affect may play a more constructive role in cognitive processes than is generally acknowledged.     

Structure Disclosed. Replete Moments and Aesthetic Experience in Reading Novels

ABSTRACT

Despite the huge interest in different philosophical questions surrounding literature, particularly analytic philosophers have had relatively little to say about literature’s specifically aesthetic character. Peter Kivy has developed this antiaesthetic tendency furthest, ultimately denying that the reading of prose literature has any deep aesthetic content. Building on Alan Goldman’s and John Dewey’s work on aesthetic experience, I argue that a key literary feature of novels I single out – what I term a replete moment – has the potential to trigger in readers significant aesthetic experiences. Along with revealing aesthetic aspects in reading that Kivy’s position does not cover, my account shows that contemplation of the overall structure of the novel is not the sole, more substantial form aesthetic experience can take in the case of reading, as Kivy’s formalistic literary aesthetics assumes. This conclusion is argued to be significant also for the general philosophical discussion on aesthetic experience. An analysis of a key passage in John Irving’s A Prayer for Owen Meany is an important part of the view of literary aesthetic experience put forth.     

From Ode to Sport To Contemporary Aesthetic Categories of Sport: Strength Considered as an Aesthetic Category

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with “O Sport, you are Beauty!”, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts.

The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength’s expression.

It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience.     

Can Deweyan Pragmatist Aesthetics Provide a Robust Framework for the Philosophy for Children Programme?

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children (PFC) programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children (aged 6–18) improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even metaphysical meaning. Although an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy.     

Developing spirituality through the use of literature in history education

This paper demonstrates the significant potential for history teachers to contribute to the development of children’s spirituality through the use of literature within the history curriculum. Using four case studies of history teaching in English comprehensive schools, the paper outlines a holistic approach to the subject – drawing upon art and music as well as literature – to foster children’s capacity for meaning‐making from historical interpretations. The paper argues that history education prepares children for the spiritual by virtue of three elements unique to the subject: First, the subject matter and conceptual content of history provide the context for students to engage with the complexity of questions at the essence of the human condition, establishing a cognitive conflict through which spiritual development is fostered. Second, the subjectivity of historical knowledge allows for the development of a community of ethical enquiry within the classroom through which individuals can explore their own ideas and beliefs as well as those of others. Such enquiry fosters the development of reflexive empathy – the capacity to reflect on one’s own life in the light of understanding the lives of others. Third, the subject provides children with a language through which they can articulate their thoughts, beliefs and feelings. The paper argues that these unique elements are significantly strengthened through the complementary use of literature within history lessons, providing a powerful methodology which fosters children’s spirituality.     

Kierkegaard’s Analysis of Human Existence in Either/Or: There is No Choice Between Aesthetics and Ethics

Abstract

According to Alasdair MacIntyre, Kierkegaard fails to provide rational reasons to choose between an aesthetic lifestyle and an ethical lifestyle. This claim subsequently initiated a significant discussion that investigated whether one can rationally choose between ethics and aesthetics. I will be challenging both MacIntyre’s criticism and in large part the basis of the subsequent discussion by arguing that there is no choice between aesthetics and ethics at all. Specifically, I will be arguing that in Either/Or Kierkegaard demonstrates that the essence of human existence is the freedom to make choices. Given that the ethical is the existential reality of having to make choices, human existence is therefore necessarily ethical. This conclusion follows from my thesis that the essential difference between the aesthete and the ethicist in Either/Or is their opposing views on whether choices are necessary elements of experience.     

Hörräume – Klanghüllen

In psychoanalytic research little attention has been given to one of the analyst’s chief instruments, namely his/her voice, although, apart from a few exceptions, the patient has to rely mainly on the acoustic channel in the course of the psychoanalytic process. The author presumes this to be a sign of a collective resistance among analysts which protects them against an unsettling idea: Our utmost restraint notwithstanding, it is in our voice that our physical nature materializes, that our presence is felt in a sensory way thus affecting our patients. An attempt is undertaken to show to what extent the analyst’s voice as a part of the atmosphere in the analyst’s practice affects the patient physically, thus making it possible for him/her an aesthetic experience, which may as a sensory perception lead to changes of the habitual ways of perception and thus to new experiences. Using the concept of “The Performance” devised by Fischer-Lichte, a lecturer in the theory of drama, the author explains to what extent meanings are created by both participants of a psychoanalytic process: Fischer-Lichte regards the aesthetics of performance as aesthetics of presence which arouse the sensation of physical presence. If the patient’s focus on the voice is not merely interpreted as a means of defence against comprehending the semantic meanings of the words, but is accepted as a necessary transition stage leading to re-animating the patient’s conception of reality, then a new listening and performing horizon is opened where the presence of other things can be experienced.