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I defend an understanding of Kant's theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique, even though one would not easily anticipate it from the standpoint of that work, nor would one initially expect aesthetic judgment to be of transcendental interest to Kant. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging so as to specify it as a bestimmte type of judgment without transforming it into einem bestimmenden Urteil. I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal “the moments to which this power of judgment attends in its reflection” (Critique of the Power of Judgment, §1, 5:203). In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites “much thinking” (Critique of the Power of Judgment, §49, 5:315). The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling. / McAnulty College and Graduate School of Liberal Arts; / Philosophy / PhD; / Dissertation;

This work analyzes the transitional activities and experiences that are inherent to accessing and navigating the Internet. Under established anthropological fieldwork of liminality theory by Victor Turner, as well as John Dewey's claims in experiential aesthetic theory, aesthetic experiences of the Internet are characterized. This paper concludes that such internet experiences abide by liminal thresholds and therefore comprise aesthetic distinction and significance. While Dewian aesthetics can only characterize this aesthetic distinction to a certain degree, Blanka Domagalska provides an alternative liminal explanation towards classifying such experience and its effect on individuation. Conclusive classifications of internet experiences in turn lend to greater metaphysical considerations regarding humanity's manifestation of being in a hyper-mediated, internet accessible world.

5.2 Resumé v anglickém jazyce Aesthetic Education in the concept of Bohumil Markalous. The object of this thesis is the work of Bohumil Markalous. This author dedicated his lifework to Aesthetic Education. His works on this topic have never been published together. They were published only in form of many articles and essays in newspapers, journals and magazines. This work is based on texts about Aesthetic Education written not only by Markalous, but also by other authors as we try to present their concepts as well. Among the most important authors we can name Otakar Hostinský, Josef Patočka and Otakar Zich. In the first part of our work we dedicate ourselves to the way Bohumil Markalous formed his opinions about the development of Aesthetic Education. The second part of our work focuses on the author`s concept of Aesthetic Education itself. In the third part of this work is we deal with the current state of education in relation to the development of Aesthetic Education. In addition to the topic of aesthetics, we deal with the term Eidiko, used by the author to refer to the cultivation of the senses, especially of sight.

Student Number : 9900639H - MA research report - School of Dramatic Art - Faculty of Humanities / This report is concerned with analysing the cinematic representations of the ‘township space’ and its articulation of black masculinity in two post apartheid South African films – Wooden Camera directed by Ntshaveni Wa Luruli and Tsotsi directed by Gavin Hood. I argue that the ‘township space’ has become a fetishised cinematic trope in post-apartheid South African filmmaking. Cinematic representation’s of the space of the township articulates the performance of black identity associated with criminality, excessive violence and deviancy relegating the black experience to one of ‘otherness’. In this report I argue that the ‘Cinematic Township’ predetermines a black identity that appears to be shot through a colonial lens, or from an ‘outsider’s point-of-view’. This space developed on the fringes of major cities was developed - through Afrikaner Nationalist Ideologies - as a ‘port’ into major cities. The township was constructed through a process of ‘othering’ and is often represented as the manageable part of modernity for ‘black identity’. Cinematically there appears to be a ‘fixing’ or ‘freezing’ of an authentic black experience within the ‘township space’ that essentialises black identity and the black experience. Apart from analysing the cinematic representations of the ‘township space’ and the manner in which space determines sexuality and identity, this report speaks to issues of representation and who can claim the rights to representation in post-apartheid South Africa (Thiong’o, 2000 and Axel, 1999). The South African filmmaking landscape is unique because of the interesting mix of ‘white’ and ‘black’ filmmakers. This raises questions about ‘Racialised Africanness’ and what are the implications for ‘African whiteness’? These are important issues in relation to the South African post-apartheid body politic and the role of the filmmaker in post-apartheid South African cinema. In this paper I suggest that the cinematic township is representative of the fetishisation of the ‘township space’ in the imagination and representations of post-apartheid filmmakers. The ‘township space’ has transcended its political memory and appears to be invested with nostalgia and myth-making.

The trend toward open concept office floor plans reflects evolving management styles in modern organizations. Organizations typically implement architecturally open workspace designs to seed cultural change. As the popularity of open concept offices grows, however, research suggests that they are negatively impacting collaboration and productivity. This thesis examines how organizational leadership and employees perceive the transition to an open concept workspace, incorporating employees’ aesthetic experience to understand how the space is ‘physically known’. The study takes place within a conceptual framework of aesthetic knowledge as experiential, symbolic and personal. Using a qualitative, practice-based approach that incorporates participant-led photo-ethnography, semi-structured interviews were conducted with leadership and employees. Although the results are not generalizable, they suggest that the open concept workspace both positively and negatively impacts organizational collaboration but has primarily negative effects on staff productivity, and that leadership can improve open workspace outcomes by taking employees’ embodied experiences into account in the design and implementation of such spaces. The results add to our understanding of the way in which organizational strategy and aesthetic knowledge create and sustain the way of working within an open concept office space.

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This is a practice-based research project that explores a new aesthetic perspective and approach in the Western medium of photography, through the application and interpretation of contemporary Chinese master artist Qi Baishi’s philosophical notion of between likeness and unlikeness. Rooted in Chinese ink painting tradition, Qi Baishi [齊白石] (1864-1957) developed and created his theory of achieving likeness in spirit and unlikeness in form as the ultimate goal of painting aesthetics. Adapting Qi’s aesthetics and design approaches to inform the research, and through theoretical explorations and photographic practices, a series of works will be developed that manifests the fusion of Chinese aesthetics with Western photography, to propose a confluent cross-cultural aesthetic thought. The aspiration of drawing upon Qi’s aesthetics at a philosophical level, which is unfamiliar in the context of Western photography, has posed a challenge to the creative exploration. The final outcome is intended to trigger aesthetic resonance in the viewers to further dialectic discussion. The outcome of this research project is presented through a series of photographic works and displayed in a gallery environment.

This study sought to investigate the way in which young children respond to and make aesthetic judgements about art works made by their peers. Grounded Theory was deemed to be an appropriate research methodology enabling a scrutiny of serendipitous experiences as well as structured investigation generated from those experiences. A total of 296 seven-year-old children were interviewed in small groups of three or four and asked to respond to visual art materials. These subjects were drawn from schools in the states of Queensland, New South Wales and the Australian Capital Territory. Results indicated that two factors associated with the appraisal of art works seemed to exist: a function of making aesthetic judgements and a function of gathering and interpreting information about the art works. The study found that children utilized a three-phase process in making aesthetic judgements. The first phase seemed to be pre-figured; the second and third phase seemed to occur as a outcome of prompting. This three-phase process was designated as an Aesthetic Response Model.

<p>Uppsatsens syfte var att belysa hur och i vilken grad elever på högstadiet är informerade om vilka mål och betygskriterier som råder i ämnet trä- och metall slöjd samt hur de upplever ämnet trä- och metallslöjd. Detta gjordes genom en teoretisk del baserad på en redovisning av litteratur inom ämnet där det undersöktes vad som kännetecknar ämnet och vilka bedömningsgrunder som finns. Den empiriska delen baserades på en enkät till tio klasser i högstadiet i år 9 i Malmö, där det undersöktes på vilket sätt eleverna informerats om kriterierna och hur medvetna de var om kriterierna. Bedömningen sker hela tiden som eleven ägnar sig åt den skapande processen. Det innebär att det ställs speciella krav på kommunikationen mellan lärare och elev. Den empiriska undersökningen visade bland annat att en stor majoritet av eleverna hade informerats om vilka mål som ska uppnås och vilka betygskriterier som gäller. Det visade sig att eleverna ansåg att produkten har större betydelse för betygsättningen än vad processen har. En stor del var positiva till ämnet. Det var fler som var positiva för att de tyckte att ämnet var roligt än de som tyckte att det var nyttigt.</p>