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Degrees of Attention in Experiencing Art

100%
Mortu A.
Estetika: The Central European Journal of Aesthetics
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2018
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vol. 55 (New Series 11)
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issue 1
EN
This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed to single out the characteristics of non-focal types of attention(-related) processes with varying intensity such as pre-attentive processing, the mere exposure effect and psychic overtones. Finally, I reassess the periphery of attention in the light of its relation to aesthetic appreciation. I hold that given certain constraints such as repeated exposure, perceptual learning, encoding in long-term memory, and possibility of retrieval, subdued, inconspicuous forms of stimulation can elicit aesthetic responses.
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The Word Leading to Agreement

88%
Kowalczyk M., Poslední P.
Rocznik Pedagogiczny
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2020
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vol. 43
27-36
EN
The concept of the language as an instrument for children, that leads to their mutual understanding in the classes 1–3, depends on the comprehensive educators approach to the relations between linguistics and the philosophy of language, developmental psychology, sociology of culture, and the history of the Polish society. The child’s undertaking of the school education imposes on the teacher the obligation to accompany it not only in mastering the elementary knowledge of the native language’s grammar system, but also in creating situations that overcome students fear of making difficult decisions when solving interesting tasks. When using the functions of the language: fatic, communicative, informational, expressive or meta-linguistic, pupils go through the several stages from the incorrect speech to correct speech, and they master the elementary structure of the reading texts intended for the little recipients. The described process would be strengthened depending on the pupil’s social background, and conditioned culturally and environmentally. This in turn affects the perception of the poetic language function and aesthetic attitude towards art.
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Vasily Sesemann’s Phenomenological Aesthetics

88%
Geniusas S.
Dialogue and Universalism
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2016
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issue 3
125-138
EN
The paper offers a systematic account of Vasily Sesemann’s aesthetics. First, I ar-gue that, due to the primacy this aesthetics grants to intuition, intentionality and the objectivity of aesthetic values, its underlying principles are decidedly phenomenologi-cal. Secondly, I offer an account of the general structures of perceptual acts and I con-tend that the distinctive nature of aesthetic perception lies in the unique disposition of the aesthetic attitude. Thirdly, I maintain that there are three fundamentally different ways in which one can speak of aesthetic truth: in terms of formal requirements, subjec-tive material requirements, and objective material requirements. Fourthly, I open a short dialogue between Sesemann and Maurice Merleau-Ponty and argue that an artwork ful-fills the objective requirements of material truth when it succeeds in disclosing those levels of experience, on which the theoretical and practical attitudes rest and from which they take their departure.
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Is psychology relevant to aesthetics?  : A symposium

88%
Nanay B., Smith M., Irvin S., Schellekens E.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 1
EN
The symposium published here began life as a somewhat unusual ‘author meets critics’ session at the British Society of Aesthetics annual conference, at St Anne’s College, Oxford, on 16 September 2016 – unusual inasmuch as the focus was not on a single book, but on two books (Bence Nanay’s Aesthetics as Philosophy of Perception and Murray Smith’s Film, Art, and the Third Culture) exploring different but related themes. In addition, rather than encompassing all the issues these two books address, the session focused on one general question that both books explore in some depth: is psychology relevant to aesthetics?
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