The object’s sentimental value is still a property of the relation, not of the actual object itself. — Possibility
Agreed. But it requires the object itself to be apperceived, otherwise, nothing happens.
Is the prize awarded to the artist or to the soap box car? The criteria would not consist of properties of the object itself, but of a demonstrated relation between artist and object: the aesthetics and creativity of the car’s design. It’s a subtle difference, but an important one. Beauty pageants and models are another story - the aesthetics is a form of objectification: the perceived isolation or separation of an object from the subject of which it is a property, by another subject. — Possibility
Of course, to the artist, who is, a subjective-object as well! I agree aesthetics is a form of objective truth. But you keep getting stuck on old-school paradigm's of objectification when the truth is that aesthetics (itself) is an objective truth.
Here's where you get stuck with when you literally conflate the two:
Objectification: 1.the action of degrading someone to the status of a mere object.
"the objectification of women in popular entertainment"
2.the expression of something abstract in a concrete form. The objectification of images may be astonishingly vivid in dreams
Aesthetics: a set of principles concerned with the nature and appreciation of beauty, especially in art.
•the branch of philosophy that deals with the principles of beauty and artistic taste.
You see where item 2 of objectification and aesthetics line-up? That's kind of what we're talking about, no?
There is a step between the aesthetic idea and the produced work of art, which Kant puts down to a genius’ ‘natural capacity’ only because - not being an artist himself - he has no means to understand it. It is the capacity to perceive an aesthetic experience in one’s own potential relation to an object, prior to its actual expression/exhibition. In my view, — Possibility
Agreed.
1. Concerning your statement about Kant: What you are not, you cannot perceive to understand; it cannot communicate itself to you----AH Maslow
2.In the case of the artist, it's the reverse from that which we were analyzing (from Kant's aesthetical judgement). A Beauty Pageant or the criteria set forth in employing a Model is based upon the perception of the aesthetical object initially/first (pragmatically speaking). That as apposed to the manifestation of the intellect through artistic medium's is that of a secondary means of expression (the written song, the painted canvas). So it's just an issue of subordination between the two, based upon the context of aesthetics and objectivity that is being apperceived.
The desire of the appearance. Your reference to the ‘subject’s object’ suggests a dualism that renders the object a property of the subject, but I’m struggling to understand the nature of the relation as you see it. Given that an ‘object’ is a goal or thing external to the thinking mind or subject to which a specific action or feeling can be directed, there seems to be some confusion as to which ‘object’ we’re referring to - object of which subject’s mind? In my view, reference to the subject’s object suggests either self-perception, or objectification. — Possibility
Yes, correct. but again, don't keep using the old-school term of objectification because its usage is not appropriate for philosophical discourse (which I'll give you credit for) in relation to aesthetics.
To then confine that aesthetic idea to the determined object of our desire is to ignore the transcendent extent of empirical intuition that inspired this aesthetic experience in the first place. The determined object of our desire is only one instance of perceived potentiality in the aesthetic experience, which is itself only one possible expression of an aesthetic idea, which is one representation of the imagination. — Possibility
I agree. I think the term you often use is indeed appropriate. That term being possibility. But I think it's more Freudian in nature in that it's more than likely a subconscious phenomena. Meaning, the desire (in Eros) is based upon the aesthetics (judgement of physical objective beauty) of the subject's-object first, then there may be a subconscious perception of
possibility that equally involves the intellect in hopes of subsequent and ensuing true compatibility, along with other relational and rational criteria.
Is that what you consider an aesthetic judgement? — Possibility
No. It's what I consider in your macro theory of compatibility, for which I take no exception. But again, we're parsing the distinctions here.
Kant’s aesthetics is a process of suspending judgement in attributing the property ‘pleasurable’ - first to a determined object, and then to a concept - before engaging the full capacity of the intellect. This is compatible with the Platonic notion of Eros, the purpose of which was to inspire transcendence from physical passion towards Beauty as an ideal. It is recognising that there is much more to appearances than objects/concepts and their properties. — Possibility
But I'm not talking about Platonic love. I'm talking about the traditional definition of Eros; romance and passion, and how existential those needs are to the human condition. If I had the understanding necessary to write a romance novel, perhaps that would be meaningful to you. Nevertheless, I appreciate all that there is associated with same.
When you isolate the intellectually compatible and physically desirable components from each other (as you appear to have done in the scenario you described above, then you’re not adhering to Kant’s process of aesthetic judgement. Perceiving an aesthetic experience recognises an irreducibility of appearances to phenomena (or object/concept/properties), NOT a separation of physical and metaphysical/intellectual components. This seems to me a misunderstanding of Kant’s aesthetics. Idk — Possibility
Aesthetics, or esthetics (/ɛsˈθɛtɪks, iːs-, æs-/), is a branch of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art (its own area of philosophy that comes out of aesthetics). It examines subjective and sensori-emotional values, or sometimes called judgments of sentiment and taste.[1]
Aesthetics covers both natural and artificial sources of aesthetic experience and judgment. It considers what happens in our minds when we engage with aesthetic objects or environments such as in viewing visual art, listening to music, reading poetry, experiencing a play, exploring nature, and so on. The philosophy of art specifically studies how artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize their art. It deals with how one feels about art in general, why they like some works of art and not others, and how art can affect our moods or even our beliefs.
My point of summary is that from Kant's initial (phenomenal) experience of beauty :
First, they are disinterested, meaning that we take pleasure in something because we judge it beautiful, rather than judging it beautiful because we find it pleasurable.
And so judging is a secondary process. The object itself is apperceived initially. We can't escape it. It's existential in its implication.
For reference ( as you already know) :
https://iep.utm.edu/kantaest/#SH2a