PHILOSOPHY OF ART

What is the difference between aesthetics and beauty?

The name Aesthetics is new, because the first aesthetic review, the Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, was launched in 1904, and in France the first aesthetic chair was created in 1921, at the Sorbonne, for Victor Basch .

 The task that aesthetics as a discipline supports is as old as thought. Charles will show it by sketching a history of aesthetic thought which is formed long before the discipline is officially established. This task is to wonder about the beauty, and where it occurs, where it is produced, which is mainly art. The etymology of the word tells us, bringing us back to the old Greek source: ἀισθητον, it is the sensible; For what is beautiful is properly a thing, and not an idea: a sensible object, which is offered to sensible knowledge.
  Since the beginning of the twentieth century, the debates have been intense, although always academic: to each his aesthetic. Aesthetics is today a common name for disciplines, or if you want very different approaches; None of them can claim a monopoly, and the true aesthetician would be the one who would master them all.

Source: To continue reading more in French contactuniversalis.fr

Ever since the faded beauty has been opposed to the sublime of ugliness and grotesque (Hugo, preface to Cromwell, 1827), the aesthetics of beauty seem to be denied by modernity. It may well be that this discredit is deceptive. The paradox of the aesthetics of the beautiful lies in the fact that it alone is attentive to the extreme singularity of its object (the aesthetic of the sublime, on the contrary, tends towards the nothingness of the object) Beauty is necessarily the attribute of « this rose that I see, » and not of the rose in general: « The roses are beautiful » is no longer just an aesthetic judgment but a logical judgment based on aesthetic judgment  » ; Yet the sole object of this admiration remains in indetermination, since the aesthetic revolution, by displacing the criterion of the beautiful from the object to the subject, clearly defines the feeling experienced by the second, but leaves in indeterminacy the singular form from the first. It must therefore be understood that the extreme singularity of the beautiful object does not lie in the aspect of the object itself, but rather in the essential form of the aesthetic singularity itself: the feeling of this rose does not qualify Not the unique aspect of the flower that is before me, but the very fact of the singularity of the aesthetic event, that is, the unique character of its inscription in time and space, That is, in the horizon of sensible experience.

Source: Jacques Darriulat; « De l’Idée du Beau à l’Esthétique ».To continue reading more in French contact jdarriulat.net