Aesthetic experience and Aesthetics.docx

Aesthetic experience and Aesthetics审美经验和审美What is art？Is art anything we want it to be , or does art refer to objects and/or events that have particular characteristics ? We can begin to answer these questions when we think about how we react to what our senses enable us to perceive. We are capable of responding passionately to an extraordinary range of stimuli ; e.g, the intensity of reds , oranges and violets in a tropical sunset ; the striking black and white patterns on the bark of birch trees ; or the extraodinary contrast in scale between humans and a massive water fall. 艺术是什么？是任何我们想要的东西，还是艺术指的对象和/或具有特定特征的事件？当我们思考我们的感官是怎样去认知时我们就可以开始回答这些问题了。我们能够充满激情地回应这一系列的刺激因素;例如，红色，橙色和紫罗兰在热带夕阳的强度；在树皮上的黑白花纹;或者是在人和一个庞大的瀑布之间 的一种强烈对比。While such natural phenomena often evoke “ooh” and “ah” responses , manufactured stimuli can also elicit such reactions . For instance, the graceful arches in a suspension bridge , the thrust toward the sky of a very tall building , or the subtle elegance of a ceramic vase can provoke feelings ranging from astonishment to serenity . 虽然这种自然现象常常引起“哇”和“啊”的应答，制造刺激也可以引起这样的反应。例如，吊桥上一个的优美的拱门，一个冲上云霄高大的建筑，或一个含蓄优雅的陶瓷花瓶的可以引起从惊讶到宁静的感觉。These kinds of reactions are not always associated with responses to such forms. Natural and manufactured forms often serve as stimuli for thinking about other things. We may ,for example, view the sunset to predict the weather for the following day.Or,we can look at the suspension bridge and estimate how much time will be saved by crossing it rather than taking another route.But,when we focus on the inherent characteristics or qualities of a phenomenon , we respond to its non-utilitarian aspects, and become engaged in an “aesthetic”encounter. To clarify the nature of such a focus we need to contrast it with other types of encounters.这些各种各样的反应并不总是与对这类形式有关。自然和生产形式往往有助于激发思考其他事情。例如，我们可以观看日落并预测次日的天气。或者，我们可以看一下吊桥并估计多少时间能节省下来穿过它而不是走另一条路线.但是当我们专注于固有的特征或现象的品质，我们为它的非功利性方面做出回应，就会成为 “美学”的遭遇。为了澄清这个焦点的性质，我们需要与其他类型的遭遇对比。 Non-aestheticEncounters非唯美邂逅Whenwelookatsomethingandthinkaboutitscostand whetheritisaffordableweareengagedintheeconomicdimensionsofexperience; e.g,dowehavethetollfeetocrossthesuspensionbridge? Whenweconsiderquestionsabouttheworthofproposals andactionsintermsofwhatisgoodforthepublicweareinvolvedinthepolitical componentsofexperience.Whenwefocusonthefunelementsassociatedwith objectsandeventsand their potentials toprovideadiversionfromdailyroutines weareconcernedwithrecreationalaspectsofexperience.Whenweexplorethevalidityofwhatisbeingproposedoradvocated-thedegreetowhichpropositionsaretrueorfalse-intellectualfactorsarebeingaccentuated.Socialcomponentsareemphasizedwhenweareconcernedprimarilywithrelationsamongpeople.Andwhenwespeculateaboutwhatisholy,sacredorprofanereligiousfactorsareemphasized. 当我们看东西的时候并考虑到它的成本，以我们的经验在经济层面上考虑到它是否能够被支付;例如，我们有通行费过吊桥吗？当我们考虑到这些有价值的建议和行动问题对公众影响的好处是什么，我们都参与有经历的的政治条款行动。当我们重点关注的对象和事件以及相关的“趣味”元素以及它们的潜力从日常生活中分流出我们关心的是体验休闲娱乐因素。当我们探讨什么是被提议或主张的正确性时-在何种程度上这种提议是真的还是假的- 智力因素正在加剧。当我们关注人与人之间的关系时社交成分也在被强调。而当我们推测一下什么是神圣的，神圣的或世俗的宗教因素也在被强调。 What are the Aesthetic Dimensions of Experience?审美体验的特征是什么？In contrast to these other components of experience, aesthetic responses require attending to qualities that are intrinsic to that belong to the object or event being experienced. For example, responding to the color and the shape of a tree , and not just speculating about how many board feet of lumber the tree may provide .This does not imply that being engaged in other aspects of experience precludes being involved aesthetically .A recreational focus, for instance, can also include aesthetic components. This occurs, for example,when one attends a football game to have fun but also is delighted by the patterns of color produced by the clothing worn by the spectators or is awed by the imaginary arc produced by a football as it is thrown down field.与其他经验成分的相比之下，这些，审美反应的需求以品质为内在的 归属于 - 正在经历的对象或事件。例如，对一棵树的颜色和形状的反应，而不是仅仅猜测有多少的木材的树可以被提供。这并不意味着在其它经验方面将排除美学因素。.以一个娱乐焦点举例来说，也包括美学成分.例如，在这个场合中当一个人有兴趣参加一个足球比赛，并且从观众所穿的的衣物的颜色而感到高兴或球场上扔下的足球所产生的假想也会感到很惊奇。Both non-utilitarian objects and articles that are primarily functional may evoke responses to their aesthetic qualities. We may experience a sense of pleasure when observing the smoothness of a surface or the repetition of shapes that unify a form within a coffee-maker or a painting.The most obvious functional object that unify a form within a coffee-maker or a painting. The most obvious functional object that we experience aesthetically is the automobile. In fact ,for most of us ,the appearance of a particular auto is important as important as how it functions mechanically.这两个非功利的对象和用品，主要的功能可能在他们的审美质量上会引起反应。当观察到一个咖啡壶或一幅画表面的平滑度或形状我们可能会产生美感。最明显的功能对象，一个咖啡壶或一幅画中的统一形式。大家体验美学最明显的功能对象是汽车。事实上，对于大多数人来说，一个特定的汽车的外观很重要，因为重要的是它是如何发挥机械的作用。When we focus on the perceivable(acquiring information through our sense )qualities that permeate any experiencevariations in color ,shape ,values(dark and light), texture, space,scale,and composition coupled with identifying relevant signs and symbols,and then have thoughts and feelings that are stimulated by what we encounter , we are immersed in the aesthetic dimensions of experience.当我们专注于可感知的品质（通过我们的感官获取信息）通过体验渗透在颜色，形状，价值（深色和浅色），肌理，空间，规模和组成上的变化 - 再加上确定相关标志和符号，以及我们产生的想法和感觉的刺激，我们都沉浸在体验刺激的审美感受中。Is Everthing That Evokes a Response to Aesthetic Qualities Art? 任何东西都可以引起审美艺术质量的回应？While all types of objects and events existing in nature and manufactured by humans may evoke an aesthetic response , are we willing to call all of them art? Under what conditions will we classify particular objects and events as art ?Can we really refer to a tree or a mountain as a work of art even though these phenomena were created by forces of nature ,and not as forms organized to involveus in their aesthetic qualities ? Responses to the aesthetic (inherent)aspects of naturel phenonmena are based upon our human predisposition to react in this manner. We may refer to a tree as “lonely”or”stately” and to a mountain as “majestic” or “foreboding”but such responses are based upon our acquired sense of what constitutes such characteristics ，and not anything that nature has prescribed withina given form. 虽然所有类型的对象和事件 - 存在于自然界和人类所制造的可以引起审美反应，我们都愿意叫他们艺术吗？在什么情况下，我们将特定对象和事件作为艺术分类？我们真的可以参考一棵树或一座山作为一件艺术品，即使这些现象是由自然力量创造，而不是作为一种有组织的形式也会使我们涉及的它们的的审美特质吗？对于审美（固有）自然现象的方面是基于我们的人类倾向以这种方式进行反应。我们可指一个树作为“孤独”或“庄严”和一座山作为“宏伟的”或“预示的”，但这种反应是基于我们构成这样的特征所需求的感觉，而不是自然界已经规定一个给定的形式。 We may respond aesthetically to a variety of objects produced by people who have no word for art in their native language. Are we willing to call such objects art even though they were produced as objects to give form to tribal values and traditions,and not as art ,perse:i.e,objects to be experienced aesthetically? Why is it possible for art to be produced under such conditions? Because the qualities that we Respond to aesthetically were implanted within the forms created,not by an accident of nature ,but as a consequence of the imperatives of a human society. Tradition requires particular organization of inherent qualities that results in envoking responses that are congruent with responses to acknowledged works of art. 我们可以回应这种审美是由人在他们的母语中没有语言的艺术里产生的各种对象。即使它们被做为对象所给予这种部落的价值观和传统的形式，而不是艺术本身：即以这种对象进行审美体验，我们愿意称作这种对象的艺术吗？为什么艺术有可能在此类条件下产生？是因为这种品质要求我们回应美学上植入这种此类创建的形式，而不是一个自然发生的事件，也是作为人类社会发展的迫切需要的结果。传统需求的内在因素会引起所认可的艺术作品相一致的反应。 Can people who have not been taught how to make art produce art? Can children produce art because the forms they creat can and do involve us in aesthetic encounters. The organization of sensory elements shapes,colors,etc. that evokes our responses occurs,consciously or subconsciously, becaused of the predispositionof human beings to produced(and respond to) aesthetic stimuli. Untrained artists,referred to as primitives,have produced works that are in world renowned museums.Spontaneity,naivete,and a direct appeal to our emotions are characteristics we often associate with works produced by three to ten year olds,which we classify as “children s art.” 人们中谁没有被教导如何使艺术产生？孩子们可以生产，是因为他们创造而且确实涉及到我们的审美艺术形式。感官元素的组织方式形状，颜色等 。 - 即引起我们的反应时，有意识或潜意识，由于人类倾向于对生产（和响应）的审美刺激。未经训练的艺术家，被称为自学而成的艺术家，其成名作是世界著名博物馆。自发性，天真烂漫的特点直接呼吁我们的情绪的，我们经常与三至十岁儿童制作的作品联系起来，我们归类为“儿童“艺术”。Apparently,if we think about art as manufactured forms(but not naturel phenomena)which involve us primarily in the aesthetic aspects of experience,then it is possible to assign the term “art”to all manner of objects and /or events,including commercial and primarily utilitarian objects,as well as works produced in preliterate societies and by those without training regardless of age.很显然，如果我们认为对艺术的生产形式（而不是自然现象），这涉及到我们主要是在美学的经验方面，则有可能把 “艺术”一词的分到所有的对象和/或事件的行为，包括商业和功利的主要对象，以及在未经训练的年龄在无文字社会产生的作品。What does the term”aesthetics”mean?所谓“美学”是什么意思？ Whenwediscusstheaestheticaspectsofexperience,weareemployingaestheticasanadjectivethatrelatestothenounexperience.Aestheticcanalsobeusedasanounwhenitbecomesacentraltopicfordiscussion;e.g.,whenweareengagedinthestudyofaesthetics . Reviewing the following three groups of questions will help to clarify the meaning of aestheticasadomaintobeinvestigated. 当我们讨论的经验的美学方面，我们正在采用的“美学”作为一种形容词也可以联系名词“经验”. “审美”也可以用作名词时，它变成一个讨论的中心议题; 例如，当我们从事美学研究时回顾以下三组问题将有助于澄清“唯美”的含义并把它作为一种领域域进行调查。 whatarethesubjectandthethemeofaparticularworkofart? 主题和特殊艺术作品的主题是什么？howareillusionsofspaceandvolumecreated? 空间和体积错觉是如何产生的？whatideasand/oremotionarebeingexpressed? 有什么想法和/或情绪正在表达？whatsocialconditionsexistedwhenthisparticularworkwascreated? 当创建这个特别的作品时，存在什么样的社会条件？whatartisticstyleisassociatedwiththispainting? 什么样的艺术风格与此画有关？whocreatedthisworkofart? 谁创造了这件艺术品？howdoordinaryandmasterworksofartdiffer? 普通的作品和艺术大师的作品有什么不同？whydoworksofartemotionalresponses? 为什么情感反应这种艺术作品？howareworksofartdifferentfromotherobjects? 艺术作品与其他对象有什么不同？whichofthesegroupsofquestionsrelatetotheareaofaesthetic?thefirstgroupisconcernedwithidentifyingformalandexpressivequalitiesinspecificworksofart,whichimpliesengaginginartcriticism.Aninterestinthesocial-culturalcontextofparticularworkscharacterizesthesecondsetofquestions,whichrelatetoarthistory.Itisonlythelastsetofquestionsthatcanbeassociatedwiththetypesofissuesaddressdbyaestheticians,philosopherswhostudysystematicallythenatureofart.whenwediscussandargueandwriteaboutpossibleanswerstothesetypesofquestions,weareengagedinactivitiesthathaveoccupiedsomephilosophersforover200years.philosophyisafieldthatisusuallydividedintothreespecializedareas:这些群体的问题涉及到美学的领域？第一组是考虑确定正式和表达特点的艺术作品，这意味着从事艺术批评形式和表现力。在第二组问题中尤其是以作品社会文化背景为兴趣特点的，其中涉及到艺术史。这仅仅是最后一组由美学家解决的可以与美学相关联的问题，哲学家系统地研究自然艺术的性质。当我们讨论和争论，可能回答这些类型的问题，我们所从事的活动领先一些哲学家已经占据的领域200年了，而这个哲学领域通常分为三个专业领域： speculativephilosophy-concernedwithmetaphysics(firstprinciplesandcauses)andepistemology(methodsforgainingvalidknowledge)思辨哲学，涉及形而上学（第一原理和原因）和认识论（方法获得有效的知识） appliedphilosophy-relatingphilosophicalconceptsandmethodstootherfields(philosophyofscience,philosophyofeducation,philosophyofhistory,etc.) 应用哲学 - 关于哲学概念和方法等多个领域（科学哲学，教育哲学，历史哲学，等等。） practicalphilosophy-concernedwithethics(worthofhumanactions,andjudgementsofwhatisrightandgood)andaesthetics(definingthenatureofbeautyandart,formulatingprinciplesgoverningitsproductionandevaluation). 实用的理念，关注伦理（价值的人的行动，并判断什么是正确和良好）和美学（定义美和艺术的本质，制订涉及监管其生产和评价原则）。Theareaofaestheticscanbedividedintofivegroupingsofissues，questionsandproblemsthatareusuallyaddressedbyphilosopher-aestheticians.whenapproachedinwaysthatarerelevanttoparticulargroups,theseareascanalsobeinvestigatedbynon-philosopher;e.g,studentsrangingfromtheprimarygradesthroughgradeuateschoolcanalsoaddressthefollowingquestionsintermsoftheirownlevelsofsophistication. 美学的区域可以被划分成5组问题，这些问题通常是由哲学家-美学家解答。当这些方式与特定的小组相联系时，这些区域也可以通过非哲学家研究;例如，小学低年级的学生通过学校按照他们自己不一致的水平从也可以解决以下问题。1.Definingwhatisandwhatisnotart:whatconditionsmustbepresentforsomethingtobecalledart?whatconceptsenableustoidentifyqualitiesinworksofartandthenatureofitsaestheticform?whatmeaningscanbeconveyedbyworksofart?界定什么是艺术，什么不是艺术：什么条件必须存在的东西被称为艺术？什么概念，使我们能够确定的工程质量，艺术和美学形式的性质是什么？什么含义可以通过艺术作品来传达？ 2.engagingi