But these general conditioning parameters themselves do not direct or initiate specific forms of artistic production, and nor do they establish or produce anything like a phenomenology of aesthetic experience. Yet these parameters themselves are by no means immune to critical correction by reference to actual aesthetic conceptions or aesthetic phenomena. For it involves a substantive assessment regarding themes or subjects in this case: the common ground of life which prevail in a specific cultural context, and a determination of their specific function in his case: the task of guiding or binding social consciousness in a certain way.
How these themes and subjects are realized in artistic practice in each case, and the way in which they exercise their aesthetic effects in each case, would be questions which an aesthetic theory needs to clarify. Conditions identified in terms of an analysis of the aesthetic domain itself could clarify whether this assessment can be developed through an analysis of specific motifs iconography and justified in the context of theories oriented to art history Panofsky , p.
Or whether this assessment relates to the individual realization of particular forms of artistic production and the effects connected with them, and thus may be supported in the context of specific aesthetic theories. But that the latter actually presents and describes an aesthetic experience rather than anything else is something that would have to be shown by appeal to the former. And that makes sense precisely because it is quite possible that different kinds of aesthetic experience are being articulated here, and this plurality raises the question whether in all these cases we are really talking to the same degree or extent about aesthetic experience and, if so, how this is justified.
Tones are then identified as sounds which enter into relation with one another in accordance with rules and which are known only to human beings. They are differentiations undertaken precisely for this purpose, but they are not classifications.
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Sounds, tones, and music actually stand, as Yue Ji emphasizes, in a continuum. And, likewise the other distinctions which are mentioned — like that between heaven and earth or that between ideas and shapes — also merely designate poles which can be drawn on to explain musical productivity in the context of the Notations on Music. For in both cases the relevant distinctions mark out the formal conditions of a specifically aesthetic relation to the world to which artistic production in any concrete case must correspond.
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What transpires under the conditions of imagination is only connected with the realm of cognition in the broadest sense of the word, namely with cognition in general. The productive expressions of imagination are free and sensuous articulations of the play of perception. They serve in this way to open up a dimension of the world in which the realm of conceptual knowledge is expanded and enriched. The Kantian analytic of aesthetic judgment cannot itself say anything about the specific concrete expressions and perspectives which can be acquired and developed in this way, or about the precise aesthetic effects which may be produced in each case.
It is only on this basis that he proceeds to elucidate the established symbolic references and connections embodied in his specific cultural tradition. It is certainly no part of the task of any formal analysis of the conditions of the aesthetic to identify or describe such concrete semantic references and connections. And it is established symbolic connections, above all, that allow us to recognize the concrete formative possibilities, which are regarded as paradigmatic in a particular culture or epoch. In the Critique of the Power of Judgment , Kant also addresses just such established connections, even though they belong to a specific theory of art, which is directly related to the culture of the time and are not a result of the analytic of aesthetic judgment itself.
The analysis of the aesthetic judgment is incapable of providing any information about our aesthetic relationship to the world. All it can do is clarify the affinity and difference it reveals in relation to other forms of judgment.
Yearbook for Eastern and Western Philosophy
What the analytic shows is that the aesthetic judgment indicates that an essentially formative process is quite possible with regard to a determinate object. The four moments which Kant identifies as the relevant conditions are ultimately also moments which reflection recognizes, or ought to recognize, if and when it assumes an aesthetic access to the world. Yet it says nothing about the persistence or the possible termination of this reflection.
The possibility of aesthetic configuration, on the other hand, involves communicability of a peculiar and distinctive kind: one which does not make use of a sensuous configuration in order to communicate determinate thoughts or any items of information, but rather communicates in and through such sensuous configuration the fourth moment: universal communicability. But what specific aesthetic forms — whether they are of a visual, an acoustic, or any other character — actually make this possible is also something which cannot be derived from any formal conditions.
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To decide anything in this regard is once again a matter of the concrete case and of further concrete conditions the status of which can only be clarified by a concrete theory which depends on specific traditions and habits of perception. But it is also worth noting that the Yue Ji is also interested in underlining the distinctive aesthetic nature and character of the art of music within which it fulfils this function as distinct from the role of ethical custom, for example.
Thus the Yue Ji basically claims that music is distinguished from the simply immediate effects which sounds and tones exercise on the human sensibility, and from the merely agreeable character of enjoyment in general. It is also highly instructive to consider the episode regarding Prince Wen of Wei where he asks Zi Xia why he always has to struggle to stay awake in the case of ancient music, whereas he never tires of the tones of the newer music practiced by Zheng and Wei Yue Ji , p. Zi Xia explains to him that in the case of ancient music he specifically fails to grasp the art of music and the profound content that forms the subject of the refined conversation through which noble minds educate themselves.
Transcendence, Immanence, and Intercultural Philosophy
The distinctive effect of music — desirable because it cultivates and develops the listener — which the Yue Ji talks about is discussed in terms of various analogies. Hinderer-- J. Houtmann-- K. Inderfurth-- H. Isermann-- L. Kammerer-- A. Kimms-- R.
Kolisch-- Y. Liou-- M. Lutke Entrup-- C. Menn-- M. Morlock-- D. Pallaschke-- S. Rachev-- H. Rommelfanger-- J. Rosenmuller-- F. Salewski-- S. Schaible-- J. Schmidt-- R. Schmiedel-- C. Schwindt-- C. Stark-- M. Stieglitz-- E. Sucky-- N. Trautmann-- P. Waldmann-- J. Yao-- S. Zhang-- J. The papers are clustered into four parts, focusing on optimization issues, applications of Operations Research in production and service management, applications of Operations Research in logistics, and interdisciplinary approaches.
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