It is closely related to the philosophy of art, which deals with the nature of art. Aesthetics, the philosophical study of beauty and taste. It is closely related to the philosophy of art, which deals with the nature of art and with the concepts on the basis of which individual works of art are interpreted and evaluated. The fact is that the aesthetics of our learning spaces are important. The quality of what students see, hear, smell and touch when they enter our classrooms can have a significant impact on their learning.
Overdoing it can cause distraction and a lack of concentration. Doing it wrong can incite boredom and cause students to overlook the inherently attractive aspects of the curriculum. Aesthetic hedonism, which locates this reason in the pleasure felt when experiencing objects of aesthetic value, does so in the clearest possible terms. If, as this thesis argues, aesthetic judgment is perceptual and has all the Immediacy of any standard perceptual judgment, then aesthetic properties are perceptual, captured with all the Immediacy of Standard Perceptual Properties.
We might be forced to choose between these three formalist approaches to literature if aesthetic formalism were the only plausible articulation of the sense in which aesthetic value is perceptual, but that is not the case. It could be said that the explanation has to do with the way in which aesthetic formalism honors the conceptual link between the aesthetic and the perceptual. Selflessness plausibly figures in the definition of aesthetic attitude only to the extent that he, and he alone, focuses attention on the characteristics of the object that matter from an aesthetic point of view. Much of recent aesthetics has similarly focused on artistic problems, and it's arguably now orthodox to consider aesthetics completely through the study of art. The prevailing answer to the normative question is aesthetic hedonism, the view that aesthetic value is a value because things that have it give pleasure when experienced.
However, any new theory of aesthetic value, hedonic or not, must follow the line of network theory or Auburn's vision, considering that the answers to regulatory and aesthetic questions are independent or independent. And this task always seems to lead to statements about the immediate capacity to assimilate aesthetic properties, which could be said to be insufficient for the task, or to statements about the essentially formal nature of aesthetic properties, which are undoubtedly unfounded. It will be asked, with good reason, if the hedonist does not fulfill her own commitment to externalism in terms of aesthetic value; in other words, it will be rightly asked if the hedonist does not distinguish between a valuable experience and an experience of value, just as the internalist on aesthetic value does not distinguish between a coherent and complete experience and an experience of coherence and integrity. Since then everyone considered artistic value to be a kind of aesthetic value, artistic formalism could only gain prominence by dragging aesthetic formalism into its train.
