The term “aesthetic judgements” (also called the” Appearance Critique”) is one of the key terms used in the philosophy of aesthetics. According to Kant, our aesthetic judgements are subjective and are formed in response to our impressions of the world around us. The power of judgment here is quite subtle, and many philosophers have disagreed about its meaning and its application in everyday life. It can, however, be taken as an essential part of aesthetics. We will explore some of the basic concepts of aesthetic judgments.
In the Critique of Judgment aesthetics considers only the object as a whole and does not attribute value to the feelings associated with it or to the emotions that it generates. In general, the appearance of an object is given some kind of aesthetic value, based on its having completeness and on the presence of various relevant qualities. Aesthetics therefore have a good old fashioned importance in the history of art – they are deeply connected with the origins of modern art. They underlie the concept of proportion, perspective, space, shape, colour, form, value, quality, beauty, and truth.
Aesthetic judgments are personal and are therefore subject to personal valuation. There is no universal standard of beauty, just as there is no universal standard of value. We may all agree that the beauty of a picture is some kind of aesthetic value. The same can be said for the value of works of art.
Aesthetics differ fundamentally from aesthetics in other ways too. Aesthetic appreciation of a work of art may focus on the effect that the work has on the viewer, or maybe more importantly to the way that it makes the viewer experience the work of art in a positive way. An example of this can be found in literature, where the aesthetic elements of a book may be the plot, the characters, the style, the language, the theme, and so on. These elements can be deliberately planned and manipulated to give the desired effect.
In aesthetics however, the emphasis is placed more on the ability of the work to contribute to our understanding of reality, combined with an assessment of the work’s own aesthetic merit. Aesthetics can also include an appreciation of a work’s visual aspects, including the colours, the lines, the form, the texture, and so on. While the evaluation of these elements is not the focus of aesthetic judgment in most cases, a person may nonetheless include them when formulating their aesthetic evaluation. Aesthetics as a whole can encompass an appreciation of a work of art in terms of the function it serves, and in addition to the effect that the work has on the audience.
Aesthetics therefore differ fundamentally in two fundamental directions. On the one hand, aesthetics concerns itself with the beauty of things, while aesthetic judgments pertain primarily to how these things fit into the given surroundings. Aesthetics therefore deal primarily with the aesthetics of things, as opposed to their utility. Aesthetics therefore refer to a personal sense of beauty, while aesthetic judgments are typically practical and necessary.
When it comes to aesthetics, beauty, and aesthetics as a whole, there is no single, simple definition that can be drawn. The most common exceptions to this rule are citations required for educational purposes. In the case of literary works such as plays and poems, a specific citation is required in order to attribute authorship to a particular play, poem, or play, and to attribute merit to a particular aesthetic element (the aesthetic element being the character, plot, message, or purpose of the work). For other types of literary works, the criteria for rating beauty are less exact.
It should be noted that aesthetics is not the subject of a separate area of study, like aesthetics is the subject of a separate and more specific discipline. Neither area is divorced from the other, nor can one be said to be “more aesthetic” than another. Both areas share a core set of aesthetic judgements concerning what is pleasurable, beautiful, and worthwhile. Aesthetic judgment is, in many ways, just a mirror through which we view the aesthetic world, and in that it is much more subjective than objective.