In so doing, he gave the word a different significance, thereby inventing its modern usage. Views on aesthetics ДЄesthetica (1750) by Alexander Gottlieb BaumgartenД«aumgarten appropriated the word aesthetics, which had always meant 'sensation', to mean taste or 'sense' of beauty. Without it, there would be no basis for aesthetic debate as there would be no objective criterion, basis for comparison, or reason from which one could develop an objective argument. Baumgarten developed aesthetics to mean the study of good and bad ' taste', thus good and bad art, linking good taste with beauty.Д«y trying to develop an idea of good and bad taste, he also in turn generated philosophical debate around this new meaning of aesthetics. With the development of art as a commercial enterprise linked to the rise of a nouveau riche class across Europe, the purchasing of art inevitably led to the question, 'what is good art?'. Previously the word aesthetics had merely meant 'sensibility' or 'responsiveness to stimulation of the senses' in its use by ancient writers. While the meanings of words often change as a result of cultural developments, Baumgarten's reappraisal of aesthetics is often seen as a key moment in the development of aesthetic philosophy. In 1733, during his formal studies at the University of Halle, he attended lectures on the philosophy of Christian Wolff by Johann Peter Reusch at the University of Jena. Both his parents died early, and he was taught by Martin Georg Christgau where he learned Hebrew and became interested in Latin poetry. Furthermore, CEEOL allows publishers to reach new audiences and promote the scientific achievements of the Eastern European scientific community to a broader readership.Baumgarten was born in Berlin as the fifth of seven sons of the pietist pastor of the garrison, Jacob Baumgarten, and of his wife Rosina Elisabeth. CEEOL offers various services to subscribing institutions and their patrons to make access to its content as easy as possible. Currently, CEEOL covers more than 2000 journals and 690.000 articles, over 4500 ebooks and 6000 grey literature document. CEEOL provides scholars, researchers and students with access to a wide range of academic content in a constantly growing, dynamic repository. Currently, over 1000 publishers entrust CEEOL with their high-quality journals and e-books. In the rapidly changing digital sphere CEEOL is a reliable source of adjusting expertise trusted by scholars, publishers and librarians. The complexity and plurivocity of such images defeat our cognitive capacity to determine truth/untruth univocally, provoking a fear of ambiguity, which is one of the small beginnings of violent political acts and events.Д¬EEOL is a leading provider of academic e-journals and e-books in the Humanities and Social Sciences from and about Central and Eastern Europe. BaumgartenвЂ™s notion of clear and вЂњcon-fusedвЂќ or вЂњfusedвЂќ (вЂњverworrenвЂќ) representations describes well how certain images вЂ“ вЂњviolentвЂќ images вЂ“ can break through these mediatized logics and capture the concrete particular in its qualitative singularity. Summary/Abstract: This paper draws on Alexander Baumgarten, the founder of modern aesthetics (1714-1762), to tackle two fundamental questions: What is an image or representation вЂњof violenceвЂќ? And what makes an image violent, in the sense that it can provoke acts of political violence? In the mediatized environment we inhabit, I argue, our perception has become damaged by generalized logics of image-exchange and -sharing, so that we have become immunized against perceiving concrete particularity. Published by: Trivent Publishing Keywords: Alexander Baumgarten Aesthetics Ambiguity Fiction Image Media Perception Political Violence Representation Subject(s): Fine Arts / Performing Arts, Aesthetics

Alexander baumgarten aesthetics