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page058from Building Ideasby the individual’s experience. It is this interest in the psychology of beauty and the process of aesthetic experience that set the pattern for the work on aesthetics within the British Empiricist tradition.
The Empiricists believed that knowledge derived directly from the sense, that ideas were built up out of the sense-data of experience. This contrasts with the view of the European Rationalists, like Descartes who, as described in Chapter 1, thought sense experience unreliable and began with the innate capacities of the disembodied intellect. It was only later in the eighteenth century, in the work of the German philosopher Immanuel Kant, that a resolution of these two positions produced another significant advance in the history of aesthetic thinking. In the meantime the term “aesthetics” had been coined, in the writing of another German called Alexander Baumgarten. He derived the word from the Greek Aisthesis, meaning sensory perception, betraying the influence of the Empiricist preoccupation with knowledge based on experience. In fact there was at this time a crossover between British and German philosophy through the influence of Shaftesbury and his successors, Hutcheson and Burke. Edmund Burke is perhaps most noteworthy for his idea of sublime, which he formulated in opposition to the concept of the beautiful. He proposed these as two separate categories of aesthetic experience and he also described them in psychological terms. In all these developments the emphasis is shifting – from the object to the subject of aesthetic experience. Instead of seeing art as simply a means to an intellectual end, where beauty merely provides an image of the underlying principles of order and perfection, the new ideas suggested that art provided a unique form of “knowledge”, a realm of specifically sensory awareness which could not be obtained by any other means. The Aesthetics of ”Genius” – From Kant to Nietzsche It was Kant who perhaps most famously pursued this intriguing inside, incorporating the notion of aesthetic judgement into his overall philosophical system. Kant’s first two great critiques covering what
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