The Nature of Beauty: Organic Skincare, Botanical Beauty Rituals and Clean Cosmetics

Product Information

Vartanian, Oshin; Navarrete, Gorka; Chatterjee, Anjan; Fich, Lars Brorson; Leder, Helmut; Modroño, Cristián; Nadal, Marcos; Rostrup, Nicolai; Skov, Martin (June 18, 2013). "Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture". Proceedings of the National Academy of Sciences of the United States of America. 110 (Suppl 2): 10446–10453. doi: 10.1073/pnas.1301227110. PMC 3690611. PMID 23754408. More recently, philosophers—distrustful of Kant’s theory of the faculties—have tried to express the notions of an “aesthetic attitude” and “aesthetic experience” in other ways, relying upon developments in philosophical psychology that owe much to Georg Wilhelm Friedrich Hegel, the phenomenologists, and Ludwig Wittgenstein (more precisely, the Wittgenstein of the Philosophical Investigations [1953]). In considering these theories (some of which are discussed below), a crucial distinction must be borne in mind: that between philosophy of mind and empirical psychology. Philosophy is not a science, because it does not investigate the causes of phenomena. It is an a priori or conceptual investigation, the underlying concern of which is to identify rather than to explain. In effect, the aim of the philosopher is to give the broadest possible description of the things themselves, so as to show how we must understand them and how we ought to value them. The two most prominent current philosophical methods—phenomenology and conceptual analysis—tend to regard this aim as distinct from, and (at least in part) prior to, the aim of science. For how can we begin to explain what we have yet to identify? While there have been empirical studies of aesthetic experience (exercises in the psychology of beauty), these form no part of aesthetics as considered in this article. Indeed, the remarkable paucity of their conclusions may reasonably be attributed to their attempt to provide a theory of phenomena that have yet to be properly defined. Kawabata, Hideaki; Zeki, Semir (April 2004). "Neural Correlates of Beauty". Journal of Neurophysiology. 91 (4): 1699–1705. doi: 10.1152/jn.00696.2003. PMID 15010496. S2CID 13828130. Visual Aesthetics. Interaction-design.org. Archived from the original on 12 August 2012 . Retrieved 31 July 2012.

Konstan, David (2014). Beauty - The Fortunes of an Ancient Greek Idea. New York: Oxford University Press. pp.30–35. ISBN 978-0-19-992726-5.a b Stegers, Rudolf (2008). Sacred Buildings: A Design Manual. Berlin: De Gruyter. p. 60. ISBN 3764382767. Martindale, C (2007). "Recent trends in the psychological study of aesthetics, creativity, and the arts". Empirical Studies of the Arts. 25 (2): 121–141. doi: 10.2190/b637-1041-2635-16nn. S2CID 143506308. a b c Craig, Edward (1996). "Beauty". Routledge Encyclopedia of Philosophy. Routledge. Archived from the original on January 16, 2021 . Retrieved February 10, 2021. Beauty | Definition of Beauty by Oxford Dictionary on Lexico.com". Lexico Dictionaries | English. Archived from the original on August 9,

Shelley, James (2017), "The Concept of the Aesthetic", in Zalta, Edward N. (ed.), The Stanford Encyclopedia of Philosophy (Winter 2017ed.), Metaphysics Research Lab, Stanford University, archived from the original on 8 March 2021 , retrieved 9 December 2018 Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, The Hague, 1980. ISBN 978-9024722334 Bense, Max (1969). Einführung in die informationstheoretische Ästhetik. Grundlegung und Anwendung in der Texttheorie. Rohwolt. McNamara, Denis Robert (2009). Catholic Church Architecture and the Spirit of the Liturgy. Hillenbrand Books. pp. 24–28. ISBN 1595250271. Beauty is one of the main subjects of aesthetics, together with art and taste. [37] [38] Many of its definitions include the idea that an object is beautiful if perceiving it is accompanied by aesthetic pleasure. Among the examples of beautiful objects are landscapes, sunsets, humans and works of art. Beauty is a positive aesthetic value that contrasts with ugliness as its negative counterpart. [39]Thomas Munro, "aesthetics", The World Book Encyclopedia, Vol. 1, ed. A. Richard Harmet, et al., (Chicago: Merchandise Mart Plaza, 1986), p. 81. Thomas Munro, "Aesthetics", The World Book Encyclopedia, Vol. 1, ed. A. Richard Harmet, et al., (Chicago: Merchandise Mart Plaza, 1986), p. 80 Fasolini, Diego (2006). "The Intrusion of Laughter into the Abbey of Umberto Eco's The Name of the Rose: The Christian paradox of Joy Mingling with Sorrow". Romance Notes. 46 (2): 119–129. JSTOR 43801801.

Scruton, Roger (2011). Beauty: A Very Short Introduction. Oxford University Press. p.5. Archived from the original on March 10, 2021 . Retrieved February 10, 2021. A feature of beautiful women which has been explored by researchers is a waist–hip ratio of approximately 0.70. As of 2004, physiologists had shown that women with hourglass figures were more fertile than other women because of higher levels of certain female hormones, a fact that may subconsciously condition males choosing mates. [103] [104] However, in 2008 other commentators have suggested that this preference may not be universal. For instance, in some non-Western cultures in which women have to do work such as finding food, men tend to have preferences for higher waist-hip ratios. [105] [106] [107] Kriegel, Uriah (2019). "The Value of Consciousness". Analysis. 79 (3): 503–520. doi: 10.1093/analys/anz045. Archived from the original on January 11, 2022 . Retrieved February 10, 2021. Plato also discusses beauty in his work Phaedrus, [41] and identifies Alcibiades as beautiful in Parmenides. [43] He considered beauty to be the Idea ( Form) above all other Ideas. [44] Platonic thought synthesized beauty with the divine. [35] Scruton (cited: Konstan) states Plato states of the idea of beauty, of it (the idea), being something inviting desirousness (c.f seducing), and, promotes an intellectual renunciation (c.f. denouncing) of desire. [45] For Alexander Nehamas, it is only the locating of desire to which the sense of beauty exists, in the considerations of Plato. [46]Jean-Marc Rouvière, Au prisme du readymade, incises sur l'identité équivoque de l'objet préface de Philippe Sers et G. Litichevesky, Paris L'Harmattan 2023 ISBN 978-2-14-031710-1 Craig, Edward (1996). "Beauty". Routledge Encyclopedia of Philosophy. Routledge. Archived from the original on 16 January 2021 . Retrieved 26 May 2021. If we adopt such an approach, then there ceases to be a real distinction between aesthetics and the philosophy of art; and aesthetic concepts and aesthetic experience deserve their names through being, respectively, the concepts required in understanding works of art and the experience provoked by confronting them. Thus Hegel, perhaps the major philosophical influence on modern aesthetics, considered the main task of aesthetics to reside in the study of the various forms of art and of the spiritual content peculiar to each. Much of recent aesthetics has been similarly focused on artistic problems, and it could be said that it is now orthodox to consider aesthetics entirely through the study of art.

S Scolnicov (2003). Plato's Parmenides. University of California Press. p.21. ISBN 0520925114 . Retrieved May 12, 2015. Reber, R; Schwarz, N; Winkielman, P (2004). "Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience?". Personality and Social Psychology Review. 8 (4): 364–382. doi: 10.1207/s15327957pspr0804_3. hdl: 1956/594. PMID 15582859. S2CID 1868463. Markand Thakar Looking for the 'Harp' Quartet: An Investigation into Musical Beauty. University of Rochester Press, 2011. This article seeks to clarify the nature of modern aesthetics and to delineate its underlying principles and concerns. Although the article focuses on Western aesthetic thought and its development, it surveys some of the seminal features of Marxist and Eastern aesthetics. The nature and scope of aestheticsGeorge Santayana (1896), The Sense of Beauty. Being the Outlines of Aesthetic Theory. New York, Modern Library, 1955.