Traditional aesthetics defines beauty as the outcome of human perceptual cognition.In contrast,contemporary Chinese Meishengology holds that beauty is a sensible reality,and that the world and humanity possess the ess...Traditional aesthetics defines beauty as the outcome of human perceptual cognition.In contrast,contemporary Chinese Meishengology holds that beauty is a sensible reality,and that the world and humanity possess the essential law and ultimate purpose of evolving toward beauty.Professor Yuan Dingsheng,a contemporary Chinese scholar,established contemporary Meishengology through his observations of heaven,earth,and history,as well as his in-depth theoretical research in ecological aesthetics.Rooted in ancient Chinese philosophical thought,Meishengology realizes the sublimation from the noumenon of“Shengsheng”(eternal engendering)-based on Dao and Qi-to the noumenon of“Meisheng”(beauty-generation).It embodies the contemporary inquiry of Meisheng(beauty-generation)theory into metaphysics.Meishengology investigates how beauty emerges,generates,and grows within the Meisheng-field(beauty-generation field).It clarifies the Meisheng(beauty-generation)essence of the world and humanity as a transcendent existence characterized by greenness,vitality,rhythmic profundity,and endurance.It explores the law,purpose,and value of the world and humanity evolving toward beauty,and outlines the cosmic Meisheng(beauty-generation)schema in which the Dao of holistic generation circulates throughout the world to form the Meisheng-field(beauty-generation field).Meishengology has constructed an independent knowledge system with Chinese indigenous characteristics and achieved a systematic upgrade of ecological aesthetics theory.Its logical speculation and essential connotation possess a global character.Chinese Meishengology will eventually converge with world aesthetics,and jointly build a global community of beauty-generation and a civilization of beauty-generation.展开更多
In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, a...In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.展开更多
Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn...Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn experience from it. There are four dimensions of learning. First, we should seek the origin of methods from Marxism. Second, the study should deeply rooted in Chinese traditional culture. Third, we should refer to ancient and modem Western aesthetic theories. Last but not the least, all the scholars should be encouraged to express their views freely and equally. The four dimensions, which plays an important role in constructing China＇s modem discourse of aesthetics, derived from the conclusion and experience of China＇s modem aesthetic development in 20th century.展开更多
The emergence of media convergence have so huge impact on paper-based media that paper-based media no longer has a monopoly. Some people assert that paper-based media will come to an end. However, the author believes ...The emergence of media convergence have so huge impact on paper-based media that paper-based media no longer has a monopoly. Some people assert that paper-based media will come to an end. However, the author believes that the paper media will not come to an end under the media convergence trend. It will develop parallel with media integration. The reason why the author has this view is that, on one hand, paper-based media has its unique physical characteristics. In the real world, paper media brought us the aesthetic experience by ＂five senses＂ . It cannot be replaced by the media convergence. The paper media will also make survival steering dimension; on the other hand, cultural heritage of the paper media make itself a unique appreciation of the value and not transcendent. Therefore, the paper media in the media convergence trend will continue to exist and turned to be ＂concept book＂ that admiring is the main part and reading supplemented.展开更多
基金supported by 2023 Guangxi Philosophy and Social Science Research Project:“The Paradigm Development and Theoretical System Construction of Chinese Ecocriticism”(Project No.:23FZW008)Fifth Phase of the Guangxi Higher Education“Thousand Young and Middle-aged Backbone Teachers Cultivation Program”:“Ecological Aesthetic Research on Traditional Literary and Artistic Classics”(Project No.:2023QGRW019).
文摘Traditional aesthetics defines beauty as the outcome of human perceptual cognition.In contrast,contemporary Chinese Meishengology holds that beauty is a sensible reality,and that the world and humanity possess the essential law and ultimate purpose of evolving toward beauty.Professor Yuan Dingsheng,a contemporary Chinese scholar,established contemporary Meishengology through his observations of heaven,earth,and history,as well as his in-depth theoretical research in ecological aesthetics.Rooted in ancient Chinese philosophical thought,Meishengology realizes the sublimation from the noumenon of“Shengsheng”(eternal engendering)-based on Dao and Qi-to the noumenon of“Meisheng”(beauty-generation).It embodies the contemporary inquiry of Meisheng(beauty-generation)theory into metaphysics.Meishengology investigates how beauty emerges,generates,and grows within the Meisheng-field(beauty-generation field).It clarifies the Meisheng(beauty-generation)essence of the world and humanity as a transcendent existence characterized by greenness,vitality,rhythmic profundity,and endurance.It explores the law,purpose,and value of the world and humanity evolving toward beauty,and outlines the cosmic Meisheng(beauty-generation)schema in which the Dao of holistic generation circulates throughout the world to form the Meisheng-field(beauty-generation field).Meishengology has constructed an independent knowledge system with Chinese indigenous characteristics and achieved a systematic upgrade of ecological aesthetics theory.Its logical speculation and essential connotation possess a global character.Chinese Meishengology will eventually converge with world aesthetics,and jointly build a global community of beauty-generation and a civilization of beauty-generation.
文摘In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.
基金This essay is the initial result of ＂The study on the basic issues and critical pattern in contemporary aesthetics＂, a major project supported by National Social Science Foundation （Project Number：15ZDB023） ＂The study on the contemporary wester neural aesthetics＇ impact on the development of aesthetics in China＂, a normal project supported by National Social Science Foundation （Project Number：15BZW022） ＂Gorz ecological Marxist theory＇s implications for contemporary China＂, a project entrusted by Central Compilation ＆ Translation Bureau （Project Number： 15QWT26）.
文摘Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn experience from it. There are four dimensions of learning. First, we should seek the origin of methods from Marxism. Second, the study should deeply rooted in Chinese traditional culture. Third, we should refer to ancient and modem Western aesthetic theories. Last but not the least, all the scholars should be encouraged to express their views freely and equally. The four dimensions, which plays an important role in constructing China＇s modem discourse of aesthetics, derived from the conclusion and experience of China＇s modem aesthetic development in 20th century.
文摘The emergence of media convergence have so huge impact on paper-based media that paper-based media no longer has a monopoly. Some people assert that paper-based media will come to an end. However, the author believes that the paper media will not come to an end under the media convergence trend. It will develop parallel with media integration. The reason why the author has this view is that, on one hand, paper-based media has its unique physical characteristics. In the real world, paper media brought us the aesthetic experience by ＂five senses＂ . It cannot be replaced by the media convergence. The paper media will also make survival steering dimension; on the other hand, cultural heritage of the paper media make itself a unique appreciation of the value and not transcendent. Therefore, the paper media in the media convergence trend will continue to exist and turned to be ＂concept book＂ that admiring is the main part and reading supplemented.
