Aesthetica
Einführung in die neue Aesthetik
by Bense, Max
In diesem Band wurden die Schriften Max Benses zur Begründung einer neuen Ästhetik zusammengefaßt, welche die theoretische Entwicklung bis in die neuere Zeit berücksichtigt. Das ästhetische Werk Max Benses war damit zu einem gewissen Abschluß gelangt als Grundlage seiner weiteren Schriften und als das, was die ursprüngliche Absicht des Autors war: die klassische Interpretationsästhetik zum ersten Mal durch eine moderne, wissenschaftliche Ästhetik zu ersetzen. Der bemerkenswerte Nachweis, dass die zeitgenössischen künstlerischen Produktionen – sei es der bildenden Kunst oder auch der Literatur – sich von den klassischen ästhetischen Gegenstandsstrukturen zu den physikalischen Strukturen hin entwickeln, scheint damit gelungen zu sein.
Max Bense begründete seine Ansichten empirisch und kam damit zu einer ersten kompletten Theorie der modernen Kunst, darüber hinaus zur Interpretation der modernen Literatur. Nie zuvor waren von den Prinzipien her Physik und Ästhetik einerseits wie auch Naturprozeß und künstlerische Produktion andererseits so einheitlich zusammen gesehen und verständlich gemacht worden wie in der hier vorliegenden Zeichen- und Informationsästhetik.
Die erweiterte Ausgabe enthält ergänzende Darstellungen zur Numerischen und zur Semiotischen Ästhetik, die einerseits den (statistischen) Unwahrscheinlichkeits-Charakter des Kunstwerks und andererseits seine pure zeichenthematische Realität betreffen.
Ein grundlegendes Werk für Künstler, Wissenschaftler, Designer u. a. wie auch für interessierte Laien.
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Aesthetica: Einführung in die neue Aesthetik
1982, AGIS Verlag
in German
- 2. erweiterte Auflage
387007017X 9783870070175
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Aesthetica: metaphysische Beobachtungen am Schönen.
1954, Deutsche Verlags-Anstalt
in German
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Book Details
Edition Notes
Bibliography: p. 375-380.
Includes index.
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his main work on aesthetics. The fist volume has the title "Aesthetica [I]. Metaphysical observations on beauty" [Aestetica [I]. Metaphysische Beobachtungen am Schönen (1954)]. Max Bense presents there "observations, experiences, considerations and conclusions" in literature and painting. He divides aesthetics in three parts: 1) aesthetical object, 2) aesthetical judgment, and 3) aesthetical existence. The old conception of beauty is now understood as a modality of works of art, technical products and products of industrial design, and he distinguishes also between beauty of art, beauty of technique and beauty of nature. Here, we meet for the first time George David Birkhoff's "aesthetical measure" which is the quotient of "order and complexity".
By all these considerations, Max Bense proceeds from metaphysical aesthetics through mathematical aesthetics to informational or statistical aesthetics. Aesthetic communication is elaborated in Volume 3 of "Aesthetica" (1958) with the subtitle "Theory of aesthetical communication" [Aes
In "Aesthetica 4", with the subtitles "Programming of Beauty. General Text Theory and Text Aesthetics" [Programmierung des Schönen. Allgemeine Texttheorie und Textästhetik (1960)], Max Bense investigates the works of art as "vehicles of aesthetical information". He determines the aesthetic process as sign process and replaces the concept of literature by the concept of text, because the latter comprises literature, and all other kinds of possible "linear and non-linear texts", he maintains. The discussion of text, metatext, and context leads to the classification of texts of all kinds. His "text theory" consists also of text materiality, text phenomenality, text statistics, text logic, and so on. But only in his book "Theory of Texts" [Theorie der Texte. Eine Einführung in neuere Auffassungen und Methoden (1962)], he develops his methods more exactly and presents them more didactically. He speaks more comprehensively about sign theory, but also about "sign beauty", a term which the German philosopher Johann Augsut Eberhard published in 1806.
The development of Bense's Aesthetics is shown best in "Aesthetica. Introduction to New Aesthetics" [Aesthetica. Einführuung in die neue Aesthetik (1965)] which comprises the foregoing four volumes together with a new fifth part. He demands here of aesthetical "minimal conditions": extensionality, materiality, realization thematics, process thematics, and communication, and for aesthetical "maximal conditions": triadic sign function, order relation, aesthetical uncertainty relation, and value relation. But only in the paperback "Introduction to Informational Aesthetics" [Einführung in die informationstheoretische Aesthetik (1969)], Max Bense represents the Peircean semiotics in formalizing his only verbal given conceptions. The Peircean triadic sign relation consisting of M or medium relation, O or object relation, and I or interpretant relation, is written down as a function or relation of M, O, I which were divided by Peirce in three parts or trichotomies, so that three subsigns (an expression of Bense) result which were called by Peirce for M: qualisign, sinsign, legisign; for O: icon, index, symbol; and for I: rhema, dicent, argument.
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| December 26, 2014 | Edited by José Manuel de Almeida Freitas | von Elisabeth Walther |
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