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Aesthetic philosophy provides a fascinating means to consider culture, the individual, and their relation to art. However, it is difficult if not impossible to conduct a structural analysis of such complex ideas without first committing to a theory that defines beauty; it seems there is little if any definitive agreement to this end, which has led me to consider the question myself, drawing on my own experience as an artist and considering the various concepts introduced by aesthetic philosophy. The result is a novel solution for defining beauty that challenges the importance and significance of individual judgment in the explanation of beauty, which seems to be the primary difficulty of aesthetics, by pulling for the dialectic between the polarized arguments of reason and mysticism.



Beauty is experiencing that which is beautiful. That which one beholds as beautiful is not the embodiment of beauty itself but rather a physical representation that acts as a catalyst for its expression. This concept holds in relation to the arts; a work of art is a product and function of beauty, but it is not beauty itself because beauty is a uniquely human experience much like emotion. Therefore, one can experience beauty just as one can experience happiness, sadness, anger, love and so on.

Using the experiential model of emotions to define beauty, the separation of beauty from what is beautiful becomes apparent and easily deduced. For instance, most agree that emotion is behavior unique to the human condition. Objects cannot experience emotion though they can causally induce there expression; a painting, dance, song, or poem cannot experience sadness, happiness, anger, etc. However, they can arouse such emotions in human.


By this logic, one can see how separate but mutually dependent aspects of physical (a painting, poem, song, etc.) and metaphysical (the emotions that arise out of contact with the physical) elements conceive beauty, and thus, the philosophical problem of beauty resolves.


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