richards

Richards discusses the problem that modern aesthetic theories rest on the assumption of a distinct and unique mental activity at the heart of all kinds of aesthetic experiences.

Richards characterizes the aesthetic experience as 'disinterested, universal, unintellectual, and not to be confused with the pleasures of sense or of ordinary emotions,' making it a sui generis experience.

Richards holds the view that all works of art give rise to valuable experiences, although the usefulness in analysis depends on the theory of value adopted.

According to Richards, Kantian disinterested pleasure refers to a one-of-a-kind experience that is complete in itself and cannot be compared to anything else in ordinary life.

Richards is in complete disagreement with the formulation of the aesthetic experience as sui generis and not comparable to anything else in ordinary life.

They assume a distinct and unique mental activity at the core of aesthetic experiences

It creates a huge problem by making it a one-of-a-kind experience

It is considered sui generis, a one-of-a-kind experience complete in itself

All works of art give rise to valuable experiences

The characterization of it as a one-of-a-kind experience complete in itself

Richards sees a problem with the formulation of modern aesthetic theories that focus on a distinct and unique mental activity at the heart of aesthetic experiences, particularly when characterized as 'disinterested, universal, unintellectual, and not to be confused with the pleasures of sense or of ordinary emotions.'

Richards disagrees with the Kantian characterization of aesthetic experience as 'sui generis,' meaning it is a one-of-a-kind experience that is complete in itself and cannot be compared to anything else in ordinary life.

Richards believes that all works of art give rise to valuable experiences, although whether they help in analysis depends on the theory of value adopted.

According to Richards, the Kantian disinterested pleasure refers to a one-of-a-kind experience that is complete in itself and cannot be compared to anything else in ordinary life.

Modern aesthetic theories rest on the assumption that there is a distinct and unique mental activity at the heart of all kinds of aesthetic experiences.

Richards disagrees with the Kantian characterization of aesthetic experience as 'disinterested, universal, unintellectual, and not to be compared with ordinary pleasures or emotions', as he sees it creating a huge problem.

Richards believes that all works of art give rise to valuable experiences, although their contribution to analysis depends on the theory of value adopted.

Richards finds the idea of Kantian disinterested pleasure as a one-of-a-kind experience that cannot be compared to anything else in ordinary life to be a huge problem.

Modern aesthetic theories rest on the assumption that there is a distinct and unique mental activity at the heart of all aesthetic experiences.

Richards finds the assumption in modern aesthetic theories that there is a distinct and unique mental activity at the heart of all aesthetic experiences to be problematic, especially when combined with the Kantian view of aesthetic experience as 'sui generis'.