The phrase "aesthetic encounters" is correct and usable in written English.
It can be used to describe experiences or interactions that are focused on beauty, art, or sensory appreciation.
Example: "The gallery's latest exhibition promises to offer a series of aesthetic encounters that challenge the viewer's perception of modern art."
Alternatives: "artistic experiences" or "sensory interactions".
It enables alternate experiences of urbanity for many people, including different types of mobility, novel aesthetic encounters, and social engagement outside urban surveillance infrastructure.
Indeed, the ability to let our judgment be guided by the raw edge of perception is precisely what distinguishes aesthetic encounters from other kinds, a direct reflection of the adaptive dynamism that marks consciousness as human.
Sjöholm draws a clear line from Arendt's consideration of these subjects to her reflections on aesthetic encounters and works of art mentioned in her published writings and stored among her memorabilia.
Rich in poetry and humor, in potent but true conflict and wisdom, they dig so deeply into human experience that you emerge as from a hair-raising ride on an old wooden roller coaster, knuckles white not with fear and adrenaline but with that similar rush you get only rarely from aesthetic encounters, the sense of having journeyed through a lifetime of feeling in a matter of hours.
After these works, the navigation of the space was relatively freeform, allowing for many different journeys into varied aesthetic encounters.
Can the "wild" time of an aesthetic encounter be related to the controlled and constructed time of "history"?
The digital revolution has heated up our social interaction to the point where it has severely damaged our ability for sustained analytical thought, making the aesthetic encounter fraught with jarring interruptions and the chatter of competing visual and aural stimuli.
Interwar realism did not hearken back to earlier artistic modes but posited new and unfamiliar syntaxes of aesthetic encounter, revealing the emergence of a human subject quite unlike anything that had come before.
By Kant's own testimony, the contemplation of nature was for him an intensely aesthetic encounter.
Depending on the intensity of the experience, an aesthetic encounter can be either with beauty, exciting pleasure or with the sublime, striking awe, sensual overload, even terror (2 208 9).
Multi-disciplinary in scope, this book proposes a methodology for analyzing the aesthetic encounter within and through art writing, adapting and reworking a form of phenomenological-semiotic analysis found conventionally in performance studies.
