The phrase "aesthetic engagements" is correct and usable in written English.
It can be used in contexts discussing art, design, or experiences that involve beauty and sensory appreciation.
Example: "The gallery's latest exhibition encourages aesthetic engagements that challenge traditional perceptions of beauty."
Alternatives: "artistic interactions" or "sensory experiences".
Our aesthetic engagements are occasions and activities of just this kind; thus aesthetics, as a field of conceptual inquiry, should start not from a presumption that the central task is to analyze the determinant properties that are named by aesthetic predicates, but rather with a full-blooded consideration of the activities of aesthetic life.
The central virtue of these lectures is that Wittgenstein never loses a sense of the complexity of our aesthetic engagements, our language attending and in cases manifesting those engagements, and the contextually embedded nature of the aesthetic actions he is working to elucidate.
We are not literally engaged in an activity with the object other than aesthetic engagement.
At what point does a widely shared yen for aesthetic engagement alter the character of that engagement?
The danger is not that thinking about such things distracts our ears from pure sensuous or "aesthetic" engagement.
The exhibition traces the evolution of aesthetic engagement with landscape from its origins in the 18th century to modern Romanticism in the 21st.
There is something to be said for art that goes beyond a solely aesthetic engagement with the viewer, and does something to ameliorate a condition.
How might the imaginary of a "body in pain" impact the aesthetic engagement with, and depiction of, the body in other places, contexts, and social milieus?
CHARLES McPHERSON has been in his prime for a long time now and, like all of those who take care of themselves and maintain their aesthetic engagement, he is a far, far better player than he was once.
Yet the idea that studying the contexts within which artworks are created and appreciated (or not) detracts from aesthetic engagement with the works themselves is still alive and well, and nowhere in better health than at museums -- the central institution bringing history to art lovers today.
The Next Big Thing by Anita Brookner 247pp, Penguin, £16.99 Fashion has not favoured Anita Brookner, whose 21st novel, published just over two decades after her first, continues a loyal aesthetic engagement with mourning and melancholy that frequently attracts criticism rather than praise.
