The phrase "aesthetic sentiment" is correct and usable in written English.
It can be used when discussing feelings or attitudes related to beauty, art, or design.
Example: "The painting evoked a strong aesthetic sentiment, leaving the viewers in awe of its beauty."
Alternatives: "artistic feeling" or "esthetic emotion."
However, the full aesthetic sentiment is forced upon us when and only if sensations and combinations of sensations "are entangled in an act of relational thinking".
Hume's acknowledgment of regular, predictable causes of the moral and aesthetic sentiment is sometimes taken as an indication that Hume is not a genuine subjectivist.
Hume uses the term "disinterest" as the contrary of "self-love" (EPM, 296), but he does not use the term in relation to aesthetic sentiment.
While Kobayashi has argued that this account fails to explain how the aesthetic sentiment or feeling can be shared by the artist and spectators (2009: 166), Bosanquet would likely respond that an explanation is to be found in his account of the work of art as a concrete universal.
XX of the Essay Concerning Human Understanding (1690) treats eleven; whereas Hume's Treatise and "Dissertation on the Passions" (1757) described about ten broad passions, as well as numerous sub-species and adjuncts, even before turning to the moral or aesthetic sentiments.
Locke's publication of The New Negro was in many ways in direct defiance and contradiction of the black intellectual elite of his day, most notably W. E. B. Du Bois, as well as being the advance guard of the aesthetic sentiments of the average Negro of his day.
In one of his best phrases, he describes this as an aesthetic of continuously rising sentiment.
It will be argued here, on the contrary, that Kant actually makes greater claims for the significance and contribution of both moral sentiments and aesthetic responses to the individual achievement of morality than Schiller does.
Neither outcome will be engendered by our "new" technologies failing, but in our losing touch with our "old" biological technologies, the human brains (and bodies) that have given birth to ideas, constructions and sentiments for aesthetic reflection.
Shaftesbury often compares our moral sentiments to our aesthetic evaluations, even going so far as to identify proper taste in morals and proper taste in aesthetics.
Reid's aesthetics is composed of two core theses: that a work, to be an artwork, must express the artist's sentiments, and that aesthetic properties, like beauty and sublimity, are strictly speaking properties of the mind of the artist and not properties of material objects.
