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Defining the concept of beauty
Defining the concept of beauty
Aesthetic judgement in art
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Making an aesthetic judgment is about expressing an opinion of whether a work of art is worthy of being intrinsically valuable. The means of arriving at an aesthetic judgment has being a topic of much debate among philosophers and psychologists, as it begs into question what the qualities of aesthetics are (if such exist), and the cognitive mechanisms that propel us to define them as so. Perhaps aesthetic judgment can be thought of as something derivational; for the means of arriving at any judgment involve a process of assessments, in which we decide whether something is good or bad, big or small, beautiful or ugly. Whatever value we arrive at depends on a set of physical qualities that are observed. For example we may judge the height of a person as tall if they exceed a certain number of inches, generally, there is to some extent, an agreement on what constitutes tallness, all things considered (age, gender etc.). So, our concluding judgments seem to supervene on a number of physical properties of the object. The question at hand is whether the same can be true of the aesthetic judgment. This paper is centered on the aesthetic experience of art. There is a litany of philosophical inquiries into the origin aesthetic judgment and research on the cognitive mechanisms involves in observation of art, that will aid in the exploration of the inner experience of art; and the role of our body and emotions in the art experience. If aesthetic judgments are like other judgments in that they are derivational, then what we consider to be beautiful may be traced back to given qualities of the object. However, there is no obvious contingency between aesthetically pleasant stimuli and the individual components from which they are built. Th... ... middle of paper ... ...divergent kinds of ap-, 2(2), 1–10. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology (London, England : 1953), 95(Pt 4), 489–508. doi:10.1348/0007126042369811 Marković, S. (2012). Components of aesthetic experience: aesthetic fascination, aesthetic appraisal, and aesthetic emotion. I-Perception, 3(1), 1–17. doi:10.1068/i0450aap Molnar-Szakacs, I., & Uddin, L. Q. (2013). Self-Processing and the Default Mode Network: Interactions with the Mirror Neuron System. Frontiers in Human Neuroscience, 7(September), 571. doi:10.3389/fnhum.2013.00571 Tsukiura, T., & Cabeza, R. (2011). Shared brain activity for aesthetic and moral judgments: implications for the Beauty-is-Good stereotype. Social Cognitive and Affective Neuroscience, 6(1), 138–48. doi:10.1093/scan/nsq025
Mitchell, Helen Buss. "Aesthetic Experience." Roots of Wisdom: A Tapestry of Philosophical Traditions. 6th ed. Boston: Wadsworth, 2011. 303-24. Print.
know beauty in any form”(86). We are so conditioned to see female beauty as what men
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The nature of aesthetics has puzzled many, where questions and reflections about art, beauty, and taste have intersected with our understanding of what a real art experience truly is. The notion of the aesthetic experience, an experience that differs from the everyday experiences, has been given great consideration by English art critic Clive Bell and American philosopher John Dewey since the beginning of the 20th century. Both have spent much deliberation on the distinctive character of aesthetic experience; yet have complete opposing ideas on how to go about understanding aesthetic experience’s ecosystem. Bell takes a formalist approach, as he thinks that to understand everything about a work of art, one has to only look at the work of art.
Beauty is experienced through visual stimuli. The human being's intake of beauty is through both conscious and unconscious decisions. (4) (4) The question is what motivates our unconscious decisions...
Before analysing selected art works in more detail it will be worth introducing a few different definitions and hypothesis of aesthetics in art based on theories of well-known critical thinkers.
There is beauty and there is beauty. The two are not mutually exclusive, but rather represent two poles on a continuum. At one pole is the beauty that is associated with a sense of lightness and balanced order. It has a faintly decorative quality to it. At the other extreme is the much darker form of beauty that we associate with profundity and truth. This latter form of beauty I will analyze in terms of the containment of the sublime. The distinction between these two extremes of beauty has less to do with the objects under consideration, whether a flower, a sunset, a poem, a painting, or a piece of music, than it does with the attitude of the considerer of the object. That is, anything that possesses beauty of the first kind can also be viewed as possessing beauty of the second kind, if the attention of the viewer is directed appropriately. The differential across the continuum is constituted by the degree of awareness of the element of the sublime in the beautiful.
ABSTRACT: In moving away from the objective, property-based theories of earlier periods to a subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, the "Deduction of Judgments of Taste" (KU, § 38) aims to show how reflective aesthetic judgments can be "imputed" a priori to all human subjects. The Deduction is not successful: Kant manages only to justify the imputation of the same form of aesthetic experience to everyone; he does not show that this experience will universally occur in response to the same objects. This is what I call Kant’s Problem of Particularity. After critiquing Anthony Savile’s attempt to overcome this Problem by linking Kant’s aesthetics to the theory of rational ideas, I elucidate the concept of (the oft-unnoticed) aesthetic attributes (§ 49) in a way that allows us to solve the Problem of Particularity.
The aesthetic movement was an artistic and literary movement that was centered on the saying “art for art’s sake” and arguing that art was not to be utilitarian or practical. The movement wanted art to exist for the sake of its beauty alone, and that it did not need to serve any political or didactic purpose. The pieces of art created by the artists in the movement did not tell stories or sermons; their art was visual, delightful, hinting at sensual desires; their poetry was pure. The proponents of the movement say that the experience of art is the most intense experience available in life and that nothing should be allowed to restrict it. The intensity of the aesthetic experience is the dominant goal in human life. If there are morally unwanted things of art, they do not really matter in contrast to this all-important experience which art can give.
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).
David Hume’s essay “Of the Standard of Taste” addresses the problem of how objects are judged. Hume addresses three assumptions about how aesthetic value is determined. These assumptions are: all tastes are equal, some art is better than others, and aesthetic value of art is defined by a person’s taste(from lecture). However, Hume finds the three beliefs to be an “inconsistent triad”(from lecture) of assumptions. If all taste is equal but taste defines the aesthetic value, how can it be that some art is good and others bad? Wouldn’t all art be equal if all taste is equal? Hume does not believe all objects are equal in their beauty or greatness. He states that some art is meant to endure, “the beauties, which are naturally fitted to excite agreeable sentiment, immediately display their energy”.(text pg 259) So how will society discern what is agreeable and what is not? Hume proposes a set of true judges whose palates are so refined they can precisely define the aesthetic value of something.
Of course, this argument cannot be held to all art. If that were the case, then a majority of artwork would be then considered worthless. Bell’s principle of aesthetic emotion is far too specific to define such a wide array of visual art. Not to mention, everyone’s interpretation of what
Aesthetics found that through their great interest in beauty, pleasure that is derived form objects of art is more beautiful than other pleasures.
My awareness of beauty has been a monumental feature of my life. As I stated earlier, books always have been a central part of my life, and the beauty of the written word has always deeply affected me. Beyond that, my appreciation for art and all things aesthetically pleasing has been ever present, from the decorations I chose in my apartment to the art museums that calm me. Both my parents are scientists, not very concerned with art or anything not practical. However, we travelled a lot growing up, and even though my parents never sought it out, I was exposed to many different cultures and beautiful sights. I was always happiest when we were in cities and able to see the different art and music. This trait is also present in my sister, which makes sense as we both travelled so often. I believe both of our experiences from the environment we were privileged to grow up in made this trait manifest as it did. This trait has seemed to evolve with age, seemingly because of my higher attention span as I have
This is the state of contemplating a subject with no other purpose than appreciating it. For most authors, thus, the aesthetic attitude is purposeless: we have no reason to engage in it other than finding aesthetic enjoyment. Aesthetically, we appreciate beauty by using our senses by appreciating fine art in a museum say the Mona Lisa, taking a walking in garden filled with our favorite flowers and trees, devouring our favorite meal; or even finding an oasis in the dessert. Nevertheless, our imagination can also aid with our aesthetic attitude. Finding ourselves happy when we think of our family and friends is a beautiful thing, love is beauty, and beauty is love.