After WW I the people craved for something to ease their minds from the sorrow and suffering and reality of war. The surrealism movement intended to create art; literature and philosophy that was soothing to the soul and helped them forget or alter the reality they were living in. There was also developments in the study of the human mind by Sigmund Freud that opened up ideas about imagination, which inspired many artists such as Dali. Salvador Dali’s works alter reality through illusion. This tech... ... middle of paper ... ...ipulate the audience’s thoughts and engages them in the artists altered reality Dali said “[Man] has only to imagine in order to pierce through walls and cause all the planetary Baghdad’s of his dreams to rise from the dust and destroys the shackles limiting our vision.”(Dali, S. 1940) Works Cited Ades, D, 2001.
Another thing that was important to painters was to tap into the psychic self, also a steady faith in the expressive character of the “mark”. Without realism’s impression to the visible world, abstraction would be able to portray like the “subject” of something as real as a feeling or simply- art itself. As Mark Rothko and Adolph Gottlieb onc... ... middle of paper ... ...achieved in its own medium and effects exclusive to itself. During the 1960’s many artists and critics who saw his view too “self-referential” and resistant to change questioned Greenberg. A lot of contemporary criticism had been dedicated to refuting his theories.
Known as postmodernism, this represents the mix of trends and movements of earlier traditions in the rejection to the practises and principles of mode... ... middle of paper ... ...f the movie. Pulp fiction is the works that are being continuously spurned out on cheap paper, the film itself represents the pulp of little substance that is spurned out to the public as the new and entertaining material to amuse the public. This fundamental “pulp fiction” has become the foundation to the underbelly of American society. Tarentino’s views in relation to the Modern American culture shape the structure of the film; and the true meaning is found in the nihilism of its culture. The clash of genres and nonlinear order have shown the ingenious way in which Tarentino has trivialised society, this in all represents just how we can come to understand it.
That is why, for Camus, an artist is a recreator of myth. He teaches humanity that contemporary man must abandon the old myths that have become otiose, though once defined his existence. The artist liberates man to live in his world by redefining both man and the condition in which he exists. In this regard, it is important to point out that, for Camus, the traditional opposition between art and philosophy is arbitrary. It is because they together become most effective to create the redefinition: the philosophy awakens the consciousness and the art, propelled by such a radical discovery, ... ... middle of paper ... ...ion could be taken both to find the guilty (those who send the plague and those who allowed it to arrive) and to prevent the same thing happening again.
Andy Warhol produced works that defied the popular notion of what art should be. Warhol's works were meant to be taken at face value, for nothing more than what they portrayed on the surface. While he stressed this superficial attitude about his art, his works were often the cause of debate and influenced public opinion like no other cultural figure in North America ( Shanes 5 ). Through his series with common images, celebrities and death, Warhol teaches us that surface images have a lot to say about pop culture. By exploring and learning more about the artist who opened so many doors in the art world, one can see why looking at the surface of his works often meant seeing and understanding so much more about the society in which we live.
The British Avant-Garde: A Philosophical Analysis ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed.
It is my intention to discuss Thucydides' assumptions of war and human na... ... middle of paper ... ...sm, the security dilemma is never fully advanced as an adequate explanation of Athenian imperialism. Thucydides included human impulses such as self-interest and honour, rooted in human nature, as the necessary basis for the law of nature that the strong will dominate the weak. Combined, the expansion of power driven by honour, self-interest and the security dilemma "makes for a much more virulent realism," making the possibility of any common good remote, but not impossible. Thucydides emphasises the importance individual motivations have on political events and decisions; personal ambitions and fears have influence and are a driving force. However, he also highlights that man is morally aware, that he controls his own actions despite the permanent condition of his nature, and that rational action combines morality with expediency, not necessity with expediency.
This technique also provided the impre... ... middle of paper ... ...ublic relations’ authorities, it was grasped that it was probable to sell produces by engaging not to publics’ needs, but to their unfounded wishes and uncertainties. Marx, Nietzsche, and Freud moved toward their fields of learning with suspicious outlooks, repudiating to take the stated motivations of experts and subjects directly. In its place, they pursued historic and theoretical methods of enlightenment that put forward that the seeming honest positions of governmental economy, morals, and consciousness, correspondingly, concealed up additional deceptive phenomena or proceeded to cover underhanded intentions. This film studies how Freud’s philosophies of the unconscious formed the enlargement of PR and advertising; and why psychoanalysis could still seem in the present day as an acute concept of consumerism and societal conventionality.
Moreover, art, as a philosophical branch, is using the same emotive and rational methods as philosophy not only to represent the forms, but also to find the truth. In Plato’s Republic, one of the most influencing books in history of philosophy, Plato begins with several crucial arguments. First he states that the artist produces an insubstantial “imitation” of objects in the sensible world that are themselves less real than the forms, which comprise reality itself (Plato.2009.598b). Further, he states that poesis is psychologically damaging in its subversion of reason (Plato.2009.441e).The intensity of Plato’s argument consists from his desire to supplant art as a platform for modern education in Athenian education. However, it made him miss one point.
According to the philosopher, Art and Tragedy are copies of copies, the copies of the sensible world. He argues that there is a crisis on moral grounds: Art encourages and stimulates passions inducing human beings' to approach them. For Aristotle on the contrary, the creation of an Artwork allows for the materialization of an idea and then its manifestation. According to the philosopher, beauty is order and symmetry and Art represents its imitation, not limited just to the reproduction of the sensible world. There then came a complete revaluation of the concept of Art that Plato despised, with new ideas explaining Art as not representing the imitation of the sensible world, but of ideas themselves.