Taste is a matter of personal opinion and preference. An individual’s taste may differ greatly, even in close-knit circles of individuals. While a person may have similar backgrounds and educational experiences with a group of peers, his or her taste will inevitably differ from them to some degree. In order to thoroughly understand the taste of another person, an individual must be willing to observe carefully and avoid making assumptions based on individual impressions.
In addition to initial impressions, our understanding of language and the meaning that we attribute to words will differ from others. What one person deems as beautiful is not what another will decide is beautiful. Thoroughly analyzing and acknowledging variances that arise as a result of connotative meanings of words is an important part of being able to understand taste. While there are generally agreed upon meanings of words, it is important to note that while it appears as if we have a similar understanding and definition of particular words like beauty, we must look closer at our intended meaning to avoid dissonance that may arise from misinterpreting each other’s understanding of language and taste.
The more individuals attribute meaning based on emotions rather than reason or denotative meanings of terms such as beauty, the more conflict may arise. Acknowledging deep-rooted differences that occur among a group of people can help us to find more commonalities. Despite disagreements in beliefs, people can still arrive a harmonious understanding about a particular subject or term through continual and open dialogue about words and their definitions. In specific literary works, commonalities among words and their connotation definitions can be dis...
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...arts must be carefully and objectively analyzed. Those who are skilled at this process are to be held in the highest of esteem. Being able to objectively critique a piece of art based solely on the work and the messages conveyed from each part is a challenging task as it is easy to be influenced by personal taste, biases, and other outside sources. People who are astute at objective analysis of art are able to recognize carefully intended messages embedded by creators in their works. When intended meanings of works of art are beautiful, a critic who is objective is able to recognize the value and worth of the pieces before him or her. They are able to utilize both logical reasoning and sentiment to discuss these works and derive a universal definition of beauty from them, despite the differences that will inevitably occur in taste that each human possesses.
Yeomans, Martin R. "Understanding Individual Differences in Acquired Flavour Liking in Humans." Chemosensory Perception 3.1 (2010): 34-41. Print.
He clarifies his interpretation of aesthetic value, rejecting the traditionally narrow notions regarding beauty and composition, and expands his view to include insights and emotions expressed through the medium. Explaining that he views overall value as an all-things-considered judgement, he asserts the ethicist’s duty to contrast the aesthetic with the ethical and determine the extent to which one outweighs the other. Gaut calls on readers to defy the popular paradigm equating beauty with goodness and ugly with evil, allowing for great, yet flawed pieces of
The meaning of a picture results in different opinions from many viewers. These images, such as artwork and advertisement, have become a source of communication in this new age of society. The advertisement I chose was a Coach perfume advertisement, a popular brand marketed towards women. This advertisement has a combination of physical features: lighting, text, and camera angles. These provoke an emotional appeal received by pampering with the perfume and gathering a sensation of love and peace, causing the audience to buy this product. A woman is born a nurturing loving creature. The world can make a woman harsh and intimidating, but when wearing this perfume it brings out the natural essence and reminds women of their true power but also
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.
Art is a language of its own and with out he proper understanding, people are like expression goes “left on the outside looking in”. In other words, people without the proper understanding of art, technique and form as well as other elements can’t appreciate a work of art as much as when you understand why an artist painted in the way they did and what they are trying to get across to his audience. Despite artists attempts to try and make their works as viewer friendly as possible, without the understanding and knowledge gained from an art class as this one people will never fully understand the a work of art as it is meant to be.
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...
What is beauty? It seems like a simple enough question, yet it has an extremely elusive, ever-changing answer according to American society. What is “popular” or “stylish” at the moment could be completely obsolete the next. This question has plagued societies for ages and continues to motivate women all over the world go to drastic lengths in their search for beauty. As women in remote Asian villages search to attain beauty by stretching their necks with heavy metal coils (Anitei) and women in America lie in enclosed melanoma-inducing tunnels of light so they can emerge gloriously tanned (Is Indoor Tanning Safe?), God has another, far more fulfilling plan for true beauty. Beauty in American society is so fluid, elusive, and superficial that it doesn’t possibly equate to the plan that God has for women to view themselves. Real beauty comes from character, confidence, and an identity in Christ.
The attempt to base a standard for assessing the value of works of art upon sentiment (the feeling of pleasure or displeasure) was famously made by David Hume in his essay "Of the Standard of Taste." Hume's attempt is generally regarded as fundamentally important in the project of explaining the nature of value judgements in the arts by means of an empirical, rather than a priori, relation. Recently, Hume's argument has been strongly criticized by Malcolm Budd in his book Values of Art. Budd contends that Hume utterly fails to show how any given value judgement in the arts can be more warranted or appropriate than any other if aesthetic judgements are determined by sentiment. This is a remarkable charge, since Hume explicitly sets out to introduce an aesthetic standard for "confirming one sentiment and condemning another." I examine Budd's arguments and conclude that Hume's position-and the empiricist tradition that it inaugurated-can withstand them.
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and aesthetic experience, Plato has made his works more controversial than Aristotle.
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
Conversely, upon investigating the artwork’s factual information such as the painting’s context, the artist’s background, the genre and the school or movement associated with the painting, it is possible to obtain knowledge that combines objective information and subjective opinion, confirming that some degree of objectivity, albeit with our ‘cultural imprint’, is possible as an art observer.
Over the years, America has become a society that judges beauty based mainly on appearance. Throughout the course of a day, men and women are bombarded with grotesque images of malnourished supermodels selling their own bodies; claiming that they are somehow beautiful. What does it mean to be beautiful? Can self-worth be measured by body weight, clothing size, or shade of lipstick?. “Sometime ago I came across an article in a beauty magazine in which a man said that there were no more ugly women in the world because make-up, weaves, false eyelashes among other beauty treatments have evened out the playing field and has resulted in all women looking the same” ( Gale 1). At the same time, misinformed judgements have caused women to change their physical appearance in order to become more beautiful rather than embracing their own true beauty. To measure beauty effectively one must remember that beauty cannot be determined by physical attributes, but is found in the personality and uniqueness of each individual.
regarded by many as the core of any act of beauty and reason. Different types of art have provoked many in life to pursue their goals and
views as to what art is; and as they say, beauty is in the eye of the