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An essay on aesthetic experience
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Recommended: An essay on aesthetic experience
Skye Tompkins
Dr. McMahon
HUM 2613
23 September 2015
Become Disinterested When looking at something in a disinterested way it can be labeled as casual. Aesthetic experiences happen everyday, multiple times a day. What humans notice, judge, and define as an aesthetic experience differs, though. Philosophers study and fight to best comprehend and explain the phenomenon of the aesthetic experiences that are constantly happening. Philosopher Hans-George Gadamer does not believe that aesthetics are personal and specific pleasures obtained from art, but that aesthetics is the study of what objectively clues one’s abstract awareness of art. He is convinced that any painting worthy of being called art should instantly have an affect (Davey). Philosopher Marcia Eaton, on the other hand, describes aesthetics as the arousal of feelings and delight found in individuals rather
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His ideas are to look at objects in sympathetic and disinterested ways. An example of looking at art sympathetically might include ignoring the possible break down of morals associated with Nazi art. The aesthetic attitude must also be disinterested. An example of being disinterested would be looking at painting and choosing to like it or not on its own merit without considering its rarity or artist. He also believes that one must actively attend to a object and focus on it, instead of sitting back and letting the mind wonder, to view it aesthetically (King). “We never see or hear everything in our environment indiscriminately. Rather, we “pay attention” to some things, whereas we apprehend others only dimly or hardly at all (Korsmeyer).” Works
The two pieces of art that I have chosen to compare is the ‘Green Tara 14th century’ and ‘Tara 19th century’ which are both from the collection at the Rubin Museum of Art. The Green Tara sculpture is from central Tibet and is made of Gilt copper alloy. The Tara 19th century is from Kham province in Tibet and is painted with pigments on a piece of cloth.
“Aesthetics. Also called philosophy of art. Roughly, that branch of philosophy concerned with the creation, value and experience of art and the analysis and solution of problems relating to these. The primary topic is the appreciation of art, and major problems centre on what makes something a work of art” (A.R. Lacey, 1976 p.5).
It was a topic of curiosity ever since the Greeks. The curiosity about the phenomenon of art is as old as the Greeks. Plato considered art as a danger to the emotional health of the people and wrote about social control of the forms and contents of art. Aristotle, on the other hand, dispassionately described the psychological features of ‘aesthetic experience’.
(1) See "Judgment, Aesthetic" in A Companion to Aesthetics edited by David Cooper (Basil Blackwell, Oxford: 1992).
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
Impression materials are used to register or reproduce the form and relations of the teeth and the surrounding oral tissues (1). Making an impression represents a critical step in processing and fitting of a dental prosthesis (2). Several types of impression materials are produced. These include silicones, polyether, polysulfide and alginate which are available for crowns and fixed partial denture impressions. Silicone impression materials are considered to be suitable impression materials to use for fixed prostheses (3). Also, it has been reported that silicone has the ability to remain dimensionally stable through disinfection procedures (4). Among silicone impression materials, one type of them, called polyvinyl siloxane (PVS) is reported
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).
Sensory experience refers to any activity that stimulates one of the five senses. It is a culturally embedded, socially collective and physically embodied phenomenon that provides an instinctive dimension to identity. Imposing directly on our day-to-day lives, sensory experience marks similarity and difference in social practice in immediate and unspoken ways. In this essay I will discuss how sexual experience in the writings of George Orwell is used to highlight a limited sensory experience in post-World War Britain. I will be focusing on the novel 1984 and his essays Boys’ Weeklies and The Art of Donald McGill. When Thatcher became Prime Minister in 1979, Britain was characterised by an impulse of liberation from anything that was highly controlled or limited by the government in the 15 years prior to the war. The sexual revolution, in particular, allowed people a sense of power in retaliation to an outside world of controlling politics. Thatcher’s government appeared to prolong the sentiment with market-led liberal ideology based on individualism. Orwell’s progressive novel is located in the 1980’s and tracks the consequences of a society in constant demand for quick fixes of passion, parallel to the consumerist desires of modern capitalism. I will argue that Orwell’s writings accentuate a decline in the quality of sensual encounters in the ‘New World’, producing a loss of sensory awareness and embodied consciousness. This outright condemnation of the present is encapsulated in his descriptions of sexual impulses, which are increasingly controlled and thus compromised, by the overbearing influence of modern capitalism. Towards the end of the 20th century, sexuality increasingly moves away from individual experience and t...
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.
From Mark Twain to Vincent van Gogh, each genre of art comes with its greatest master. There are many compelling arguments to why this specific artist, musician or writer is the best in their category. In modern days, we don’t have a Mozart, or a Hemingway or even an Andy Warhol. There are many good artists of their own kind and many more are emerging thanks to new technology and new forms of media art. However, many arguments are made as to why these forms of art aren’t considered true forms of art. A few years back and even today, many argue that digital paintings aren’t real art so it is not surprising when people don’t think of a video game as an art form, but it is. The world is at constant change and so is art.
Interior design is a complicated profession. It is sometimes referred to as interior architecture and often confused with interior decorating. It involves the design, organization and planning of an interior structure rather than just refinishing and furnishing existing interior spaces. It involves managing a business, hopefully meeting the desires of the client and delivering to them an interior environment that is both functional and aesthetically pleasing. There is a lot more to interior design than first meets the eye.
The Creative Arts play a significant role in early childhood education as it provides children with a diverse range of skills to enhance their learning and development to meet the needs of succeeding in the 21st century. Educators can promote The Arts by adopting the Reggio Emilia approach to education, encouraging children to co-construct the curriculum to develop their skills in partnership with teachers, families and their cohorts. The focus of this essay is to emphasise the value of Creative Arts in early childhood education by providing a summary of the concepts and skills of the Creative Arts and the four strands; Dance, Drama, Music and Visual Arts. Then, ascertain how Creative Arts benefit children’s social development, language and
Creativity, it’s a broad topic of just new things and ideas among people. The definition of creativity is the use of the imagination or original ideas, especially in the production of an artistic work. PBS describes creativity as, “The new ideas and new connections between ideas, and ways to solve problems in any field or realm of our lives. The concept of creativity is often hard to grasp because creativity isn 't a tangible thing its just and idea. Also, because it’s hard to differ between a truly original idea and an idea that is just shaped from others. With all this being said, it can be hard to figure out where creativity comes from.
In the art community there is a lot of controversy in distinguishing what the difference between an artist and a designer. Designers are told they are not artist and they need to stop thinking they are artist. When dealing with art and design specific demographics and viewers interpret the messages of each subject in different ways. Art is said to be elucidated and design is said to be understood. Artists usually develop a work of art with the intention of bringing an emotion viewpoint, instinctive feeling, and or state of mind. When you look at an artist work it cannot be limited to just exhibiting one individual thought or just one individual meaning. That is a big difference when it comes to graphic design. Graphic design usually has a very specific goal and point to make. When dealing with graphic design there should not be any room or space for any mixed messages or multiple meanings. The audience of the design should immediately understand the design that the designer created. Art connects to people differently in so many ways. The only reason it connects to people in different ways is only because it is interpreted differently.
With the concept of beauty cast aside, a question remains. What exactly is art without the notion of beauty to help support it? How should it be defined and why? Like numerous terms in the English language, the word art holds varying interpretations from individual to individual. The physiological-evolutionary definition states that “art is an activity arising even in the animal kingdom, a, springing from sexual desire and the propensity to play, and b, accompanied by a pleasurable excitement of the nervous system,” (Tolstoy 235). The experimental definition claims that “art is the external