...Summary The Critique of Judgment, often called the Third Critique, does not have as clear a focus as the first two critiques. In broad outline, Kant sets about examining our faculty of judgment, which leads him down a number of divergent paths. While the Critique of Judgment deals with matters related to science and teleology, it is most remembered for what Kant has to say about aesthetics. Kant calls aesthetic judgments “judgments of taste” and remarks that, though they are based in an individual’s subjective feelings, they also claim universal validity. Our feelings about beauty differ from our feelings about pleasure and moral goodness in that they are disinterested. We seek to possess pleasurable objects, and we seek to promote moral goodness, but we simply appreciate beauty without feeling driven to find some use for it. Judgments of taste are universal because they are disinterested: our individual wants and needs do not come into play when appreciating beauty, so our aesthetic response applies universally. Aesthetic pleasure comes from the free play between the imagination and understanding when perceiving an object. Kant distinguishes the beautiful from the sublime. While the appeal of beautiful objects is immediately apparent, the sublime holds an air of mystery and ineffability. While a Greek statue or a pretty flower is beautiful, the movement of storm clouds or a massive building is sublime: they are, in a sense, too great to get our heads around. Kant argues...
Words: 829 - Pages: 4
...In: Art as an Expression and Communication ART AS AN EXPRESSION AND COMMUNICATION We express our emotional state by some visible signs and activities. ART AS A CREATION The word "CREATION" refers to the act of combining or re-ordering already existing materials so that a new object is formed. Art is a planned activity. Sometimes the art object maybe the result of a cooperative activity, by a team of artist motivated by a common goal, as in the production of a play or movie. ART AND EXPERIENCE Three major kinds of experience involve in the artistic activity. Experience which the artist which the artist wants to communicate. Act of expressing this experience that of creating the art object or form. Artist's gratifying experience of having accomplished something significant. ART AND NATURE Art is not nature. A work of art is man-made, and although it may closely resembled nature, it can never duplicate nature. ART AND BEAUTY A thing of beauty is one which gives us pleasure when we perceive it. The delight that we experience is called " AESTHETIC PLEASURE", "AESTHETIC" came from the greek word which means " to perceive with the senses ". The subject of art refers to any person, object, scene or event describe or represented in a work of art. REPRESENTATIONAL OR OBJECTIVE ARTS - arts that have subject. EXAMPLES: Painting, Sculpture, Graphic Arts, Literature and Theater Arts. WAYS OF REPRESENTING SUBJECT 3 Ways Of Repsenting Subject: * REALISM- when...
Words: 307 - Pages: 2
...ART AS AN EXPRESSION AND COMMUNICATION We express our emotional state by some visible signs and activities. ART AS A CREATION The word "CREATION" refers to the act of combining or re-ordering already existing materials so that a new object is formed. Art is a planned activity. Sometimes the art object maybe the result of a cooperative activity, by a team of artist motivated by a common goal, as in the production of a play or movie. ART AND EXPERIENCE Three major kinds of experience involve in the artistic activity. Experience which the artist which the artist wants to communicate. Act of expressing this experience that of creating the art object or form. Artist's gratifying experience of having accomplished something significant. ART AND NATURE Art is not nature. A work of art is man-made, and although it may closely resembled nature, it can never duplicate nature. ART AND BEAUTY A thing of beauty is one which gives us pleasure when we perceive it. The delight that we experience is called " AESTHETIC PLEASURE", "AESTHETIC" came from the greek word which means " to perceive with the senses ". The subject of art refers to any person, object, scene or event describe or represented in a work of art. REPRESENTATIONAL OR OBJECTIVE ARTS - arts that have subject. EXAMPLES: Painting, Sculpture, Graphic Arts, Literature and Theater Arts. WAYS OF REPRESENTING SUBJECT 3 Ways Of Repsenting Subject: * REALISM- when things are depicted in the way they would...
Words: 376 - Pages: 2
...philosophy based in the simplistic beauty of things—the pursuer may, in the end and without notice, emerge uglier than ever before. Dorian, the once wide-eyed innocent, buckles and caves in to depravity while practicing an aesthetic lifestyle, despite the beauty that such a life idea claims. I began to wonder what Oscar Wilde intended to convey with his portrayal of the Aesthetic Movement incarnate and its often harsh consequences, especially given the well-documented involvement of Wilde in promoting aestheticism in his contemporary society. The juxtaposition of Wilde’s support for the Aesthetic Movement with Dorian’s corruption at the hands of it provided a great jumping-off point and a lingering question with which to begin an essay. What exactly is Wilde’s view of aestheticism when one bears in mind the story of Dorian Gray? In writing my essay, I realized Wilde’s outlook is not as straightforward as it may first appear. Throughout the writing process, a difficult task I faced was to encapsulate the aesthetic position when the philosophy often meant different things to different people. In researching the movement, I found that the moral philosophies of various proponents of aestheticism often varied and, thus, it became difficult to nail down the aesthetic tenets and apply them to Dorian Gray. In retrospect, some observations about the philosophy may, consequently, appear too generalized. I was also challenged in the initial formulation of my argument. It was initially difficult...
Words: 3238 - Pages: 13
...aspirations. Have a common desire for pleasure, status and knowledge. Tend to be from the middle-aged, educated and high-income market segment. They are high-involvement consumers generally motivated by the pleasure they receive from the product rather than its purely functional utility.Overall needs are more hedonistic and self-gratifying rather than functional and utilitarian. 2. Physiological needs: food, water and safety Psychological needs: aesthetic pleasure, status, expand their knowledge, desire for new experiences 3. Motivation theory to influence consumer behavior: Expanding on consumers’ cultural experience while consuming wine by giving significance to situational and environment factors. For example, * Use of Cellar doors or tasting rooms, besides being a purpose-built facility for trialling and purchasing a product, it is also a starting point to an ongoing relationship with the wine brand and wine experience. * Offering consumers a bundle of self gratifying products and experiences at the cellar door such as restaurants, degustatuin, accommodation, music experience ie international concerts. Such enriching experiences trigger the consumer’s desire to become more involved and engaged in the product category, thus feeding their hedonistic desires. * i.e., Meadowbank Estate: wine enjoyed with good company, food, music, art and ambience. Strong affiliation with the arts sector evidence by regular art exhibitions, concerts, food and wine...
Words: 362 - Pages: 2
...or what a aesthetic art looks like, so people can set their own standards. I agree most with Ducasse as there may be a generalization of what is considered beauty but everybody make judgement based on their subjectivity and be their own judge of what art is. This is from the essay Taste cannot be Disputed Beardsley as the “Aesthetic Skeptic.” ----- “the apparent reasons are not genuine reasons, or cannot be compelling reasons, like the ones we find in other fields” ----“though it is true that you can’t change a disliking into a liking by arguments, that doesn’t imply that you can’t change it at all, or that we cannot argue whether or not it ought to be changed Aesthetic tastes cannot be disputed; Tastes are something physiological and environmental that a person acquires over the period of time and that is unique to everyone, each reason defending a taste is merely just a mere preference by a person because there are no objective standards for judgment, and finally argument cannot change taste. I think some of the Beardsley’s points against the aesthetic skeptic; still, I don’t think I should agree with the fact that taste can be disputed. There is no disputing on Collingwood’s view amusement and magical art.I like his statement about what he said about art simply function to entertain or amuse.An art can depict physical representation of emotion of a person or his imagination that comes out of nowhere.So it really evokes specific emotion if an art is interpreted...
Words: 318 - Pages: 2
...classic to the contemporary period, dramatic theorists and dramatists have been involved in the polemics on functions of drama, whether it is an instrument of communicating ideas or just a genre of literature that only entertains. Whether drama entertains or bears the ideological or moral burdens which the author through his art intends to pass to the readers, drama unequivocally has a function which, according to Philip Sidney, is to “teach and to delight”. With this in mind, it can be established that every piece of drama sets out to achieve a function though critics and dramatists have disagreed on what the ideal function of drama should be. It is this light that the current paper explores the pragmatic theory of drama in Plato and Aristotle, or, simply put; how Plato and Aristotle perceive the ideal function of drama. Definition of Terms: Pragmatism is a theory that emphasises the dual function of a work of art. It stipulates the heuristic function of literature, that which preaches that a piece of art should teach and delight; it must be didactic while providing a means to delight and entertain. This theory opposes the notion of “art for art sake” Pragmatic Pragmatic and pragmatism are both etymologically derived via Latin and Greek meaning "fit for action", which comes from pragma, "deed, act", and prassō, "to pass...
Words: 2106 - Pages: 9
...specializes in the study of skin care, see Esthetician. Aesthetics (/ɛsˈθɛtɪks/; also spelled æsthetics and esthetics) is a branch ofphilosophy dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty.[1][2] It is more scientifically defined as the study ofsensory or sensori-emotional values, sometimes called judgments of sentimentand taste.[3] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."[4][5] More specific aesthetic theory, often with practical implications, relating to a particular branch of the arts is divided into areas of aesthetics such as art theory, literary theory, film theory and music theory. An example from art theory is aesthetic theory as a set of principles underlying the work of a particular artist or artistic movement: such as the Cubist aesthetic.[6] Contents Edit The word aesthetic is derived from the Greek αἰσθητικός (aisthetikos, meaning "esthetic, sensitive, sentient"), which in turn was derived from αἰσθάνομαι (aisthanomai, meaning "I perceive, feel, sense").[7] The term "aesthetics" was appropriated and coined with new meaning in the German form Æsthetik(modern spelling Ästhetik) by Alexander Baumgarten in 1735. Aesthetics and the philosophy of artEdit Aesthetics is for the artist as Ornithology is for the birds. — Barnett Newman[8][9] For some, aesthetics is considered a synonym for the philosophy of art sinceHegel, while others insist that there is a significant...
Words: 1092 - Pages: 5
...Contemporary art- art that is relative to our current society. Art of the present. Artist is usually alive and making art right now. Being a flux: constantly changing. There is no unified, crystallized interpretation or theory of it. Diverse nature of issues, styles, and forms. Part of our culture and visual culture. * see a lot of mediums and diverse. * no dominate style or medium * what is considered painting is becoming blurred * New art forms appear besides traditionally recognized art forms. ex: installation art, process art, video art, digital and experimental forms *diverse and eclectic. No single medium or ideology dominates *Medium categories are broadening, boundaries are getting blurred and redefined. *referencing and sampling from contemporary popular/consumer culture. * Art becomes interdisciplinary and cross-disciplinary (artist as scientists, cultural anthropologists, journalists, reports, etc.) continuation *Technologies -> new way of producing and conceptualizing art (digital culture, Internet, virtual reality) *New media potentials: video, robotics, transgenic art, etc. * new technologies create new paradigms *up until the late 1800s, what was the way to send a picture? <- painting. *what changed that? <- photography Art world goes global ( global production, reproduction, art market: global economy, dissemination) - Paris and NY ** *”About-ness” artist as social and cultural observer, critic *Artwork functions...
Words: 1962 - Pages: 8
...Week 8: The Politics of Popular Culture | | |Lesson Content | | | |[pic][pic]Lecture Notes 8 | | | |Chapter 10 Storey (2010) Lecture Notes | |This book has outlines the history of the relationship between cultural theory and popular culture. | |- The study of popular culture has changed over time as theories are developed within the context of historical and | |political conditions | |o There is no singular approach (or agreement) on what popular culture is, how it is to be understood, and how it is best | |studied | |o The theoretical approaches to the study of popular culture sometimes complement each other, and they sometimes contradict...
Words: 3050 - Pages: 13
...Television 30.1 (Spring 2002) 63-68 In the 1960's American art museums faced another of their cyclical crises of relevance, causing them to reevaluate their role in American society. The dominant paradigm in most traditional art museums was the display of Great Works, aesthetic objects existing outside of time and space for the museumgoer's pure contemplation. Since such works were universal in their artistic appeal, they were expected to reach across barriers of time and space to speak to the patron's sensibilities. The insights of great individual artists enriched the consciousnesses of museumgoers who briefly shed their individual subjectivities to encounter the eternal verities of Beauty and Truth. Outside the walls of the art museum, these eternal verities were in much disarray. The feminist and civil rights movements began publicly questioning whose idea of beauty and whose concept of truth was being articulated. The relevance of historical tableaux and delicate still lifes created for wealthy patrons came into question in an era increasingly aware of social inequities and gender and racial politics. How could the museum maintain its position as the repository of classical Beauty while attracting a population which pondered if black were beautiful or if nudes were sexist? Some museums attracted audiences with the promise of the new. Museums such as the Museum of Modern Art offered new movements of new artists, marketing to a hip audience with a modern...
Words: 4840 - Pages: 20
...According to dictionary.com, beauty is defined as the quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind, whether arising from sensory manifestations, meaningful designs, or something else. By this definition, anything that provides pleasure to one's mind can be considered beautiful. This concept of beauty is seen as being quite abstract. “Beauty is in the eye of the beholder” is the phrase that is often heard when discussing the topic of attractiveness but is this true? Does beauty really depend on who is looking? Beauty or aesthetics are often looked at in reference to artwork. Aesthetic means to be “concerned with beauty or the appreciation of beauty; also the philosophical theory or set of principles governing the idea of beauty at a given time and place (dictionary.com).” These words will be used interchangeably throughout this paper. There are many different opinions on what aesthetic qualities allow a painting to be considered beautiful. Some of these qualities are balance, rhythm, emphasis, proportion, sequence and repetition (Clair, 1939). Another article by Chen (????), measured what participants looked at when deciding whether or not a painting is beautiful and the frequent factors were meaning, brushstroke, style, shape, perspective, mood, originality, balance, and unity. An exhibition at the Birchfield Penny Art Center displays many of Charles Birchfield’s famous artwork and with every second Friday being free to students...
Words: 1301 - Pages: 6
...there is a lesser possibility that one's film will be interpreted as pornographic, whereas if one is a young and relatively unknown filmmaker. It should be mentioned here that the separation between art and pornography is not a new phenomenon. Walter Kendrick brilliantly traces the origins of modern pornography in his book The Secret Museum(Kendrick 1988). He shows how ad hoc are many definitions of pornography, as well as authorities' decisions to classify some artworks as pornographic. Kendrick's book nicely shows how certain artifacts can be continuously moved from the category of pornography to art, and vice versa. Similarly, philosopher Hans Maes in his...
Words: 1001 - Pages: 5
...6. What is Consequentialism? Explain/Define the following varieties of the term: A. Utilitarianism B. Hedonistic C. Endamonic D. Aesthetic E. Altruistic • Consequentialism is a theory of right, which takes the requirement to pick the act with the best upshot as the sole obligation. • Consequentialism holds that an action is morally right if, and only if, the action has one of the best overall consequences. In the absence of a “tie,” there will only be one right action; this action is morally required and other actions are morally forbidden. A. Utilitarianism • Utilitarianism is consequentialism coupled with a specific theory of good, welfarism. • Utilitarianism holds that an action is morally right if, and only if, the action has the consequences with (one of) the greatest overall amount of well-being. • In other words, utilitarianism holds that an act is right if, and only if, the action has one of the best consequences from the utilitarian point of view. B. Hedonistic • To a HEDONIST, happiness is having all the pleasure one can obtain. • Everyone deserves as much pleasure as possible. • Pleasure is automatically good. • No amount of pleasure is ever too much. • The absence of pleasure is a misfortune for which compensation is due. C. Eudaemonic • Not a whole philosophical system, only an ethical system • Eudaemonistic: Directed toward happiness; Spiritual directedness toward the...
Words: 1129 - Pages: 5
...but the years have no effect on him; he looks as young and beautiful as ever. Then one evening he meets the artist once more and, after he has shown him the evil-looking portrait, Dorian kills him in a fit of hatred. Dorian tries to carry on with his immoral life but he is tormented by feelings of guilt and decides that the only way he can make up for what he has done is to destroy the painting. In the climax of the story Dorian tries to kill the man in the portrait, but kills himself in the process. Aestheticism was inspired by the principle of 'art for art's sake (art for the love for art) ...it had to simply create beauty. The Aesthete believed that Form was the essence of Beauty and Beauty was the highest perfection of human. The Aesthetic writers broke away from the confining conventions of their time and led very unconventional lives, pursuing pleasure and new sensation sand devoting themselves to the cult of beauty and art. The novel that we chose for analyzing is The Picture of Dorian Gray . It is an 1891 philosophical novel by writer...
Words: 1611 - Pages: 7
