Additional Information In lieu of an abstract, here is a brief excerpt of the content: Bibliography Aldrich, Virgil C. The Horizons of Feeling.
Items I wrote less than eight weeks ago often embarrass me, so I expected to be horrified when I sat down to read my college honors thesis from eight years ago. The Philosophical Functionality of the Tattoo: A Philosophy of Art Introduction: The Philosophy of Art Part I: The Function of an Animate Medium Conclusion: Tattoos, like old pieces of writing, are intricate snapshots of time that display our past selves.
They are permanent markings on conscious mediums—human beings—who continually evolve and form new identities over time. Art forms, however, produce strikingly different manifestations of art.
For example, sculpture produces three-dimensional art, painting and drawing produce two-dimensional art, and performance art produces a time frame in which the art exists. My philosophical study of art focuses on tattoos, a traditionally unaccepted type of art, to help understand the properties that one attributes to art.
Figuring out these characteristics about tattoos, specifically, contributes to the general ontology of art. There are a number of debated theories regarding what makes something a work of art.
I argue that these theories do not accurately incorporate my conditions for tattoo art due to aspects of tattoo art that are not a part of the traditional visual art forms that these theories discuss.
This essay, therefore, has two aims. How well does the piece imitate or replicate the subject that it is portraying? It is, then, the duty of the spectator to observe whether or not the artistic creation is a successful imitation of what is supposed to be represented.
There are different ways a work can represent objects from the physical world. If an artist chooses realism, the art critic can then judge the piece based on her actual physical experience with the subjects in question.
Were the objects imitated effectively? Are the proportions correct? Is the value and shading accurate? Even though all works of art are not necessarily representational, and an artist might not use imitation in her work, imitation still has a valid function in art philosophy.
Through this technique, the artist projects her subjective attitude toward the subject into the replication. It is then the duty of the art critic to judge whether or not the attitude the artist intended to convey about the subject is depicted accurately.
If a work is not intended to imitate something, then this theory will clearly not suffice.
Also, even works that intend to represent something from the physical world may include components that are not representational; these aspects are not properly evaluated under this theory. But how does one know whether or not a work is supposed to be representational?
For example, upon viewing a realistic rendering of a landscape, one may assume different information. The landscape could represent an actual location; it could represent an idealized location.Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo The creation of art: new essays in philosophical aesthetics / edited by Berys Gaut, The Creation of Art: New Essays in Philosophical Aesthetics Author: BERYS GAUT and PAISLEY LIVINGSTON (edt).
The New York Museum holds most artistic works from as early as the impressionist movement. Among the pieces of art that impresses in the Museum of Modern Art is the painting “The Starry Night” done by Vincent Van Gogh in Some essays cover philosophical issues that emerge in design, for instance what design can do in addressing societal problems, while other essays analyze main-stream philosophical issues in which design is part of the argument, for example abduction and aesthetics.
The Value of Imaginativeness. The Creation of Art: New Essays in Philosophical Aesthetics. Article. and creation can only accomplish that which already exists within God's imagination. In. This article presents a historical account and philosophical analysis of the development of philosophical aesthetics in China in its Marxist regime, focusing on the relation between subject and.
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