.
Then came humans.As soon as there is capability for pottery in ascending civilizations, pots show at least some lines and increasingly elaborate décor.The most primitive tribes know rudimentary music, rhythms, and dance rituals, often used in connection with their cults, festivities, or in attracting mates.They smear their body with color and – different from among animals and early civilizations, where the males had to excel in attractiveness – in our time the females among humans are out to decorate themselves.
.
The advanced civilization of our time knows all kinds of arts, builds ever larger museums of various kinds, and spends a surprising amount of its resources on “culture”, even when the funds could be used to feed and house the hungry or homeless.It is often the “cultural” offering of a community that is used to describe its attractiveness.
.
Artists were craftsmen or migrant bards at first – ranking lower than warriors and merchants.Now, they count among the elite of our society, as individuals and communities take pride in ownership and demonstration of the arts.
.
But beauty is not
only
seen in objects of art.Specifically
since the late 15th century (some say since Petrarca’s
climbing
on a mountain), with the rise of landscape painting and the
presentation
of the human body (see Duerer’s success in
.
Sometime during the eighteenth century, intellectuals and philosophers woke up to this development in the appreciation of the arts through the centuries and began to academically analyze all the related phenomena – aesthetics, art, culture, beauty, meaning, value, high art, kitsch, “original” art versus reproductions, and more.Could significantly descriptive concepts be defined and a systematic order established?Could the related phenomena be explained?There appeared also the question of quantitative values to measure things by.Where does this investigation stand now?What can we say about aesthetics, art, and culture – their perception being founded in the capabilities of the mind – consequently, founded in the brain – and, consequently, open to scientific analysis?
.
All discussions of aesthetics, art, and culture are based on the fact that humans attribute some attractiveness or repulsiveness – even the arousal of some moods – to certain sensory perceptions – visual, auditory, or other.
.
Several speculations have been published on whether the human mind recognizes one common, ultimate aesthetic essence in all possible sensory perceptions. This assumption could also be understood as if there was only one common emotion in reaction to all kinds of sensory perceptions – consequently, one common mental process for assessing attractiveness in all kinds of sensory perceptions.So far, cognitive experiments, neurophysiologic analysis, or brain mapping has not demonstrated such simplicity.All indications are that there are various mental processes for different kinds of sensory perceptions that lead to emotional or mental assessment.Some of these will be discussed in the following presentation.
.
Flowers in a vase, a beautiful garden, a walk through the woods, a sunset over the ocean, the vision of a beautiful girl – all these impressions count among the most joyful for many people.Yet, none of these impressions is related to art – unless art is developed out of them – as Japanese flower arrangement, garden architecture, and nature photography.
.
Nature photography is accepted as art – but even the most perfect photographic reproduction of a great piece of art has only minimal value in comparison to the original.What is valued, and why?
.
Three different concepts are used in the discussion of the appreciation of sensory perceptions:aesthetics (including the concepts of beauty, elegance, refinement, and taste), art (mainly in the sense of the fine arts, performing arts, and modern forms of art), and culture (as relating to what is going on in museums, theatres, and the like).All three are “fuzzy” concepts, being interpreted differently by different people and in different cultures – and having unclear limits of applicability. [1]
.
.
The
Similarities
and Differences Between the Concepts of “Aesthetics” and “Art”
.
This subject of similarities and differences between the concepts of “aesthetics” and “art” is largely a matter of the fluidity in linguistics [2] or semantics [3] and the interests of individuals who interpret these concepts.Some art can be seen as the expression of aesthetics.But not all that is aesthetically attractive is art, and not all art is aesthetically attractive.Therefore, it is important to consider the difference in coverage between the concepts of “aesthetics” and “art”.
.
While “art” relates to humanly, artistically generated products or effects, “aesthetics” can refer to natural objects or impressions (for example, flowers or romantic scenery), as well as to technical objects.For example, some modern aerodynamic product – strictly a product of rationality and economics – can definitely appear aesthetically elegant and even beautiful.On the other hand, many products of art can very well use – and are nothing but combinations of – curves, shapes, colors, or sounds that appear borrowed from either nature or technology.
.
There is another important and more fluid difference between “aesthetics” and “art”.“Aesthetics” is mostly considered as referring to some positive aspects of appearance, such as beauty and elegance.“Art”, on the other hand, can also concentrate on negative and dimensionally different emotional responses, such as love, joy, sorrow, fear, ugliness, despair, religious fervor, and striking effects – and it may even be unaesthetic.
.
The philosophical field of “aesthetics” and its practitioners obviously don’t want to be restricted solely to considerations of beauty and elegance.Consequently, many argue that all the other dimensions of emotions in response to the perceptions indicated above can also be perceived from the angle of aesthetics.This argument either leads to an argument of linguistics/semantics – what can be included in a linguistic concepts or not – or it leads to a new differentiation between aesthetics and art.For example, a falling brick can very well be considered from the point of aesthetics – its appearance, its ballistic trajectory – but its main meaning in a piece of art can still be a catastrophic threat, well outside of any aspect of aesthetics.
.
In order to avoid endless linguistic or semantic discussion and to simplify or clarify matters, the following presentation is based on the linguistic use of “aesthetics” as referring to matters of beauty, elegance, or good taste – including perceptions of nature and technical objects – but excluding perceptions of sorrow, fear, arousal, religiosity, or other emotional responses.
The concept of “art” is used to describe results of human effort that had the human perception in mind when being created.
.
In sum, “aesthetics” applies to a smaller group of emotional responses – the ones related to beauty or elegance – but a larger field of originating objects or sources of such perceptions – practically all visually or acoustically perceptible ones, and possibly even to some compositions of tastes or fragrances.“Art” applies to a smaller group of objects or sources of perceptions – the humanly produced or arranged ones – but to a much wider field of emotional responses.
.
.
Aesthetics
.
“Aesthetics” is derived from the Greekword “aisthaesis” which can be translated as sensation, perception, feeling, fine distinction – but also as recognition, understanding, consciousness.
.
In present-day language, “aesthetics” is primarily related to what is visually pleasing, elegant, or of good taste – mainly relating to visual impressions, but sometimes also applied to auditory experiences (though, possibly, not to gustatory and kinaesthetic experiences) – see some of the many academic studies of beauty, or the aesthetic, taste, and art.
.
.
Definition
of “Aesthetics”:
.
Webster (American):
The theory of the fine arts
The branch of philosophy which deals with the beautiful
The doctrine of taste
“Aesthetical”: Pertaining to the sense of the beautiful
.
Duden (German):
The science of the beautiful
The stylistically beautiful
Sense of Beauty
“Aesthetical”: Stylish, beautiful, of good taste, attractive
.
Larousse (
What relates to the sentiment or perception of beauty
Theory (part of philosophy) of the beautiful in general and
…..specifically of the sentiment it makes appear within us
The harmony and beauty of a form of art
.
By one definition, “aesthetics” designates the branch of philosophy that analyses beauty.As always, philosophy attempts to clarify concepts – possibly even their foundation in facts – and may want to arrive at conclusions based on commonly accepted premises.This task has not been an easy one – specifically as modern art has shifted the foundation of what art really is – no longer being only a matter of beauty or morality, but soliciting an aesthetic response by the general audience for even the most exotic effect.
.
By another definition, in common language, “aesthetics” is a summary concept applying to the beautiful, elegant, and pleasing – as when saying, “the aesthetics in this project shall not be neglected!” – as opposed to the rational, moral – or to biological needs.
.
Aesthetic attractiveness is not limited to visual products of art.Elegance can be found in some musical renditions.A good concert can be an “aesthetic pleasure”.It is not common, but there is some justification for, applying the expression “aesthetic pleasure” to the taste of an exquisitely prepared sauce or to an expertly created, new fragrance of a perfume.
.
Images of youth are often felt to be aesthetically pleasing.
.
.
Different
aspects of aesthetics
.
There are at least four different aspects of the “aesthetic”:
.
-The aesthetic can be seen as founded in the object (painting, sculpture, a flower), motion (single movements or dance), or acoustic signals (music, harmonies, rhythms) that are being perceived
.
-The aesthetic can be seen as founded in the observer, his or her sensitivity for aesthetic perception.In this sense, the concept of “aesthetics” applies to a certain type of emotional valuation of perceptions or impressions – widely varying among individuals.This statement implies the possibility of a multiplicity of views, interpretations of perceptions, or values attributed to the aesthetic.Variations in aesthetic assessment occur naturally (for example, in perceptual skill, sensibility, or talent).
.
-The aesthetic can also be seen as a product of learning.Discriminative capacity increases with involvement.The aesthetic value-scale may change with learned “understanding”.Specific experiences, personal needs, personal preferences, habits, and the group or cultural environment – all contribute to the formation of aesthetic discriminative capacity and value scales.Consequently, aesthetic perception changes with all those factors in time and space.The historic formation of national cultures presents examples of aesthetic change over time.Other examples are given by the changes of modern cultures, first developing toward global Europeanization during the time of colonization and world tourism, now changing toward Americanization.Such changes of aesthetic valuation can be seen in changing architectural styles and fashion and may occur as a consequence of artistic creativity or under the influence of public opinion.On the other hand, political, nationalistic, or religious pressure may counteract such developments.Finally, there is the influence of “experts” (teaching “interpretation” of meaning, assessment of values), the media, museums, and critics.
.
-Aesthetic
judgment is sometimes a matter of one’s position, point of view, or
situation
in life and can change with these conditions.Christians
see aesthetic value in all kinds of crucifixes, but they would not see
the same in little figures showing a man hanging on a gallows or being
beheaded by a guillotine.The art
museum in Tulsa, Oklahoma, shows different aesthetic preferences
(Western
scenes) from those expressed in the collection of the Frick family as
shown
in their museum in New York (with its excellent Fragonard paintings).
.
-Aesthetic judgment can be subject to change, in consequence of deliberate creativity, searching of freedom, or deliberate individuality.A famous breakthrough in painting lead to the impressionist style, and later to the expressionists and further.A breakthrough in architecture was accomplished by Frank Lloyd Wright, later by Michael Graves and Frank Gehry.Not only the creating artist may feel joy about his or her personal creativity, but also the audience, the public, may appreciate such newfound freedom, as can be observed with young people specifically appreciating new forms of art or music – or fashion.
.
“Aesthetics” also applies to some behavior, as best understood by its opposite.It is considered “unaesthetic” to clean one’s nails in public (or to do worse).On the other hand, an “aesthetic person” is distinguished not only by his or her appearance, but also by his or her behavior and “etiquette”.
.
The Japanese tea ceremony – in its total perception and behavior concept – is an aesthetic experience (including both the setting and the ritual) conducive to an aesthetic way of life.
.
.
What
responds in the human mind?
.
The mental, neurophysiologic response to some perceptions providing an aesthetic pleasure can be explained, others not.
.
Everywhere in nature,
the
young at the stage of mating have an attractive effect on individuals
of
the opposite sex – as most likely resulting from specific, genetically
defined, mental processesoriginating
in the visual perception area of the brain [4]
and projected by way of the hypothalamus – possibly with valuation
added
by the amygdala [5]
or other value-adding nuclei of the brain.
Additionally, individuals in the mating state exhibit attractive behavior, as, for example, a happy, cordial, entertaining mood.This raises the expectation of happiness from association with such individuals, as memorized from similar experiences in the past.In such cases, the association of a perception with “value” occurs via associative memory and is provided by the amygdala or other nuclei in the brain that store and associate value with experiences of a similar kind.
.
As a matter of fact, some people are not aesthetically attracted to otherwise perfectly “beautiful” individuals who exhibit a cool, shallow, calculating, or otherwise negative expression – specifically if they have gone through some prior disappointments (a typical effect of the amygdala nuclei in the brain).
.
Similar associations can apply to a number of other perceptions.For example, few people will find the otherwise beautiful leaves of poison ivy aesthetically attractive once they have been “burned” by that plant.
.
Aesthetic pleasures can be derived from a wide variety of perceptions and may be processed by the brain in different ways:
-“Beauty” of face or body, whatever that means to different individuals or cultures, is often related to healthy appearance and symmetrical, good proportions and may be processed by the brain in a similar way as the reaction to potential matingpartners (see above).
-Some curves, lines, and surfaces on almost any kind of object, whether pottery, tools, or other technical objects:Such curves or shapes are sometimes described as elegant, harmonious, or dynamic.Here begins the true mystery why humans are sensitive to “beauty” or “elegance”.Modern MRI or Pet-Scan Mapping of the brain may determine which areas of the brain respond.But why is an antique amphora considered beautiful and an old oil barrel not?Only on account of association?
-Visual presentations communicating meaning (statures, paintings, drawings, symbols):The response may fall into two categories, the response to the object itself and the response to the communicated meaning, both adding up to the total response – as, for example, the response to the statue of a saint or a famous person of history.
-Visual patterns, as in tile floors or wallpaper:They may be judged similarly to curves, lines, or surfaces, as discussed above.
-Visual compositions, as the compositions in paintings, groups of figures, or architectural elements:Such compositions may communicate order, balance, harmony – or tension and stretching toward an invisible goal
-Elegant movements, as in dance or ice skating:The response may be related to elegant curves, lines, compositions (see above).
-Compositions of movements:The response may be related to the dynamics of visual compositions
-Some color combinations:This may be another aspect of the mystery of human sensitivity to beauty.Some color compositions may possibly be derived from nature (spring flowers, fall leaves) and, thereby, communicate prior experiences.
-Some sound combinations:Yet another aspect of the mystery of human sensitivity for beauty.
-Some sound sequences:Several observers have pointed out that there may be a correspondence between some melodies and the sound sequences in language and, consequently, a communication of linguistic meaning (clear examples are the romantic German “Lieder”).
-Acoustic compositions:If a parallel to linguistics is permitted, one would see here a parallel tostorytelling.
-Rhythms:Possible associations with stomping, marching, dancing – or intricate sequences and combinations (on some South-Pacific islands, one can find orchestras of up to twenty different drums giving drumming concerts, with competitions on the 14th of July at Papeete, Tahiti).
-Word patterns in poetry, rhymes, rhythms:One more aspect of the mystery of human sensitivity to beauty.
-Word patterns combined with meaning in the lyrics of songs and poetry:This may be the clearest example of response to communicated meaning.
-Some images of nature (flower, sunset, scenery, and so on): Most likely a combination of the above, discussed individual perceptions and their responses.
.
The neurophysiologic source of the valuation of all those perceptions varies with their sensory pathways.Valuation may also vary with their memory associations (as from related learning), prior experiences (that may have led to valuations, as by means of the amygdala and other value-adding nuclei of the brain), and others not yet recognized – some possibly genetically given.
.
In sum, there appears to be a genetically given emotional capability to perceive the aesthetic or the “elegant”.Additionally, there is a large amount of cultural influence or personal learning in forming the emotional reaction of aesthetic attractiveness.
.
.
Why
is value attributed?
.
If some sensory impressions result in pleasing emotions, a corresponding mental (neurophysiologic) function must be assumed.Mental functions of that type usually show quantitative differences with varying input signal and variations in individual sensitivity.Quantitative differences in valuation of perception obviously lead to variations in desirability or demand.
.
“Value” can also be understood as the assessment of worth, not only in attractiveness, but also in an economic sense.Mercantile value goes with the balance between demand and supply.This explains why the very rare but less attractive platinum (looking not much different from pewter) is valued higher than the relatively more available gold.That is the reason why works of limited, numbered editions are more expensive than those that are produced in large quantities.
.
Value is also a matter of personal or cultural identity (parents trying to transmit their own aesthetic preferences to their children by presenting these preferences as valuable).
.
Value is often derived from the desire to “belong” or the attainment of rank – as when a high price is paid for an item of fashion.
.
Individuals of great
power
and wealth spent fortunes on rare works of art (or unusual objects of
nature)
in order to project their own quality as collector and their
superiority
to the observing audience – to visitors or the political subjects.
.
.
Art:
.
Definition
of “Art”:
.
Webster American):
Skill
The arts that appeal to the taste or sense of beauty
The fine arts collectively
The special skill required by those who practice these arts
.
Duden (German):
Skill
Creative formation using various materials or means
in controversy to nature and the world
.
Larousse (
Skill
Each area where an aesthetic creation is produced
.
.
What
is art?
.
“Art” is a clear concept in everybody’s mind, but the concept varies widely by what is included in “art” by various people, societies, or cultures – including most of the visual and auditory arts, but possibly not any culinary or textural-tactile perceptions – as discussed above.Most classic art is accepted as such, but there are limits of acceptance in the cases of primitive, modern, or avant-garde art.Other limits relate to products of the crafts, industrial products, or reproductions.
.
Inclusion in the concept of art is also a matter of linguistics.Linguistic concepts can be understood as summary “operands” for self-clarification, categorization, and communication.Consequently, their content is a matter of convention, habit, or deliberate definition – all of these possibly changing in time and different in different groups or cultures.That is one of the reasons why translations are often difficult, if not impossible – and foreign words are accepted in a language.
.
Finally, inclusion in the “arts” can become important to advocates of ideas.Religious groups and political movements almost always use imagery and songs to promote their agenda.In modern times, aggressive presentations are often used to call attention to the advocated agenda.
.
Historically, the list of categories of objects or actions considered to be “art” was quite limited.Categories such as painting or architecture were seen as crafts.Later, more categories were added to the arts.Finally, a differentiation occurred between the fine arts or higher arts and some lower forms of art.
Nowadays, do we include categories related to any one of the senses or only visual and acoustic products or performances?How about the culinary arts – or the creation of perfumes?
.
In other words, there are three different dimensions with regard to the discussion of inclusion in the arts:
-by category ( a painting is art, a technical object is not – is a sauce?)
-by “rendition” (by the way the artwork is implemented – a painting is art, a tourist snapshot photo is not)
-by the quality of the work (art versus kitsch)
-by the idea being advocated.
.
List of possible categories of art (partial) – or crafts:
-Pottery
-Attractive shaping of objects of daily use
-Sculpture, moving objects?Fountains?
-Architecture
-Painting, drawing, engraving
-Music in melodies, harmonies, rhythm – just drums, songs (combining lyrics and music)
-Dance and ritual
-Written compositions: poetry, novel, drama, – mottos, slogans
-Landscape architecture
-Flower arrangement
-Photography
-Film
-Television shows
-Fashion
-Shaping of industrial objects (bridges, Loewe’s designs, even an old oil drum if artistically dressed up)
-Culinary arts
.
Differentiation by rendition
Original versus photo of original
Object
of nature versus work of art (what if object of nature serves as model
for art?)
A view on nature – the arrangement of a window offering that view
.
Differentiation by quality of art:
High art, folk art, popular art, low art, kitsch
.
.
Art
as a creative process
.
Attempts to be different, seeking freedom, seeking attention – or some other emotional, political, or commercial impact
.
Changes of style, seeking new experiences, freedom from old, imposed structures, ongoing creativity at work.An artwork can be timed by its style.
.
Change through foreign influence, globalization, migration, communication, new technologies.
.
Reverse question:How do people express themselves individually? as a group? In their appearance, in the activities they pursue, in the values they try to express, in the message they try to propagate – and those that take advantage/make money on them/politically try to control them.Attempt of cultures to survive, to retain individuality, old values, history, culture – sagas, songs, dress codes, rituals, manners, behavior, family structure, food, reunions, donations for the common good (investments forming loyalties).
.
Multiplicity of “art” judgments, depending on the situation or position – diversity in society
One may perceive things differently as one’s beliefs change.
.
As indicated above, the concepts of “art” and “aesthetic experience” overlap and are not identical in content.Not all art is beautiful.Art also relates to joy, sorrow, amusement, and more.Consequently, not all art has to provide an aesthetic impression.
.
There may be at least six foundations for the assessment of art:
oIntrinsic attractiveness (even in the case of an ancient, decorated clay pot), beauty (as in most traditional visual or auditory art), or elegance (as even found in industrial products or shapes).
oCommunication of values or associated sentiment (as in pictorial presentations of scenes or scenery and in songs or known melodies), expression of identity, freedom
oFocusing on the unusual or previously neglected (odd figures by Picasso or Dali, line patterns by Stella, color splashes, collages of ordinary objects, or just a black square in a frame).
oSocial significance, expressions of status or power, the cohesion of a culture or group, belonging.
oHistoric habits, political pressure, opinion makers (teach “interpretation” and values), peer groups, business
oAdvocacyin
regard to social, political, or environmental issues
.
.
What
responds in the human mind?
.
All kinds of emotions:
-Aesthetic pleasure
-Joy
-Warms (hymns, festive songs, patriotic songs, ….)
-Aggression (battle songs, the Battle Hymn of the Republic, the Marseillaise?)
-Arousal
-Sorrow
-Compassion
-Disgust
-Offence
-Curiosity
-Spiritual appeal
-Appeal of the theme of advocacy in either support or aversion
Versus other emotions:
-Love
-Hate
-Humor
-All kinds of natural desires and addictions
-Wanting possession, ownership
-Wanting power
-Pride
-Rejection
-Boredom
-Uselessness
-Loneliness
-Curiosity
-Seeking adventure, danger
.
The emotional response to art, including modern art, falls into some distinct categories:
-Excellence of craftsmanship (as in still lives)
-The response to beauty, elegance, and attractiveness
-The response to the communicated meaning (the picture of a saint or a battle scene)
-“awakening” response to a striking effect (abstract color composition, odd sculpture)
-attraction of focus to a specific detail (the photo of a single leaf – of millions one has seen before, or just a pile of bricks, even just a single brick)
Many works of art offer a combination of the above reactions.
.
The difference between a modern Scandinavian carving plate, a Haida [6] carving, or a Riemenschneider [7] Pietà.
.
Why is modern, abstract, or exotic art still called art?
It offers at least the responses of “awakening” and attraction to a new focus.
.
Emotions may vary with settings, situations, “mood”, involvement, participation, group psychology – from sobering to reinforcing, creating crazes, hysterias!!
.
.
Why
is value attributed?
.
The cultural identity of Nation, Group, Class
.
Highly appreciated by most
Used to project identity (as in certain services, the military, industry)
Abused in political coercion
Abused in advertisement
.
The projection of social significance
.
Identity (as older generation/immigrant parents try to transmit own culture to children)
Suggested by leading opinion, opinion makers
Peer groups
.
.
Culture:
.
Definition
of “Culture”:
.
Webster (American):
The way of life of a people
.
Duden (German):
The total of the intellectual, artistic, formative accomplishments of a community as expression of higher human development
.
Larousse (
The sum of the habits, the customs, the artistic, the religious, and the
intellectual expressions that define and distinguish a group or society
.
All of the above and decorum, style, formality, taste.
.
Further definition of “culture”:
Philosophical definition: Common world view, values (including human rights in politics, obligations, common heroes or role models), educational level, also rituals, habits, artistic expression – language, religion(?) – and common history
Reference to the arts:the offering in theaters, concerts, museums
.
There
are hierarchies of cultures:e.g.,
European, national (German, French), provincial (Bavarian, Prussian
or
.
Evolution of culture, dynamic changes,
Influenced by other cultures
.
Problems of linguistics and semantics
.
Difference between “civilization” and “culture”
.
In the context of this essay:
“Culture” can be used as a concept to describe all the aspects of a civilization that relate to art, style, formality, and taste.Thus, when referring to the “cultural” life of a city, it is often the art scene that is meant – museums, theaters.
.
Art as an expression of its time/culture
.
.
What
responds in the human mind?
.
In addition to response to aesthetics and art, there are sociological responses to “culture” – belonging, being involved, gaining in status or value when being part of the culture or living in the cultural center
.
.
Why
is value attributed?
.
high culture, folk culture, low culture, popular culture – diversity, multicultural society
.
.
Aesthetic,
Artistic
or Cultural Possessions – Spiritual Value, Projections of Rank or
Wealth,
Civic Focus:
.
Why has it always been important to possess artistic objects
Sumerian, Egyptian palaces offered visual art (colors, images, dance performances), later (or simultaneously?) also music, fragrances, exquisite food, fabrics that were pleasant to the touch.
.
.
Obsessions in
Collecting:
.
Obsessions are among the most typical and most severe afflictions of mankind – see the political and religious obsessions in the course of history – afflicting individuals or grasping whole societies.
.
Less spiritual are the obsessions related to possessions – the greatest house in town, the most beautiful trophy wife – or the greatest collection in a certain field, classic cars, guns, stamps – or pieces of art in furniture, paintings, antique china, or whatever.
.
.
Quality of Life
–
for the individual, for society:
.
“Quality” of life is a highly subjective matter – starting with the satisfaction of basic needs or natural desires and going to reaching “enlightenment”, the Nobel Prize, a political accomplishment, or just being a good citizen.Generally, there are three distinct goals of human development contributing to the highest form of a “fulfilled” life – what one does for oneself, for others, or what one just enjoys.For oneself:On a lower level, money and power.On a higher level,
.
.
What
is most effective – to attract admirers, to obtain value?
.
To attract:
- Aesthetics (natural beauty, elegance)? Counter-Aesthetics (the ugly)?
- Symbolic Allusions? Images (for fundraising: children and the miserable, or accomplishments), Music (in all ideological movements and advertisement), Fragrance (in consumer products, even cars)
- Attracting of mental focus – whether to the interesting, intriguing, provocative, or just to the common – color, motion, sound, reference to the well known and interesting
- Skill in execution
- Best: Combine all of the above
.
To obtain value:
- Be in fashion or create fashion (be a fashion leader) – temporary value
- Appealing to institutions
- Appealing to many small donors
- Appealing to deep pockets
- Lasting value?
.
.
.
Conclusions:
.
Art does and wants to elicit an emotional response, positive or negative.
The aesthetic provides a positive response
.
Mystery of response to the aesthetic (visual, music)
But common response to symbolism (in positive or negative images) – youth, beauty, health, and happiness – or harmony, arousal
Common response to the unusual
.
.
Information
Source:
-“Aesthetics”, an anthology of essays by various authors edited by Susan Feagin and Patrick Maynard, Oxford University Press, 1997, ISBN 0-19-289275-4.
.
.
“\aArt\Art-3-05-05