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Volkelt, for instance, remarks that art cannot be judged on its moral content because then Romeo and Juliet would not be good art. Such retrospective justification cannot, he stresses, be the basis for theory, as people will tend to create subjective frameworks to justify their own tastes.
An artistic language, or artlang, [1] [2] [3] is a constructed language designed for aesthetic and phonetic pleasure. Constructed languages can be artistic to the extent that artists use it as a source of creativity in art, poetry, calligraphy or as a metaphor to address themes such as cultural diversity and the vulnerability of the individual in a globalizing world. [4]
[1] Art, a concept separate from both work and creator, thus exists as the source for them both. Rather than control lying with the artist, art becomes a force that uses the creator for art's own purposes. Likewise, the resulting work must be considered in the context of the world in which it exists, not that of its artist. [2]
Works of art use materials that come from a public world, and they awaken new perceptions of the meanings of that world, connecting the universal and the individual organically. The work of art is representative, not in the sense of literal reproduction, which would exclude the personal, but in that it tells people about the nature of their ...
The idea of life imitating art is a philosophical position or observation about how real behaviors or real events sometimes (or even commonly) resemble, or feel inspired by, works of fiction and art. This can include how people act in such a way as to imitate fictional portrayals or concepts, or how they embody or bring to life certain artistic ...
In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences ...
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A Discourse on the Moral Effects of the Arts and Sciences (1750), also known as Discourse on the Sciences and Arts (French: Discours sur les sciences et les arts) and commonly referred to as The First Discourse, is an essay by Genevan philosopher Jean-Jacques Rousseau which argued that the arts and sciences corrupt human morality. It was ...