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The beginning of Aristotle's Metaphysics, one of the foundational texts of the discipline. Metaphysics is the branch of philosophy that examines the basic structure of reality. It is traditionally seen as the study of mind-independent features of the world, but some theorists view it as an inquiry into the conceptual framework of human ...
Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...
R. G. Collingwood suggested in his published work title, The Principles of Art, that the theory of art was developed upon the theory of the world. [9] Collingwood states in his work that art is imaginary by using the example that if one creates music based on their imagination then a tune is an imaginary thing. [12]
According to Aristotelian physics and metaphysics, causation can be divided into formal, material, efficient and final causes. The formal cause of beauty is the passion of love; the material cause concerns aspects of certain objects such as smallness, smoothness, delicacy, etc.; the efficient cause is the calming of our nerves; the final cause ...
Schopenhauer claimed that art provides knowledge of eternal Platonic Ideas and also results in temporary relief from the pressures of willing. Arthur Schopenhauer 's aesthetics result from his philosophical doctrine of the primacy of the metaphysical Will as the Kantian thing-in-itself , the ground of life and all being.
Art-based research is a mode of formal qualitative inquiry that uses artistic processes in order to understand and articulate the subjectivity of human experience. [ 1 ] [ 2 ] [ 3 ] The term was first coined by Elliot Eisner (1933–2014) who was a professor of Art and Education at the Stanford Graduate School of Education and one of the United ...
He believed that the excess of intricate detail that is characteristic of Chinese art, or the dazzling metrical patterns characteristic of Islamic art, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.