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Aesthetic conventions were things that hindered freedom and therefore art had to be able to arise directly from its original sources: spontaneity and immediacy were important. Examples of immediate expression, unhindered by all sorts of aesthetic layers above it, they found especially in children's drawings and in African folk art .
Documentary mode is a conceptual scheme developed by American documentary theorist Bill Nichols that seeks to distinguish particular traits and conventions of various documentary film styles. Nichols identifies six different documentary 'modes' in his schema: poetic, expository, observational, participatory, reflexive, and performative.
Applied aesthetics is the application of the branch of philosophy of aesthetics to cultural constructs. In a variety of fields, artifacts (whether physical or abstract) are created that have both practical functionality and aesthetic affectation.
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
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(A judgment of this form would be logical, not aesthetic.) Nature, in Kant's aesthetics, is the primary example for beauty, ranking as a source of aesthetic pleasure above art, which he only considers in the last parts of the third Critique of the Aesthetic Judgment.
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Although they may not be full of details, colourful pieces like these are put together in a maximalist interior. In the arts, maximalism is an aesthetic characterized by excess and abundance, serving as a reaction against minimalism. [1] The philosophy can be summarized as "more is more", contrasting with the minimalist principal of "less is more".