Emotion in an Aesthetic Experience Emotion is key to experience art in the way the artist intended his art to be perceived. A work of art, whether a painting, poem, play, etc, that has a dark and ominous tone seemingly inflicts an expression of an emotion upon the audience, hopefully equivalent to the intent the artist was trying to provide through his art. Emotion that is felt however, is subjective to each individual. This emotion perceived by the art allows the audience to therefore have an aesthetic experience, whether or not they understand the emotion that they are expressing. This expression of emotion when observing art leads to better comprehension of the artwork and the artist’s emotions that he experienced and expressed while creating a particular piece of art.
He also mentions that mankind has made their relationship complicated with the nature because of the separation that is created between human and the nature. When we think of ourselves as part of the nature, it will be easier to understand nature and evaluate our relationship to nature, and view nature differently rather than nature as human’s
People may feel disrespected if they find out that the funds are used to support offensive work of art instead of using them to help solve some problems of the country. For me, the decision whether an artwork is censored or not, goes to the people viewing the “art”. Each of us has our own beliefs and we know what’s right from wrong. No one will get hurt if we find a certain art offensive. If we decide not to see
Instead of attempting to hide these limitations modernist artists glorified them and made these limits one of the focal points of their work. In doing this the artist does not undermine the medium but expands on it instead, encouraging reinvention and subsequently ‘purifying’ (Greenberg, 1960) it rather than presenting yet another idealized version of reality that disregards it. The specific way in which a piece or work addresses its own unique medium that separates one art form from another - or a work’s ‘medium specificity’ - may be examined in modernist painting where the medium of expression is clear, but problems arise when this consideration is applied to literature. This paper will primarily discuss the way in which two great modernist artists, Pablo Picasso and Ezra Pound, approached their respective media through experimentation will also attempt the question of how medium specificity can be explored in fields other than the visual arts. By nature the medium of painting involves the placement of paint on a flat surface.
The environmental ethics is a biological objective that challenge the separation of science and ethics (1991, Holmes Rolston). Environmental ethics has a way to escape relativism of ethics, and have a way to give up on cultural ethics. The individuals in the world has their view on ethics as our culture and heritage with the natural existence of the human culture. Environmental ethics is a mix up of culture because the evaluation of nature and wild nature individuals interact
often than not the abstract artists is not imitating nature or pursuing realism, but concerned with the spiritual or emotional state of colour and form, line and texture, balance and harmony, and will attempt to engage the viewer in a way that narrative, realistic of naturalistic art cannot.? *Christo - The Umbrellas, Ibaraki, Japan, 1984-91 We often understand abstract only when we have experienced the artwork directly and realized that in a poetic way of our lives have been changed, as has our comprehension of what art can be and do. The artists' personal, moral and artistic imperative seems to be to only connect the elements of art and nature such as light, space and colour. An Abstract connects art and engineering to show that they are not enemy faculties, connect people with beautiful materials and structures, connect people with their past and present. Christo's art is the creation of temporary, beautiful objects on a vast scale for spe Art essay On this .... work we can see a man-looking tree (or a tree-looking man), raising its hands to the sky on the positive space, we also can see the sky and the .... (320 1 ) Sword art essay The Japanese sword is .... in several different ways.
Nichols calls this ‘the voice of God’. b. The observant narrative mode: seeks to avoid ‘the voice of God’ by trying to make the documentary maker invisible, presenting the viewer with ‘a slice of life’. The classical ‘fly on the wall’ reportage is an example of this way of narrating. c. The inter-active narrative mode: this way of narrating makes it clear to the viewer that some one is arranging the material we watch.
Despite the differences in our individual environmental ethic we can all easily understand that when it comes down to it we deeply rely on the world around us. Yet we have still chosen to disregard concepts concerning the longevity of humanity. Overpopulation, exploitation of the third world, consumerism, unregulated growth, stewardship, language and education reform are all part of the social and environmental commentary our authors provide us with. Georg E. Tinker a Native American theologian uses his unique perspective to inquire about religions effects on our environment in “An American Indian Theological Response to Eco-Justice”. Similarly Cathryn Bailey comments on western societies view of animal ethics as a looking glass into societies views of life other than that of humans.
Impressionists, like the Cubists found importance in depicting nature, but their difference was that Impressionists limited themselves, while the Cubists found that limitation was the only error in art. Even though both genre of artists had a similar goal of painting nature and beauty through similar forms, such as the manipulation of patches of color, whether it was through the Impressionistic use of broken brush strokes, or the Cubists’ fragments of color, the Impressionist artists thought paintings of nature should be done in nature to avoid any chance of hindering the true emotion and landscape depicted, while the Cubists felt that it was important to imitated nothing and to create an image that evoked the reality of the subject, without directly doing so through
A stimulus load theory proposes a theory of stance restriction to explain the fundamental phenomenon between stimuli and performance. Research is important in the field of environmental psychology because it brings about homeostatic balance between humans and nature by gathering facts from correlational studies, field experimentation, and laboratory experimentations (Stewart, 2007). Theoretical Approaches Environmental psychologist theories of individual psychology help to understand the fundamental interaction between behavior, experience, and environment. To that end, the theories that underlie the principles of EP borrow from the fields of psychology, anthropology, sociology,