There are two main types of materialism - hard and soft. Hard materialists believe that everything that occurs is nothing but a material moment, it is what it literally is, like sound for example. They would argue that a ‘nice song’ as a song is basically a series of sound vibrations, or that love is an internal animal instinct that we simply have - it is nothing more than humans attempting to fulfil the need to reproduce and replicate our genetics. This is a ‘reductive’ argument. Soft materialists agree to a point but their key belief is that everything emerges from the physical, but this doesn’t necessarily mean that everything can be reduced to the physical.
Form in a 3d figure it’s closest to a rectangular prism. As in the shape because I cannot tell if its an abnormal shape or if it’s at a rectangular angle. As for color, there are many different colors shown a lot of blue’s and gold’s and black which is what I expected because not a lot of artists barely any at all had a bigger variety of colors it was either 1 to 3 different colors nothing was a variety of different. Texture is a hard one because I don’t know the exact texture of this piece but by looking at it I feel it has a rougher stand out texture that when you touch it you can feel how its sculpted. Texture I think is the most powerful art element because it can quickly evoke memories and emotions and make you see and think more than what someone else is thinking.
It is not a coloured painting with too much going on which gives the reader no time to pass judgement on the man in the picture. The eye was not drawn to one thing in the painting, in fact, all of the different aspects of the ad itself make the painting more effective. The pieces by themselves would lose the emotional connection to the reader. The fact that the colors and lines work so well together further your connection to Whitman as a human being without the nature around him, he would not have much of an effect. You take the painting for what it is because it shows natures indistinct lines and natural
The film contains an incredibly rich mixture of avant-garde aesthetics, emphasised by the films sparse narrative construction and shot almost entirely in mid to long shots, with little in the way of editing or camera movements to infringe upon the framing of the grandiose visuals. The majority of the impact of those visuals is derived from the magnificently stylised sets, designed to outwardly express the inner psyche of the protagonists (as was common practice in all forms of Expressionist art, a movement that sought to ‘visualise’ emotions). Here the sets consist majorly of two-dimensional backdrops with both scenery and lighting painted directly onto them. Even outdoor scenes were shot entirely on a sound-stage with painted landscapes and buildings. Whether a painted backdrop or a more malleable prop though, all of Dr. Caligari’s aesthetics share the same otherworldly values.
Similarly very few if given the chance to ask an artist why he created what he did and what it means to him would be able to make sense of what he replies. Of course one could as Bataille does reduce art down to the very basics. “...to sculpt, to draw, to engrave, and to paint.” (Bataille 89) Yet art is so much more than the simple act. There is always emotion and a reason behind a work of art, both are essential parts of what art is. As for faith, Kierkegaard appears to have the best definition of what faith is, he speaks of a man who “Grasped everything again by virtue of
Also, in the Holbourne piece, the texture is clearly layered so that each part has a clear and regulated range, with very little crossing of parts. This helps to create a well rounded sound as each individual part is easily identified not only by ear but also by notation. This is not however the same for the Sarabande. Debussys’ use of parallel 7th’s causing an almost entirely homophonic texture. This then often causes an extremely deep and rounded sound, as frequently the chords use six or more notes.
Art is not confined to the boundaries of a brush stroke. Art is an expression of someone’s character and whether it comes in the form of music, drawing, or another means of expressing yourself, it is what brings people together. It is even capable of knocking down the barriers between cultures. However, art cannot happen without an artist. Obviously there are some who are more talented or well known than others, such as Lyonel Feininger, but an artist lurks inside all of us.
says of the abstracts, "They're the real thing, all right: the Good, the True," however, her other references to them are contradictory, indicating that this is mockery (6). When she remarks that they "hover like dull angels," she explains that they are not spoiled with anything "so vulgar as a nose or an eye," and yet, what is a face without features (1-2)? These abstracts are "pure as boiled water, loveless as the multiplication table," but how could something so lifeless describe life (8)? By describing the dullness of the abstracts, Plath indicates their unsuitability to guide the search for truth. While the abstracts lead the "papery godfolk" to the "crib of some lamp-headed Plato," Plath leads her readers to the crib of a baby girl (16).
This does not necessarily mean that the bystanders are better off not being bothered, but that they don’t even seem to be bothered at all by a man drowning. Auden's poem is constructed in a way that is very different from Williams' poem. Auden’s poem is designed in two stanzas, both very different from one another, but carrying out one theme throughout the entire poem. His first stanza doesn’t address Breughel’s painting at all and is entirely based on the title, "Musee des Beaux Arts". Auden is making a
The varying textures, shapes and complexity of the objects in the painting find balance with the asymmetry of the placement of the objects, plus the subtle symmetry of certain objects such as the bowls and plates. There is great repetition of lights and reflections, as well as many yellows and reds throughout. The negative space is very simple in comparison to the positive space. With muted colors and no dark lines or shadows, the foreground really stands out. I would not argue that there is any one main object in this piece, but it is set up so that no one object is directly centered on the page.