(Originally Written January 7, 2008 in the Journal)
"Art as Experience"
By: John Dewey
"Experience occurs continuously".
An experience occurs when it has run its course. Experience always happens, but an experience has a beginning and a consummation.
When we have an experience we experience a continual flow of parts. Each part blends to make a whole, yet each is distinct in spite of a continuous whole.
An experience has unity.
It has a movement, a beginning, anticipation, and conclusion. Each are fluid parts of the whole.
An experience has its own aesthetic quality.
Monday, January 7, 2008
Sunday, January 6, 2008
Notes on "The Philsophy of Fine Art"
(Originally Written January 6, 2008 in the Journal)
"The Philosophy of Fine Art"
By: G.W.F. Hegel
In order for a thing to be considered art it must meet three standards:
1. It is man-made
2. It is made for man and addressed to his senses
3. It contains an end
As art is man-made it can be known and divulged, learned and reproduced.
A work of art originates in the human spirit.
Any work of fine art is of higher value than a work of nature because it has passed through the spirit and mind of man.
The function of fine art is to arouse feeling.
Art is not the mere imitation of nature.
Art is not purposed to achieve some moral end.
"The Philosophy of Fine Art"
By: G.W.F. Hegel
In order for a thing to be considered art it must meet three standards:
1. It is man-made
2. It is made for man and addressed to his senses
3. It contains an end
As art is man-made it can be known and divulged, learned and reproduced.
A work of art originates in the human spirit.
Any work of fine art is of higher value than a work of nature because it has passed through the spirit and mind of man.
The function of fine art is to arouse feeling.
Art is not the mere imitation of nature.
Art is not purposed to achieve some moral end.
Saturday, January 5, 2008
Notes on Burke and Kant
(Originally Written January 5, 2008 in the Journal)
Actually Mr. Burke, I have a thought: any piece of art must be sublime in order to invoke emotion. The artist must master the use of the sublime. Sublime can be the syntax of art as language? Sublime as syntax, I like that. But does it work?
Study points: What are the components of language? Words, grammar, syntax... How does a language form? History, evolution? Are there paradigm shifts in language?
"Judgments about the Beautiful"
By: Immanuel Kant
Taste is the faculty of estimating an object by means of a delight or aversion apart from any interest.
When taste finds the object to be delightful, the object is called beautiful.
In order to make a judgment of taste (i.e. such and such is beautiful) one must be completely disinterested.
"The Beautiful is that which, apart from a concept, pleases universally".
What is beautiful is so, universally. That which is agreeable is particular. Whatever is agreeable, is 'agreeable-to-me'.
There are two types of Beauty:
1. Free beauty (pulchritudo vaga)
2. Dependent beauty (pulchritudo adhaerens)
Free beauty has no presupposition of what the object should be.
Dependent beauty presupposes a concept of what the object should be.
Those who are dependent beauties have a concept attached to them. Thus, a man/woman is a dependent beauty and each individual must be measured against the perfect concept of man.
Fine art is the art of genius.
Genius is natural endowment, talent.
Genius gives the rule to art.
Talent is an innate faculty of the artist.
Every art form presupposes rules which are at its foundation and render creation possible.
Only genius can give rule to fine art. Only genius can be the foundation of fine art and therefore genius is a necessary part of creating fine art.
Genius is a talent for producing art for which no definite rule can be given.
Originality is the primary property of genius. As such. genius cannot be taught.
Genius must establish itself as a rule to be imitated while being original itself.
Genius cannot account for how or why the thought came into his head, only that it did.
Actually Mr. Burke, I have a thought: any piece of art must be sublime in order to invoke emotion. The artist must master the use of the sublime. Sublime can be the syntax of art as language? Sublime as syntax, I like that. But does it work?
Study points: What are the components of language? Words, grammar, syntax... How does a language form? History, evolution? Are there paradigm shifts in language?
"Judgments about the Beautiful"
By: Immanuel Kant
Taste is the faculty of estimating an object by means of a delight or aversion apart from any interest.
When taste finds the object to be delightful, the object is called beautiful.
In order to make a judgment of taste (i.e. such and such is beautiful) one must be completely disinterested.
"The Beautiful is that which, apart from a concept, pleases universally".
What is beautiful is so, universally. That which is agreeable is particular. Whatever is agreeable, is 'agreeable-to-me'.
There are two types of Beauty:
1. Free beauty (pulchritudo vaga)
2. Dependent beauty (pulchritudo adhaerens)
Free beauty has no presupposition of what the object should be.
Dependent beauty presupposes a concept of what the object should be.
Those who are dependent beauties have a concept attached to them. Thus, a man/woman is a dependent beauty and each individual must be measured against the perfect concept of man.
Fine art is the art of genius.
Genius is natural endowment, talent.
Genius gives the rule to art.
Talent is an innate faculty of the artist.
Every art form presupposes rules which are at its foundation and render creation possible.
Only genius can give rule to fine art. Only genius can be the foundation of fine art and therefore genius is a necessary part of creating fine art.
Genius is a talent for producing art for which no definite rule can be given.
Originality is the primary property of genius. As such. genius cannot be taught.
Genius must establish itself as a rule to be imitated while being original itself.
Genius cannot account for how or why the thought came into his head, only that it did.
Friday, January 4, 2008
Notes on "The Sublime"
(Originally Written January 4, 2008 in the Journal)
"The Sublime"
By Edmund Burke
That which is sublime invokes a response in us.
Astonishment is the greatest response the sublime can invoke.
Astonishment occurs when the soul has all of its motions suspended so that we can think on nothing else and yet be unable to reason upon that object that has astonished us.
Terror and fear have more power to rob the mind of reason than any other passion.
Fear is an "apprehension of pain or death"
That which is terrible or invokes fear in us is therefore sublime.
In order for something to truly terrify, it must be obscure.
Well Mr. Burke, you were useless!
"The Sublime"
By Edmund Burke
That which is sublime invokes a response in us.
Astonishment is the greatest response the sublime can invoke.
Astonishment occurs when the soul has all of its motions suspended so that we can think on nothing else and yet be unable to reason upon that object that has astonished us.
Terror and fear have more power to rob the mind of reason than any other passion.
Fear is an "apprehension of pain or death"
That which is terrible or invokes fear in us is therefore sublime.
In order for something to truly terrify, it must be obscure.
Well Mr. Burke, you were useless!
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