¶ … Art as Experience" by John Dewey
The Function of Aesthetics in John Dewey's "Art as Experience"
In the book, "Art as Experience," author John Dewey offers an alternative method through which aesthetic or esthetic theory can be discussed and thoroughly explained. In the midst of art studies dealing with the theme "art for art's sake," Dewey argues in his book how a gradual deviation from this popular maxim will provide art theorists, critics, and even artists themselves create a proper perspective in which works of art can be viewed and discussed for what they really are -- that is, products and artifacts of human culture.
Indeed, art as a functional object for human culture becomes the central theme of the "Art as Experience." The author puts much emphasis on the distinction between fine art that is 'mystified' and functional: the former is the product of the humanity's putting a large premium on the object rather than experience, while the latter puts experience as the primary factor towards its creation and the objects as a means only to an end (which, ultimately, is human expression). Art becomes a human product that is autonomous to human society, an effect of what Dewey explicates as a 'separation' "from both conditions of origin and operation in experience, a wall is built around them that renders almost opaque...
Fine Arts Los Angeles Fine Arts Building "Form follows function" may be a cliche nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of
Thus, we assume that children gifted in the arts are every bit as intellectually endowed as those with academic gifts. The relationships among giftedness, talent development, and creativity are challenging areas of research. Because researchers lack consensus about what constitutes creativity itself, progress in developing operational definitions of "creativity" has been slow (Clark & Zimmerman, 1992-page 344; Csikzentmihalyi, 1996; Hunsaker & Callahan, 1995-page 2). Although some scholars agree that creative
The line that forms the corner of the wall behind her is much more definite and concrete, but it almost appears as though there has been an attempt to obliterate notions of line in the woman herself -- the folds of her clothes resist any distinguishability. The different uses of line by these two artists also show up in their simple geometry. In his self-portrait, Picasso uses almost no curved
Henri Matisse Still Life after Jan Davidsz. de Heem's 'La Desserte' Henri Matisse was one of the great "colorist of the 20th century" and is one of Picasso's rivals in the area of innovations. Matisse is reported to have "emerged as a Postimpressionist, and first achieved prominence as the leader of the French movement Fauvism." (The Art Story, 2011) Matisse was interested in Cubism but rejected this seeking rather to use color
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created. One of
Still, Mohist impact was considerable. The Legalists embraced the Mohists' authoritarian concepts. The Confucians and Taoists both acquired meaning and intensity from responding against Mohist rulers. And the universalistic social vision of Mohism helped motivate comparable propensities in later on, post-classical Taoism. In addition, Chinese reformers of the nineteenth and twentieth centuries, typically discovered Mozi an interesting exemplar of the committed social reform (Kirkland, p. 4-5). The idea of reform
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