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The role of language in thinking
Good definition of what art is
Good definition of what art is
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Among the many theories of art that have emerged over time, the theory I will defend in this paper is the Neo-Wittgensteinian theory of Art. I will defend this view against the following (two) objections: a) The “open concept” idea of art is too expansive, and b) the “family resemblance” theory of artworks is also too expansive.
The Neo-Wittgensteinian theory of Art has been modeled mainly after the ideologies and teachings of Ludwig Wittgenstein, a philosopher and logician from Austria. Much of his work focuses on the validity of the use of language, which is applied to the argument I made in this paper. His language-games theory of “private language” can extend its argument to the study of aesthetics (“Individual Philosopher Philosophy”).
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In her book, Tiziana Andina states that family resemblance offers a good way to distinguish art from non- art without the need to rely upon a definition (107). The family resemblance theory allows for a wide variety of pieces, none of which have identical properties, to still be considered as artwork. There are major differences between classical art and the modern, contemporary art. However, both are still considered art. Art is comprised of an array of disciplines. The various forms of Art (as of today) include Fine Arts, Visual Arts, Decorative Arts, Applied Arts, Design, Crafts, and Performing Arts, etc. (“Meaning and Definition of Art”). Although none of the forms of Art require the exact same skill set to partake in, all of them require skills that are in common with some of the other …show more content…
Although other urinals are not considered to be artworks, Du Champ simply claimed an already made “Fountain Urinal” as a work of art, and it became so. Just because an object is mass-produced does not take away its qualities, nor does it disqualify the object from being a work of art. Creating an artwork requires the application of thought and skill, and anything that is produced by the human effort can qualify as a work of art. Of course, there is good art and bad art. Also, as I stated before, I believe that just because something can qualify as an artwork does not mean it is so. It just means that the object/piece in question is up for debate and may possess the qualities one might consider for it to become
In Gaut’s essay, “The Ethical Criticism of Art”, he addresses the relevance of an art piece’s ethical value when making an aesthetic evaluation. His key argument revolves around the attitudes that works of art manifest such that he presents the following summary “If a work manifests ethically reprehensible attitudes, it is to that extent aesthetically defective, and if a work manifests ethically commendable attitudes, it is to that extent aesthetically meritorious”. In direct contrast with formalists, who divine a work’s merit through an assessment of its style and compositional aspects, Gaut states that any art piece’s value requires a pro tanto judgement. This pro tanto position allows for pieces considered stylistic masterpieces, to be
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
Art has been around for as long as humanity has existed, and it is much more than just drawings or paintings. Art is what every a person makes of it. Art can be drawings, paintings, writings, or even dancing, but never is it contained to just one of those things. As we explore just two aspect of art it is important to realize that there is no right or wrong way to look at the art. Art comes in many different forms, in which they are all interpreted a little differently by different people. For me, when I read a poem I do not instantly know what the poet is trying to say and I don’t find it as interesting, but when I look at a painting so many more thoughts comes and I can’t help by imagine what that artist was thinking while he was painting.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Danto uses Testadura as well as his correct and incorrect ideas in “The Artworld” to explain the complex theory of art while subtly, but significantly, showing his point of view. It is only through the art works of Rauschenberg and Oldenburg that the concepts of the imitation theory and the modern reality are introduced as well as the views of Danto being conveyed to those reading. These views are important to understanding and appreciating modern art. They inform the reader that rejection of theories of art happen and will continue to happen as long as there are theories or art. Testadura may be “hard headed”, but it is this quality that helps to better educate people in “The Artworld”.
In his book, The Language of Thought, Jerry Fodor claims that i) Wittgenstein’s private language argument is not in fact against Fodor’s theory, and ii) Wittgenstein’s private language argument “isn’t really any good” (70). In this paper I hope to show that Fodor’s second claim is patently false. In aid of this I will consider Wittgenstein's Philosophical Investigations (243-363), Jerry Fodor's The Language of Thought (55-97), as well as Anthony Kenny’s Wittgenstein (178-202). First I shall summarize Wittgenstein’s argument; then I will examine Fodor’s response and explain why it is fallacious. In my view, Fodor is wrong because he takes Wittgenstein to be a verificationist, and also because he makes a false analogy between people and computers.
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
Neither Formalism nor Neo-Formalism is the defining answer to the questions raised in the nature of art. As before, we are left to wonder, what theories will be created and indeed shot down by the philosophy community in relation to the nature of art next?
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art professes to imitate, the process of imitation, and the inherent strengths and weaknesses of imitation as a form of artistic expression may lead to understanding how these conflicting views of art could develop from a seemingly similar premise.
Ludwig Wittgenstein (1889-1951) produced two commonly recognised stages of thought in 20th century analytic philosophy, both of which are taken to be central and fundamental in their respective periods. His early philosophy in the Tractatus Logico-Philosophicus, first published in 1921, provided new insights into relationships between the world, thought, language and the nature of philosophy by showing the application of modern logic to metaphysics via language. His later philosophy, mostly found in Philosophical Investigations, published posthumously in 1953, controversially critiqued all traditional philosophy, including his own previous work. In this essay I will explain, contrast and evaluate both stages of his philosophy, highlighting strengths and weaknesses and concluding that Wittgenstein’s late philosophy has provided an interesting explanation for the meaning of language.
So to answer the question you need to think what is art? To me art is a form of representing a person’s ideas which can be in any form of media whether it be a painting, a film, or a song, a novel or a photograph. For it to be classed as art though it must provoke emotion or thought and show signs of creativity.
Art is one of the most intriguing and exiting forms of human expression. A picture can tell a thousand words and often stir up feelings inside the viewer. Art is all around us.buildings,electronic equipment like a computer, and even automobiles are all a form of art.