![]() ![]() This breakthrough would eventually culminate in the Institutional Theory of Art, a perspective that provides the most exhaustive classificatory definition of art available, and which (despite the objections of its critics) remains the most persuasive theory of art on offer. ![]() ![]() By the middle of the twentieth century art had departed so radically from the mimetic traditions that philosophers were forced to shift their focus away from functional theories (which typically drew on the formal features of artworks) to procedural ones (which are concerned with the imperceptible, relational properties external to the work of art). This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias.įor most of its history art has been mimetic in nature not surprisingly, mimetic theories of art held sway for a long time. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. It is mostly about these explorations of art that the contents of this piece is concerned with. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. I have explored the above in the context of meta-philosophy. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal factors such as its methods and those concerning its subject-matter. The professionalization of philosophers created other problems of this socio-cultural practice. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. Questions of an art-specific reflexivity are discussed as well as the problem that works of literature and ready-mades pose for a traditional definition that tries to understand the specifity of artistic reflexivity in terms of sensous materials.ĪBSTRACT One increasingly reads about different aspects of the death of philosophy. In the second part the papers develops a functional account of art that isn’t relying on the concept of aesthetic experience, but rather relies on the concept of reflexivity that has been developed by Hegel. It is argued that Beardsley is on the right track with his functional definition, but determines the function of art in a wrong way. In the first part the definitional proposals of Weitz, Dickie and Beardsley are discussed and their major shortcomings as well as their positive insights are presented. It is a technique, which is used by the artists, who wish to increase the visual interest of their work.With regard to the distinction between functional and procedural definitions of art, that has been proposed by Steven Davies, the paper develops a functional account of art that tries to understand works of art as part of a certain kind of reflexive practice. ![]() Variety is a principle of design, which refers to a way of combining the visual elements to achieve intricate and complex relationships. This means that it is necessary to discuss proportion in terms of the context or standard which is used to determine the proportions. The issue is the relationship between the objects or parts of a whole. Proportion refers to the relative size and scale of the various elements in a design. If the design was a scale, these elements should be balanced to make a design feel stable. Balance is the distribution of the visual weight of the objects, colors, texture and space. The principles of design describe the ways that artists use the elements of an art. When all these parts are in synchronization, the end result is a unified design. Consistency among the parts that contributes to the whole is a hallmark of a unified design. Unity is an umbrella principle for visual design, which means all the aspects of "The Language of Design" contribute to the visual unity of an image. In other words, the words and the images work together to create meaning. Unity gives a sense of oneness to a visual image. Unity is the relationship among the elements of a visual, which helps all the elements to function together. ![]()
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