Abstract
This paper analyzes the terms "art" and "aesthetic" from a philosophical perspective. The author states that this essay is meant to explore the idea of a mythically inclusive concept of art and aesthetic. Additionally, the author examines the relationship between art and aestheticism and how each is an equally important vehicle into the "imaginal" realm. The paper takes a look at the experiences of creating and viewing art, citing the opinions of various art historians and philosophers. The author concludes that redefining "art" and "aesthetic" creates a bridge between the conscious and unconscious self when experiencing art.

From the Paper
"The creation and observation of Art pulls open the doors of the human experience, many of which exist at an unconscious level. Symbols are the means by which we may embrace the undercurrent of energy flowing within world's collective psychology. Culturally, Art ties one to a particular space while also knitting the creator/observer into the fabric of the global society. Hollis, (2004) relates that, "Our stories go deep, very deep into the archetypal realm, into the genetic code, the tribal history, the family of origin..." (p.112).These layers of symbol link personal history to cultural history, tie our personal understanding of the universe into the global cosmology. The energy of this connection rises up archetypally and fuels the communal symbols through which one gains access to the trans-personal, cross-cultural experience. "

Tags:art appreciation, philosophy, Western art, modern society

Abstract
The paper discusses how the aesthetic form, even that of language, played a highly important role in terms of modernity's exploration of the nature of representation. The paper explains how it played an important role as an alternative to language, as a mode of both perceiving and expressing experience. The paper examines Woolf's "To the Lighthouse" and Heidegger's "Work of Art" and shows how the aesthetic is presented, in both theories and representations of modernity, as highly important for the perception and expression of experience as a meaningful unity.

From the Paper
"Allyson Booth notes in Postcards from the Trenches that expressionist architects, in their handling of 'glass in a way that encourages us not to see through glass but to see glass' opened up, in modernity, a 'self-consciousness about the nature of representation'. Being primarily a post-war phenomenon, this mode of aesthetic representation was contemporary in 1927 when Virginia Woolf published her novel To the Lighthouse. It can thus be seen as significant that she opens this novel with part one entitled, 'The Window'. By means of its obvious reference to glass, Woolf immediately establishes a connection between the aesthetic use of glass in the expressionist architecture of modernity and the thematic concerns of To the Lighthouse. This connection indicates that Woolf, like the architects of her time, wished to direct her readers towards a consideration of language as a material of construction and, like the expressionist architect, demanded that her structural material was itself examined rather than merely looked through."

Tags:language, separation, meaning, unity, reconciliation, forces, experience

Abstract
This paper explains that art is an aesthetic object that is created by skill and imagination, while decoration is defined by its function as an ornament. The author points out that when looking at the aesthetics of art in the individual home it is important to consider that art can also exist as a decoration. The paper concludes that the private world of art can take many forms, from the purely individualistic approach of the young person's home to the collaborative approach of the older couple who have lived together for many years.

From the Paper
"The function of the home is diverse, and this is an important consideration for many individuals when they choose decorative and artistic elements for their home. For example, the use of the washroom for showers makes it difficult to store objects that are easily damaged by water in the bathroom as a work of art. Further, many decorative objects may be chosen more for their functional aspects than their artistic or decorative function. For example, clocks may be chosen based on large hands for easy viewing, rather than simply for their aesthetic value."

Tags:function, ornament, imagination, collaboration, individual

Abstract
This paper analyzes Theodor Adorno's essay entitled "Aesthetic Theory" which is Adorno's critique of subjectivist aesthetic theory in light of the role art plays in society today. The reviewer perceives Adorno as seeking a higher truth for art. Adorno's essay is considered a criticism of the new, bourgeois view of art, in which art exists simply for the pleasure of the viewer. Additionally, the reviewer is surprised that Adorno attacks psychoanalytic and the Kantian approaches to art criticism, seeing that they attempt to understand art at a higher level. The paper further elaborates on Adorno's issue with these two academic approaches to art criticism.

From the Paper
"Given Adorno's disgust with the hungry, subjectivist view of art, it is unsurprising that within his essay Adorno lodges an attack against two subjectivist theories of aesthetics: the psychoanalytic and the Kantian. Adorno is especially disgusted with the Freudian notion that desire propels art, though he finds fault with the Kantian notion of disinterestedness as well."

Tags:Kant, Freud, art criticism

Abstract
The author of this paper discusses contemporary art in the light of a course taken in college. The writer of the paper states that contemporary art is art that is uniquely self-conscious of its time, that it is art that does not aspire to be universal or to offer abstract ideals about truth, but instead speaks about a particular aesthetic or moment in time. In an attempt to prove the validity of his statement, the author examines the works of a number of contemporary artists.

From the Paper
"Likewise, Barbara Kruger's feminist use of collages, one of which proclaims to the viewer that 'your body is a battlefield' takes photographic images and superimposes ironic labels on top of those images in a way that demands the viewer question his or her assumptions about gender. Work like Kruger's shows how new ways of creating art, namely film, photography, and video, began to flourish at the same time as contemporary art, and many contemporary artists have used new technology to further question what is art, and the ways that art can be created. It can be striking to see what is assumed to be 'real,' namely a photograph, deconstructed and reconstructed, as it is in some of David Hockney's works. This can be, to some extent, even more startling than some of Warhol's deconstruction of advertising and celebrity, although Warhol also embraced film towards the end of his career as part of his artistic project."

Tags:art, modern, painting, television, warhol, hockney, philosophy, culture, kruger, chicago, self-expression, postmodern, aesthetic, lichtenstein, pollock

Abstract
This paper explains that, although multimedia now is commonly used in teaching the traditional curriculum such as the sciences and humanities, the utilization of multimedia in art education is less widely understood. The author believes that this difference between the degree of usage of multimedia in art education as compares to traditional education relates to the uniqueness of the art discipline and its position on the fringe of academia. This paper reviews the literature concerning the use of multimedia in art classrooms. The paper then reviews the definitions and meanings of multimedia, the theory behind the use of multimedia, the historical development of multimedia, current uses of multimedia, and recommendations for the involvement of multimedia in art education.

Table of Contents:
Multimedia: Definition and Meaning
Theory
Historical Setting
Description of Technology
Examples of Art Programs where Multimedia Content is Offered
Recommendations for Art Education Involvement with Multimedia

From the Paper
"An example of an integrated interactive multimedia teaching approach can be found at Indiana University, where a general elective course in art is offered at the undergraduate level. Students taking this course come from various academic backgrounds. Using an interactive program, they can choose from a collection of 100 lessons to construct their own course content. Students taking this course come from various academic backgrounds. Guidance and counseling is given by expert peers rather than by conventional instructors."

Tags:hypertext, emancipatory constructivism, curriculum aesthetic critical

Abstract
There are almost as many ways to argue that the price of a work of art does not necessarily reflect its aesthetic value, as there are artists and buyers, market forces and market constraints. Having said that, however, the paper shows that there are also significant and variable forces determining the prices of art; a short listing of just some of these and their probable effects in this paper make it clear that there can almost never, in fact, be a perfect marriage between a work of art and its price.

Paper Outline:
Introduction
The Arab Factor
The Propaganda Factor
Post-, post-, post -modernism and the Price Point
Two Paths to Price/Aesthetic Disparity
Conclusion
Works Cited

From the Paper
"Whether the government was attempting to prevent the item from leaving the country, the entire event-from the Sheikh's purchase and subsequent hoarding, to the government's art/antiquities market manipulation via legalistic means, at best, certainly would indicate that the price of this object, at least, can have little to do with its aesthetic value, but speaks more to national pride and pride of ownership. (One has not even considered either the ethics of the government in seeking to use its power in the art/antiquities market in this way, or of the Sheikh for using his own trump card-the ability to warehouse such pricey objects with no discernible harm to him.)"

Tags:Birds, of, America, Du, Bois, Christo, Warhol

Abstract
This paper examines the changes in Western art perceptions of design and aesthetics in the early 20th century by analysing the influence of the design that produced the Bauhaus aesthetic. This essay argues that a political agenda gave direction to this change, one that was enabled by changes in industrial production technologies. In this paper, several artifacts and interiors of this period are discussed, and the author here demonstrates how the objective of the Bauhaus aesthetic was to liberate the mass public through the transformative power of well-designed, affordable living space.

Abstract
Analysis of art as an intellectual and emtoional aeathetic response. Discusses Clifford Geertz's theory of art forms and their cultural context. The meaning perceived in aesthetic form and objects. Applies Geertz's framework to Abstract Expressionism as it developed in the post-World War II period. Limitations of Geertz's theory. Critical views of Clement Greenberg and Lucie-Smith.

From the Paper
"Clifford Geertz (1983) has proposed a theory of art as a cultural system in which the response to aesthetics is both intellectual and emotional, or rooted in one s feelings. These feelings in turn are seen as rooted in culture, itself manifested in the varied expressions of religion, morality, science, commerce, technology, politics, amusements, law, and even in the societal organization of everyday practical existence. Geertz (1983, p. 96) argues that talk about art tends to move beyond the technical and even the spiritualization of the technical and is directed to placing it within the context of these other expressions of human purpose and the pattern of experience they collectively explain.

Art, therefore, is very much a product, expression, symbol, and commentary upon the artist and the society in which the ..."

Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.

Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion

From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."

Tags:CIA, modernism, artistic, developments