| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ART AESTHETICS TOWN PLANNING": |
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Art and Aesthetics in Town Planning, 2006.
A discussion about modern art and architecture and what they can offer in terms of urban planning.
1,850 words (approx. 7.4 pages), 7 sources, APA, $ 59.95
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Abstract
This paper discusses the problem of urban blight and what must be done to make a city livable. The paper discusses the concept of 'New Urbanism', a plan endorsed by enlightened planners that emphasizes the "human scale" of all its undertakings. The paper explains that 'New Urbanism" embodies the idea that people must not feel squeezed-out by overly large buildings and that a community must address the diversity of real-life human beings. The paper further discusses the significant role that both architecture and art play in making a city livable and likeable and explains that the more human the urban space, the more inviting, and invigorating it will be.
From the Paper
"Huge numbers of economically-disadvantaged families can overwhelm any community. The problem is made worse by the lack of any coherent plan; any attempt to use the gift of modern technology to alleviate these deplorable conditions. We tend to believe that urban blight is inevitable - the price we pay for living in such a high-tech, fast-paced society. Yet we need not be slaves of our technology. Technology can help us to beautify our environment, help us to create livable urban spaces that we can all enjoy."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Aesthetics, Ethics and Criticism, 2004.
This paper discusses the interrelationship between ethics, aesthetics, criticism and art.
1,356 words (approx. 5.4 pages), 3 sources, MLA, $ 47.95
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Abstract
In this article, the writer discusses the interrelationship between ethics, aesthetics, criticism, and art. The writer describes how criticism interacts closely with each of the other aspects.
From the Paper
"W J Bate xiii commented that the great justification of criticism at any time is that it can help to bring into focus and emphasize the function of the arts and of the humanities themselves. Inevitably, criticism enjoys close synergies with both aesthetics and ethics, as well as with a group of four principal players, artist performer, critic ,evaluator, audience, market and manager entrepreneur and a set of four outer forces culture and society law and politics economics and finance and science technology ... "
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Aesthetics and Ethics, 2006.
Examines the aesthetic value of forged art and the ethics surrounding this issue.
2,392 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
When discussing the philosophy of art, the issue of forgeries is a standard component. Oftentimes this component includes the component of whether or not forgeries have any sort of aesthetic merit. A work of art, forged or not, could have some element of beauty, and therefore have some aesthetic value. This paper questions whether the knowledge that it is a forgery detracts from this value and whether the fact that a piece of art is a forgery immediately removes it from aesthetic consideration. The paper also questions in what ways forgeries and fakes are detrimental to the art market and whether fakes and forgeries offer any intrinsic benefits for the market.
Paper Outline:
Introduction
Aesthetics Defined
Ethics Defined
Does Forgery Affect the Aesthetic Value of a Piece of Visual Artwork?
Forgeries and Their Effect on the Art Market
Conclusion
References
From the Paper
"A forgery is typically created to attribute a piece of artwork to a person who did not create it, in hopes of making money. The primary fault with forgeries is that they not only misrepresent the piece of art's origin, but also misrepresent the achievement of the artist's performance (Dutton, 1979). It is not that the forgery artist's work is not worthy of aesthetic value, it indeed may be as in the case of van Meegeren, however the level of achievement must be adjusted for the individual challenges, or lack of challenges, that that particular artist faced in the creation of the forgery, to determine its value."
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The Nature of Art, 2002.
Examines the philosophical origins of art and aesthetics.
900 words (approx. 3.6 pages), 6 sources, $ 35.95
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Abstract
This paper examines theories found in the field of aesthetics, or the philosophical qualities found within art, to clearly address the question of whether humans create art or whether humans are art. This conflict of qualities has long perplexed philosophers and artists alike, where there is no real distinction as to whether art comes from an essential human nature, or whether art is the manifestation of that nature in a detached form of media.
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Clement Greenberg's and Michael Fried's Aesthetics, 2004.
Compares the ideas of Clement Greenberg and Michael Fried, relating them to specific instances of art practice.
2,830 words (approx. 11.3 pages), 41 sources, APA, $ 84.95
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Abstract
This paper explores and compares the influence of Clement Greenberg's and Michael Fried's ideas on art and aesthetics and how the reaction to those ideas impacted the development of late Modernism and its transition into Postmodernism.
From the Paper
"Central to both the theoretical stances of Greenberg and Fried is the non-referential nature of high art and the non-contingent nature of artistic practice. This forms part of an 'elitist' view of art, which was to contrast sharply with later postmodern concepts of artistic practice that emphasize an egalitarian ethos and a breaking down of the barriers between the different art forms. As will become clear, for Greenberg and Fried correct artistic practice could not be contingent on and referable to other areas besides that specific mode of art. In other words, 'proper' or pure art can have no subject and cannot be related to social or any other external areas. For both Greenberg and Fried the subject and correct developmental path of art was art itself. This becomes clear if the central tenets of modern formalism are analyzed."
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Wilde Visions of Paterian Aesthetics, 2007.
This paper analyzes works by Oscar Wilde and Walter Pater, examining parallels with regards to ethics and aesthetics.
19,650 words (approx. 78.6 pages), 25 sources, MLA, $ 249.95
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Abstract
In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper
"The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
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Symbolism In Art, 2002.
Examines symbolism in art from the aesthetics approach.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This paper begins by putting forward aesthetics theories on symbolism in art by three different aestheticians: Hegel, Goodman and Plato. Further, the paper compares all three theories, finally judging in favor of one.
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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Technology-Based Art, 1999.
Examines the theory and practice of the use of machine imagery, digital technology, video, etc.; financing, examples, the impact on the definition of art and aesthetics.
1,800 words (approx. 7.2 pages), 10 sources, $ 63.95
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Abstract
"Since the turn of the century artists have incorporated machine imagery into their art. But, whether they were frightened by the threat of a dehumanized, mechanized society or pleased by the hard lines of factories and machine-made objects, they only borrowed their images and their style for use in traditional art media
From the Paper
"Since the turn of the century artists have incorporated machine imagery into their art. But, whether they were frightened by the threat of a dehumanized, mechanized society or pleased by the hard lines of factories and machine-made objects, they only borrowed their images and their style for use in traditional art media. In the 1960s, however, artists began to expand the boundaries of their media with the incorporation of machines and technological processes into their art.
From radio broadcasts and videotape to functioning mechanical objects and digital computer imagery, the last three decades have seen the increasing use of various technologies to make art. Instead of visual or thematic inspiration for painters or sculptors technology today is used as a part of art, in the service of art, and as forms of art. But these are arts in their infancy and for ..."
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Psychoanalytic Aesthetics, 2002.
Outlines the concept of psychoanalytic aesthetics as portrayed by clinician Hannah Segal.
5,000 words (approx. 20.0 pages), 7 sources, APA, $ 126.95
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Abstract
The psychoanalytic approach to aesthetics enables us to understand the artists' aesthetic experiences as he or she conjures up his perception and response thereof, interpretation and meaning and his or her thoughts and feelings. The paper explains that, primarily divided into applied psychoanalysis and clinical psychoanalysis, the discipline of psychoanalytic aesthetics has been studied and commented upon by many famous psychoanalysts and clinicians over the years. This paper focuses on the comments of clinician Hanna Segal's psychoanalytic approach to aesthetics in general and particularly her quotes on creation and recreation. It examines her comment: "The essence of the aesthetic creation is a resolution of the central depressive situation and that the main factor in the aesthetic experience is the identification with this process." (H. Segal, 1981).
From the Paper
"According to Segal, one of the main aims of the artists is to create a world of his own, as Winnicott (1971) also held that the need to create something out of nothing is the main impulse. Segal says that though the artist believes that he is engaged in reproducing the external world, the fact is that the artist is using the external world to rebuild his own inner self. One of the themes used by Segal is of recovering the past and the defragmentation of the pieces."
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Hegelian Aesthetics, 2006.
A discussion regarding Friedrich Hegel and the finite nature of art versus the infinite expression of cycles.
3,182 words (approx. 12.7 pages), 6 sources, MLA, $ 92.95
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Abstract
This paper reviews how Hegel's aesthetic ideal is associated with art or more specifically fine art, as the first of three expressions of the culmination of spiritual development from objective then subjective to the absolute, or the combination of both objective and subjective spiritual awareness. The paper goes on to discuss how 'absolute reality' is what Hegel would refer to as the 'absolute spirit', or the world spirit that is shared by all.
From the Paper
"Desmond goes on to say that Hegel claims that there has been a divorce of the self from art and that art no longer serves this purpose, yet many if not all artists would coldly disagree or even agree in the sense that art is driven not only by self but by a common current of art for the sake of the other, the consumer. Artists constantly challenge the concept of art for self as they outwardly grapple with selling something so reflective of self to another who may or may not understand the message. This is reflected in the modern by the idea that in art, music and even knowledge, success is a failure that many are seeking, again a reflection of the incomplete being the base of contradiction and need for synthesis."
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Evolutinary Aesthetics: Man's Perception of Beauty, 2002.
This paper discusses the theory of evolutionary aesthetics, which concerns man's sense of beauty.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
Some people are of the view that man's perception of beauty is partially clouded by biology by it is not entirely true. With evolution man gained knowledge and was ale to distinguish himself from other species because of his thinking and reasoning faculties, this has also markedly influenced his aesthetic sense as his perception of beauty has changed. It is true that culture and environment play an important role, but with knowledge and exposure man has learned to develop his individual opinion.
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Gertrude Stein's Radical Aesthetics, 2005.
Examines how Stein's "Tender Buttons" uses radical aesthetics to necessitate social change and better the position of women in society.
1,912 words (approx. 7.6 pages), 0 sources, $ 61.95
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Abstract
This essay looks critically at Stein's writing style in her book "Tender Buttons," and shows how her syntax draws attention to the binary of man and woman, and ultimately deconstructs this binary.
From the Paper
"In Tender Buttons, Stein stresses the importance of the direct treatment of objects, as well as how they appear on the page. She employs parataxis, the placement of words side by side, in order to show the importance of simultaneity, and how it affects multiple perspectives. Through parataxis, Stein blatantly rejects traditional realism, and instead shows how truth is not solely rooted in the appearance, but in the overall mood or meditation of a piece."
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