Should the aesthetic (beauty) dimension replace the moral (goodness) dimension? To start I will give a description as to what I believe is the moral dimension. To explain this I will use an example of physics. We must all realize that the moral dimension is explained through the law of relativity which states that nothing is good or bad‚ big or small until it is related to something else. The law of relativity tells us that everything in our physical world is only made real by its relationship or
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terms‚ requiring that the ‘aesthetic integrity’ of the protected building is maintained as much as possible. The same set of guidelines apply to the conversion of buildings that are protected for their historic interest as well as those protected for their architectural value. Since industrial buildings are largely protected primarily for the former as opposed to the latter the question arises of how the guidelines reflecting the importance of a building’s aesthetics can govern the conversion
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business can be crucial for a business. Aspects to consider when studying culture in a new place are: aesthetics‚ values and attitudes‚ manners and customs‚ social structure‚ religion‚ personal communication‚ and education. “An assessment of any nation’s overall business climate is typically the first step in analyzing its potential as a host for international commercial activity” (Wild). Aesthetics is known as the “good taste” in arts‚ imaginary evoked by certain expressions‚ and the symbolism of
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their arguments. Lessing begins “What is Wrong with a Forgery” by establishing that forgeries are not void of aesthetic value. In fact‚ he states that a clear distinction must be made between the qualities that make a piece of art aesthetically pleasing and the non-aesthetic qualities that art critics consider when analyzing a piece. The concept of a forgery‚ he says‚ is purely non-aesthetic and should not be used to describe the beauty of a piece. To further illustrate this point and later points
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In the excerpt‚ Claude Perrault begins mundanely by recalling the Ancients’ belief in that the utilization of proportioning systems based on the human body would give aesthetic qualities and beauty to a building. Without a doubt‚ this topic of beauty‚ which resides from mathematical proportions‚ is readily discussed both visually and verbally through examples in all history and theory of architecture classes including Buildings‚ Texts and Contexts. However‚ what makes the text compelling to me is
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comprehend the complex purposes of art. We must be aware of the global culture and heritage from which art emerges. For example when teaching our students art aesthetics‚ we must never let them think that there is only one way to view art. Students‚ and especially teachers‚ should be acceptable to all ways in which art evaluation can occur. Western aesthetics is based primarily on individuality‚ originality‚ permanence‚ and form. These factors cannot be applied
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represents the essence of the Muslim culture. Although Islamic art manifests in a wide range of forms from writings‚ tilling to ritual objects‚ great similarities can be found in these diverse forms. These art works are highly coherent in terms of aesthetics‚ motifs‚ and religious purposes. The Islamic art throughout the early period (ca.500-ca.1000A.D) reflects how the Muslim culture developed over time and how the Muslim faith manifested itself through documentations‚ decorative arts‚ and ritual
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Introduction In order to answer the question – what is artistic creativity? – I find it significant to define the words art‚ creative and creative art. The meaning of a concept of art has changed dramatically over the past century. Traditionally the term was used to refer to any skill or mastery‚ a concept which altered during the Romanic period‚ when art became to be seen as “a special faculty of the human mind to be classified with religion and science” (Gombrich 2005). Today‚ however‚ the term
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band may have played the “Four Seasons” different from Vivaldi’s original piece‚ it isn’t in the “flawed” performance that represents the true meaning of art. Rather‚ it is through the concert bands ability to not only please the audience in the aesthetic sense but also bring a companion-like piece that not only diversifies the artwork itself but the range of interpretation from critics. Sontag objection towards this however‚ could follow that our task as critics does not revolve around finding the
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natural creatures and things. When we talk about the beauty in works of art‚ we are talking about this latter beauty‚ and experiencing this beauty refers to the aesthetic experience. Such beauty is the higher degree of it and the experience of it last in us beyond the time and space. The nature of beauty and its role in philosophy and aesthetics was explained from the early periods and its evolution as described by the philosophers and writers as follows: ~PLATO~ ( 428 or 427 - 348 or 347 B.C
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