Art As Pleasure By Kant

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Ross, W. D. "The Ethical Theory of Immanuel Kant." Introduction. The Right and the Good. Oxford: Clarendon, 1930. N. pag. Print.

For centuries, people’s aesthetic value has been influenced by Rome's perfectionism, so do I. I used to think that artworks that make people feel appreciated are just equivalent to visual appreciation and satisfaction. However, after observing the painting and researching sources of this pieces of art I realized that an excellent artwork needs to cover all aspect requirements. For instance, an excellent artwork needs to contain a high operation of art skills as well as art knowledge in order to persuade audience. In addition, to qualify as a great artwork it has to create a substantial amount of activity in the audience’s mind or heart. When I look at an artwork I always try to figure out what is the artwork's message or what the artist is trying to communicate, to convey. Overall, I think a good artwork needs include some of the elements and principles of the language of art as well as the structure they give to be able to successfully communicate an idea.

I do not believe I have enough time so let me just tell you about myself now. I am not crazy, I would like to think my mind is abstract just like my artwork. It seems strange to people yet so beautifully magnificent to me. I spend my days in France painting my “illusions” as people like to call them. My love for art all started with my job at an international art dealing firm. I saw all the colors, mixes, blends and fell in a deep sensation of peace. I always needed some peace, my doctors say I’m bipolar, they are lying, I need peace; Art is my peace.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

The aesthetic definition of art describes art as a 'vehicle ' (Carroll, 1999) for aesthetic experience. Therefore art is only really an artwork if it triggers aesthetic responses and experiences for its audience. In other words, art is defined through aesthetics; and aesthetic experiences. There are a number of crucial elements which must be explained in order to account for the plausibility of the aesthetic definition of art. This essay will outline these key points, and arguments for and against these elements; in conjunction with examples from the text 'Persuasion ' by Jane Austen (1998) to illustrate why this

In moving away from the objective property-based or perfectionist theories of the medieval and early modern periods to this sort of subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, much of the first part of the Critique is given to showing how one person’s reflective aesthetic judgments can be legitimately "imputed" to or expected from all properly-situated human subjects.(3) The famous "Deduction of Judgments of Taste" (§ 38) provides a sketch of this argument. Very briefly, Kant argues that since the faculties under consideration are "required for possible cognition as such," it follows that all who (through communicating with others reveal their ability to) cognize anything are susceptible to the same experience of faculties in free harmony, and to the concomitant aesthetic pleasure. As long as the subject takes himself to be conscientiously beholding the object under appropriate circumstances (e.g. without interest, prejudice, etc.) he can take his judgment of taste to imply in an "a priori" fashion that under similar circumstances other well-functioning human beings likewise will be pleased by it.(4)

He persuasively unveils imperatives both universal and hypothetical, the elements of unconventional practical reason, and examples of extreme controversy that force people to consider situations from a previously unconsidered moral perspective; however, Kant’s initial moral work is not without its critique: ranging from

Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

In the Critique of Judgement Kant contrasts the sublime and the beautiful. What it is that is beautiful for us in the beautiful Kant calls Zweckmässigkeit ohne Zweck, 'purposiveness without purpose'. (1) I will explain what I think Kant means by this. The categories of the understanding are organizing principles, they organize the sensory manifold into the usable structures of the world that we move among and employ every day. To find something useful in the world--that is, structured in a way that the organization of the thing suits both our understanding and some need of ours--is pleasurable for us. We enjoy the purposive form of a well-made hammer, for example, because of the use we know we could make of it. In the case of beauty, we identify the same pattern of purposiveness in an object, we recognize and appreciate a principle of organization, one might even say, of thought, in the object, but the object itself has no human use. Something is beautiful, as opposed to

Is art a form of self-expression from the artist to their audience? Self-expression is defined as, “the expression of one's feelings, thoughts, or ideas, especially in writing, art, music, or dance.” (English Oxford Dictionary). The source of inspiration for art is unknown for certain, but it is commonly believed that it comes from inside the artist, based on their life lessons and experiences. If the inspiration comes from within, then artists are expressing themselves through their art, thus art is self-expression. There are innumerous forms of art, from writing to dancing; singing to creating a drawing, public speaking and everything in-between. A person who is whistling is expressing how they are feeling through the notes that they hit. Someone who is drawing can use darker colors, such as browns and blacks to give off an eerie tone. Does that mean that all art is self-expression? No, not all art is self-expression, maybe it isn’t self-expression at all. This leads to the debate over whether art is self-expression if the inspiration comes from an outside source, rather than from within.

A commonly mistaken perception of beauty is its need to be aesthetically perfect, but this is not one of its true qualities. As stated

When the processes mentioned above are identified, one can question whether, for example in the field of aesthetics, something is beautiful, and whether this judgment is justified. Therefore, questions such as "is this a good reason for people to think that art is beautiful?" arises within Kant's notion of transcendental anthropology. Furthermore, along with the from-within, and normative perspective on the human being, transcendental anthropology makes use of a unique style of argument. The transcendental argument in Kant's Critique of Pure Reason advance from some "given" to the conditions of the possibility of that given. Thus the Critique of Pure Reason is an continued argument exploring the conditions of possibility of empirical cognition; of what the human being can know. As someone who experiences the world, someone can think about what must be the case for experience to be possible. Kant argues that in order for humans to have any kind of experience that the human being has, the world must contain substances, laws of causality, and other features. Furthermore, Kant argues that the human cognition of these substances, laws, and features must be limited in various

Life consists of constant cycles of spontaneous outbursts of joy and unexpected disappointments; there is an upside to this repetitive tug of war. On this rock we call home, we are surrounded by the most gorgeous creations, structures, and landscapes that add a touch of serenity to our miserable existences called aesthetics. Aesthetics as an adjective is defined as concern with beauty of the appreciation of beauty. As a noun it means a set of principles underlying and guiding the work of a particular artist or artistic movement. The surrounding beauty that we take for continuous granted is significant towards our existence. In everyday interaction, we straddle the line between aesthetic judgement, where we appreciate any object, instead