Evidence For Cognitive Penetration Within Art

In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.

In Cynthia Freeland’s But is it art? Chapter 6 is titled “Cognition, creation, comprehension”, which in three words summarizes the main ideas in this chapter. Two disciplines of logic are introduced in attempt to evaluate these factors: “Expressive Theory” and “Cognitive Theory.” Freeland goes on to describe that art communicates with the observer.

Art might not be viewed the same way as another individual could. Some people could “see” or “look” at a painting, distinguishing their perspective or interpretation of an artwork. When I “look” at Alma Thomas’ Gray Night Phenomenon, it’s with a goal to identify what the art depicts. I would probably glance at the painting, not taking my time to analyze its different features. At first glance, I register the painting as simply a piece of artwork with a blue background and yellow specks in a pattern, however I don’t take much thoughtful processes to take place and bring emotions into viewing the piece. When one “looks” at something, it is more routine-like and to figure its function, without much appreciation of the artwork. In contrast to “looking”

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking

The art world holds many masterpieces. Some speak in volumes and pull you into them without any sort of hesitation, while as some gently whisper and invite you in with simplistic modesty. Whether or not the viewer understands the meaning or what the purpose of the piece, it is acceptable to not understand and to be left with thought provoking questions. Painted, sculpted, welded, designed, animated, photographed, composed art is all alive and each so imperfectly unique and perfectly bland it could cause a shift in anyone’s mind. Out of control and in perfect order art exists, it exists in chaos and harmony.

1) Discuss why people can respond differently to the same artwork. People can respond differently to artwork by making the art come alive by letting the art engage your attention, your imagination and your intelligence. With these three items mentioned can look at artwork differently, so if you look at a piece of art with the lack of attention and the next person gives the artwork their full attention that person could possibly view more in depth and see more detail than the person who pays less attention to the piece of art. 2) More than one theme might be applied to a work of art. Pick a work of art from Chapter 3 and describe how two different themes might be applied to it.

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

Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking at the

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The purpose of this essay is to fully employ all of the new observational skills that I have learned from the start of the semester to now. With that in mind, I was feeling very excited to use these new “abilities” as I was observing art. The San Diego Museum of Art was very interesting indeed, and I have never experienced art in such a way that is sort of hard to describe. The museum had paintings and galleries ranging from the Renaissance era all the way to the eighteenth century and even Impressionism and Post-Impressionism as well. However, my eyes instantly caught Henri Matisse’s painting, Bouquet, this painting had so many details, elements, and meanings as well as similar characteristics from past chapters that I have read this semester.

Alexander Nehamas believes that the attracted properties of art and beauty lies within our feeling and emotions. In his account, he explained that even though a higher or more abstract ideas of beauty can be found, the fundamental principles we used to judge the quality of the art is not purely intellectual but, rather, the desires plays as a part of the appreciation. He emphasized that the beauty of the artwork provokes individuals to possess in a way that we want to know more about the painting whether from our lust or other forms of emotion (7). In another word, Nehamas reasons that emotional properties of the beauty attracts observer’s attention. To further clarify Nehamas’ argument, he pointed out that the beauty are capable of being deceptive

In this paper I will be describe how I interpret never before seen art pictures. I will discuss how they make me feel, what I think of them, and what region of the brain makes me feel this way, and lastly how this process helped me. First I will pick an artist I have not viewed before, I’ll look at the picture for two minutes observing everything I can. Then I will discuss how I perceive the painting.

ABSTRACT: My goal in this paper is to defend the claim that one can directly perceive an object without possessing any descriptive beliefs about this object. My strategy in defending this claim is to rebut three arguments that attack my view of direct perception. According to these arguments, the notion of direct perception as I construe it is objectionable since: (1) it is epistemically worthless since it leaves perceived objects uninterpreted; (2) it cannot explain how perceived objects are identified; and (3) it is ill-prepared to assign objective content to perceptual states.

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”