The Is A New Day

When making objects, we imitate reality, producing imperfect versions of perfect forms. If our perception of reality is already one step removed from truth, then art is one step

‘Meditations’ outlines Descartes’ method of justifying, through reasoning alone, his initial beliefs concerning the existence of reality as he perceives it. This challenge of scepticism is itself achieved through adopting a temporary sceptical approach in meditations 1 and 2. By way of mental deconstruction and evaluation of all that he had previously considered true, Descartes is left with only the elements that he is able to ascertain are ‘certain and indubitable’ . He first asserts our apparent inability to distrust our senses in distinguishing reality from illusion. This process forms the foundations from which he may

Henry Matisse's Le bonheur de vivre (The Joy of Life) and Picasso's Les Demoiselles d'Avignon are considered as great artworks of modern art. The both are inspired by postimpressionism and also broken the old style that is depicted by Cezanne. In this essay, I would like to argue how the two are inspired by Cezanne art piece and how eminence they are.

Having sheltered, to a certain extent, art from scientific reduction, (the philosophy of realism) it is appropriate, before further examination, to similarly give asylum to art from idealism, so that the philosophical position of this paper remain clear. Idealism is a doctrine which values the idea above the material. Insisting that, the perfection of an idea can never be captured in material form. Admittedly, it is true that the image of an idea can never be made physical and continue as, purely, an idea. But an artistic idea is only as beautiful as a scientific idea is useful, that being not at all if not applied to the external world. The ideal beauty of the Platonist is worthless, to the world, without being expressed; if the function of an ideal beauty is not expressed, the idea dies having never impregnated the minds of others and thus, goes extinct. Realism attempts rigorous reduction and idealism abhors and takes for granted the beauty of, physicality; therefore, the absurdist view is the only logical one, because it recognizes both the ideal and the material without holding one in greater favor than the other, acknowledging that both are equally important to the human condition which manifest the absurd; the artistic ideal is nothing if not expressed and the

While François Truffaut and Michel Houellebecq’s works may indeed prevent their audience from forgetting the material, artificial nature of what they are holding in their hands or seeing before their eyes, it is sometimes despite their creators’ best efforts. For when, as they do in both men’s work, elements of the autobiographical creep into the work and the line with fiction is blurred, we are inevitably drawn back to our position as spectators, at a distance from the narrative and form. And while their works may ceaselessly remind us of their materiality in their form, we are also constantly made aware of the materiality of the characters within them as well.

Through a documented series of objects and installations Aguilar presents his ability to interact with urban explorations. As for his capability to experiment with various surfaces and mediums, such as; latex and masking tape. Yet, we are left to admire the simplicity

The Large Bathers by Paul Cezanne had inspired many artists, including Pablo Picasso in his painting, Les Demoiselles d’ Avignon, and Henri Matisse in his Bonheur de Vivre. Those three paintings belong to three different artistic styles, but they have many things in common, as they show the beauty of females. In this essay, I will discuss how both Bonheur de Vivre and Les Demoiselles d’Avignon can be simultaneously seen as inspired by and breaking free of The Large Bathers by Cezanne.

“An old day passes, a new day arrives”, the Dalai Lama. The Post-Classical Period was dominated by powerful, established nations with extensive trade and communication networks throughout their spheres of influence. Weak political centralization and changing religious beliefs allowed these nations to be overwhelmed by nomadic peoples who assimilated and then replaced the dominant cultures. With a strong foundation for success, these new day nations were able to expand trade and cultural exchanges to a level unreachable to their predecessors. Fresh blood, economic development, and demographic growth were the major contributors to the increased cross-cultural interactions between 1000 and 1500 C.E.

In this article, Peter Russell shares his piece of mind and tells us about his different perspectives in what reality is. His priority subject is that of the “Dreaming the World” where he talks about the theory that our lives could just be a long-time dream that we have yet to awake from, once we die we will awake. Something really interesting that Russell points out in his article is the theory of Plato’s allegory of the cave. This allegory is based on the idea that the objects we perceive to be real, are merely shadows of them. He states his own perspective in the ‘From Plato’ section, “Although Plato believed the real world was a world of ideas and eternal perfect forms, his story is still pertinent to our own experience. Most of us assume

Susan Sontag discusses the difference in viewing art in physical form versus viewing in through a lens. Throughout the essay “In Plato’s Cave”, Sontag thinks both Plato’s cave images and photographs represents, “the mere image of truth” (Sontag 3). With that, Sontag repeatedly uses the terms “truth” and “reality”, but does not define what these terms mean to her. The impression Sontag left for these terms is that “truth” or “reality” stand for nothing more than what we can see. Being said, the difference between what we can with our own eyes and what we can see with a camera is reduced to the physical/mechanical differences between the human eye and body camera/lens.

This essay is derived from the argument made by Benjamin Genocchio’s an art critic and non-fictional writer from Australia, titled “As a Museum, Frank Gehry’s Fondation Louis Vuitton in Paris Disappoints.” It’s boring, safe, sanitized -a handbag palace on steroids, on 6 November 2014 for art guide. The author demonstrates his review towards the foundation Louis Vuitton building, Paris at the end of the article Benjamin culminates that ‘’ A heralded reliance on “aerospace technology” and special 3-D software developed by Gehry’s Technologies, which made it possible to model complex shapes imagined for the exterior and is kind of interesting in a science-nerd sort of way, is redundant and irrelevant”. The readers of this essay witness the contradictory

Henri Matisse’s “Chapel of the Rosary” (1949-1951), is an architectural masterpiece, said by Matisse himself. The chapel obtains personal value, religious value and aesthetic value. In the late 1940’s, Matisse turned to cut-outs as his primary medium. The period of the ‘Cut-Outs’ have been described as Matisse’s “second life” by the art critic Alastair Sooke; while Matisse had completely changed his medium, he continued to be completely fascinated with vibrant colours. After a life-saving surgery, the artist was left extremely weak and unable to get out of his bed and painting and sculpture were a challenge. Here he invented a ground-breaking and completely non-traditional way of making art, he described the making process as “drawing with

As stated by Plagens (1990), Matisse is unmatched by fellow modernists in his ability to convey realism, his artistic expertise enabling the observer to take part in the images he created, discerning the fruity aroma wafting from his still life and the flurry of air emanating from his scenic vistas. Vital responses if you accept these sensory reactions amplify a painting's verisimilitude. An example of Matisse's skill in producing paintings that felt real is "The Casbah Gate". Using vibrant colours and an energetic grey contour, his depiction of the Bab el Aassa gateway which neighbours the sovereign's grand residence, and a fine-drawn sentry or bowaab on guard, proclaim the spirit of a Tangier's afternoon.

True to the overcoming impulse of Nietzschean existentialism—while faithful to the irony of post-modern eroticism, 2015’s Ex Machina breathes flesh into the impulse of a technological age best described as both primitive and futuristic. Caleb’s first night in the lab revolves around themes of vision and viewing: to view a machine without the machine’s express knowledge. The use of colors blue and red invoke basic affect related to approach and avoidance stimuli, ‘you try a door and it stays shut it’s off limits, you try another door and it opens and it’s for you.’ In this sense, Ex Machina uniquely predicates consciousness on imagery coupled to basic human affect. This marks the descent into primitive human impulse. Such impulse impresses an ironic deconstruction of everything mechanical in the human organism, ‘through the looking glass’ as Caleb

Rene Descartes was a 17th Century mathematician and French Philosopher whose life's work focused on providing a new prospective on the human perception of reality. The definition of this reality is seen as Descartes greatest life goal. Coined as the "Father of Modern Philosophy," (Cunningham & Reich, 2010, p. 385), Descartes laid the groundwork the philosophy and reality as we perceive it today. Descartes autobiography, Discourse on the Method of Rightly Conducting the Reason and Seeking Truth in the Sciences (Descartes, 2004) shares with the reader a glimpse into the mind of a brilliant, yet frail, man who provided an in depth explanation on the perception of human existence and the reality we live in