Wonder Is An Aesthetic Experience

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 Affect - A basic Summary of approaches, Andrew Murphie puts forth thought on the concept of affect and how it directly correlates with the language. Affect is described as what occurs right before one becomes aware of how they are feeling, and thus turning that feeling into an emotion. That being true, affect is moment to moment and is constantly changing, for emotion is continually being altered in order for one to be fully present in every point in time. Affect comes and goes instantaneously, for at the instant when it comes, one makes an effort to put affect into words, turning the affect into a feeling or emotion and it is gone. Affect cannot be put into language, but it is always something that will be with one. That being said, one cannot describe one’s affect to another. Though, by trying to talk about one’s affect, one must speak about the instant that created said affect, and by expressing one’s thoughts about their moment to moment experience, one can try to evoke a similar experience in another’s mind.

Describe the initial emotions you feel when viewing the art. Then list any adjectives that descrWhat category does the art fall under? How can you tell?

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

Christakis and Fowler state that emotions themselves contain several elements. Emotions contain a conscious element, meaning people are aware of what they’re feeling. They have a physical aspect; emotions are tied to an individuals’ health. They also have a neurological affect; altering activity and blood flow levels in the brain. Finally, emotions contain a visual aspect; they can be expressed in facial expressions and body language.

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

As suggested by the title, this piece of literature attempts to highlight the importance of sensory experience in architecture. It is indeed a response to what the author terms as ‘ocularcentrism’ of Modern Architecture. Ocularcentrism is the act of prioritizing visual stimuli to all other sensory stimuli available to a human perception. He quotes famous German poet, Goethe, in his defense, “the hands want to see, the

Researchers have debated about the phenomenon with emotions. Debates on this topic have and will continue to for many more years. Researchers have attempted to understand why one has emotions and came up with the five different theories. The first theory is the James-Lange theory, which argues that an event can cause physiological arousal first and, it can be interpret this as an arousal. Second theory is the Cannon-Bard theory that argues that all humans experience a physiological arousal and an emotional one at the same time. It still does not give any attention to the role of the thoughts or an outward

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

These moods and emotions affect the brain and behavior of the onlooker, causing them to either want or reject the item. Just like personal tastes in art, the consumer uses art as a form of expression and personal taste, hinting to others elements of their personality.

more on the emotion of the thing. E.g. there is a painting of a man

The most important trait in defining art is its beauty. As complex as the term “art” can be, the term “beauty” is nearly just as complicated. In order to understand art more clearly it is important to understand beauty. “We label an object beautiful because it promotes an internal harmony or ‘free play’ of our mental faculties; we call something ‘beautiful’ when it elicits this pleasure.” (Freeland 8). As defined above, beauty is not a direct message. It is something that subconsciously allows man to feel good and pleasurable. There is “an internal harmony” when we observe something beautiful that allows us to take away a deeper understanding of a work of art regardless of it being “nice looking” or “ugly”.

A work of art can capture a moment in a person’s life. When observing art it’s almost like a snapshot of a brief point in time. The artist tries to create this specific point, and within this creates a story or meaning. The art has something to say and the artist wants you to react or take something away from this experience. The reaction is the function of the specific work of art. Whether it’s a favorable or awful reaction, the viewer still walks away changed.

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

Architecture can be viewed with two different types of properties. Properties that can be seen like shapes, their composition, the spaces they create and, the colours and textures that make up their appearance. These properties are considered to be visual while other properties are considered to be abstract. These properties can only be described using words; the meanings behind the architecture and the stories that can be told about it. The context, its cultural background and its function also affects how we view architecture. The question is, what