Six Question that Deals with Beauty (Coursework Sample)

Beauty
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Q1.
In plain terms, Arthur Danto attempts to explain that the physical outlook of a piece of literary and expendable, an artistic work does not necessarily have the same meaning as the artistic meaning. This, moreover, seems to bring about the hidden meaning that requires an artistic sort of approach to an artistic piece of work. Hence, this requires the need of adducing an intrinsic meaning of the work to unravel the specific meaning/message behind its creation.
In the use of Warhol's "Brillo Boxes," Danto explains that that the boxes present entirely new remedies to the pertinent philosophical question of the art's nature. His arguments further explain this that an intended use of an artistic object must be separated from its seen value despite the fact that they appear the same. It brings a whole newer dimension in consideration of an artistic work and its general aestheticism since an idea and intent that underlie creation of art is the sole determinants to it. His belief in differentiation of aesthetics and art is well grounded with more validity then had been earlier believed that anything beautiful was a piece of art.
Danto's use of the three phases' view which is bound by specific timeframes is furthermore an explorative technique in recognizing a design. He further believes in the diminishing value and meaning of the art as a whole with the differential time spans. It explains the fundamental shift that seeks to characterize an explanation to the value of aestheticism in art that tends to moderate with time.
Thus, this explanation boosts Warhol's earlier teachings that though the eyes are the aesthetic organ, it greatly lacked philosophical significance in the acute determination of variations between an art and no-art piece of work.
Q2.
Hume's Theory is adequately a probable one in all its respect within the spheres of knowledge. It is approach to epistemology or rather philosophy was quite a boldly disbelieving one at first. It was so since David Hume openly questioned and approached the commonly held beliefs concerning personal identity with an issue. He further argued favorably against the perception of static "self" overtime. Instead, he moderated this by alleging that this varies with time by arguing that human perceptions are exceptionally contradictory and expounded natural free thoughtfulness as the only surety to achieving adequate basic standard living among the human beings (White, B. 2009).
Philosophy advocates for logical free thinking in approach to a number of affairs thus it is pertinent to demystify rigidity in some beliefs. The theory vividly advocates an objective or rather personal consideration than the wholesale relativism in approaching aesthetic matters. Moreover, this fosters accommodation of the different held views regarding aestheticism since human being experiences, and broad-spectrum impression of issues is largely inconsistent from one human being to the other. It allows for necessary adjustments culminated by proper appreciation of differences in aesthetic value of any affair by the human beings. Hence, an issue or item that is of more aesthetic value may be of lesser aesthetic value to another person (Kalina, R. 2012).
Moreover, is the variations in time by which a consideration to aestheticism can be compromised. The theory allows for informed change of mind to approaching aestheticism of an issue at hand vis avis the person's prior held views regarding the same. This flexibility offers a formidable ground for reasoning for or against a previous notion by an individual based on some concise reasoning at an instance (Danto, A. C. 2009).
Q3.
In any undertaking and declaration of liking of anything within the universe, a previous judgement is very much imperative before liking of the object in consideration. It is very much inherent in Kant's philosophical approach to aestheticism. Moreover, he advocates a more objective liking of an issue or item at hand hence, the well creation and achievement of disinterest before judging a person's approach to liking of it (White, B. 2009).
In the judgement of taste as to its quality, Kant examines need to consider the aesthetic value of the same, but not its cognitive or rather logical impression. It is further, boosted by whether the item exhumes some pleasurable feeling that may be considered without the bounds of the object's overall existence. He argues that the concern of response to a feeling characterizes human liking of an object in question, which profoundly appeals to the object's beauty.
In his judgement of taste as to its quantity, he explains that the beauty of an object is greatly defined by its greater association by most persons. He expounds on this by arguing that more often than not, we require liking of an object from others thus, the beauty of an object is not properties of the object but a subject's staging of the object. Hence, the subject recognition value is eminent in all objects, and this fosters an object's aesthetic value.
Furthermore, in the judgement as to the relation of purposes of an object, he expounds on the need to consider various use of an object. Also, a particular purpose's effect on an earlier purpose and even the fact that an object exists to serve a purpose underpin this core consideration. Beauty of an object is considerably boosted by its ability for effective purpose to which it was intended. Moreover, its multiplicity of purposes will act as a boost to its beauty that is why the multi-purpose objects are most regarded than the single-purpose ones (White, B. 2009).Overall, Kant's ideas form a formidable basis for further analysis since they give the room for subsequent critique wherever there is the need to do so.Q4.
According to Socrates in Plato's dialogue, the Ion, he believes that poetic talents are broadly a gift of the gods but not a result of acquired knowledge and skills. In most instances, this may appear as a sarcastic approach to analysis and approach of the issue despite his being unyielding about it. He open questions and criticizes origin and the impetus of poetry in a manner likely to be perceived as having lower regard to it as a form of education.
Case in point is the length of the dialogue. Socrates disagrees strongly in the length of the piece of art as he ascribes to the school of thought where a form of knowledge ought to be more detailed in its own right. The length is for the purpose of its reputation and overall acceptance thus the dialogue betrays poetry as a form of knowledge.
Also to note, he believes the Ion to be of limited expertise. He states that his criticism is based on the fact that indeed the Ion does not meet the specified threshold to be a form of education. To add on this, he is strong to point out that art critics and evaluators have a wider scope of criticizing an artist without limiting themselves to assessing work of a single artist, but can criticize the art in whatever way.
His further claim that the Ion has no real skill in the form of knowledge is backed up by stating that it sounds like a soothsayer or rather a divinely possessed person's work. It is more of a divine approach to the issue in question rather than a scientific sort of angle in adducing some form of knowledge. Based on this, Socrates has all rights to dismiss the Ion. Besides that, he believes that for a body of knowledge to be recognized, it must be from the inspiration and inner conscience of man that enables him to be powerless in indicating a verse, but not mere jibbers as though influenced by powerful external force (Kalina, R. 2012).
.Q5.
Barthes' claim that "the author is dead" is a direct philosophical relation in the literary world whereby the ending of the author's work marks the beginning of the life of a reader. It is even clearer in plain terms since the author's mandate has been achieved hence a reader must now come to the field to play his or her own part of reading and appreciating the literary piece of work.
The claim is more philosophical in the sense that it has a significant element of serious twist as it is boosted by his assertion that the writer is not a participant of the intrinsic structural body of the text. The author-func...