Aesthetics Yuriko Saito Artwork (Essay Sample)

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Aesthetics Yuriko Saito Artwork
Aesthetic objects are characterized as products of our ideas and emotions rather than as a collection of discrete elements. "Everything may become the subject of creative attention, whether it is encountered or seen, the creation of imaginations or theoretical thought," writes Jerome Stolnitz. "Everything that can be seen is a worthy object for aesthetic attention," writes Paul Ziff, even "a gator basking on a mound of dried feces." Ziff advances a similar assertion.
Given this universal consensus, it is surprising and significant that visual art dominates contemporary aesthetics. As pointed out by Thomas Leddy, the arts are the principal focus of many aestheticians' disputes, despite their assertions that aesthetic qualities are not restricted to Aesthetics and are, in reality, concentrated on the concept of art, creative expression, the artist's goal, and the constraints inherent to each method of expression. Consequently, non-art aesthetics have been reduced and only highlighted when discussing beauty and the aesthetic experience. Commonly, non-art objects and activities are discussed in terms of their resemblance to art, which conflates art with aesthetics. When analyzing the aesthetics of sport, it is said that "every sport may be considered an art form(Saito 27)." "chefs throughout history who saw themselves as musicians" are contrasted with "most artists who do not associate art with food or hold cooking in such high regard."
Non-artistic products and behaviors may be understood in terms of art's aesthetics since art is our most familiar setting, for better or worse. However, such comparisons have a downside as well. Non-art items, it is often assumed, lack the traits that identify real art, such as formal coherence, expressive power, the embodiment of an idea, ingenuity, and originality. This is a prevalent misunderstanding that must be addressed. As a result, non-art objects are seen as "like art" or "second-rate art" at best. The apparent hierarchy of this approach irritates me. In terms of aesthetics, encouraging and valuing diversity is more fulfilling and productive than limiting what is deemed attractive(Saito 57). I believe that the large diversity of aesthetic objects needs a range of analytical and methodological procedures, similar to the "aspects" mentioned by Paul Ziff for various works of art.
Aesthetics is a sequence of linked and associated experiences that we face daily rather than a one-size-fits-all experience. We keep our bodies tranquil and our brains concentrated on the artists and the surroundings during a classical concert or a play. In contrast, what is most suitable and rewarding aesthetically in the framework of art or music is not acceptable or satisfying in everyday life(Saito 122). Aesthetics focusing on art cannot adequately account for our bodily-engaged view of everyday objects and activities.
As a result, various aesthetic traditions highlight the significance of transiency and impermanence. As previously stated, the Japanese aesthetic sensibility is likely to be the most dominating in this region. Because of its brevity, it is considered a gem for its inherent worth. As a result, many of the most iconic emblems of beauty, such as falling cherry blossoms, mist, rain, snow, and wind, represent the