This document discusses the relationship between art and entertainment. It defines art as requiring active viewing that challenges audiences and examines life to potentially create social change. Art promotes self-examination and transcendence. In contrast, entertainment makes no intellectual demands and aims to gratify audiences without leading to criticism or significantly impacting society. While entertainment reflects existing views, art expands experience by introducing new perspectives through the artist's frame of reference.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
CHAPTER 10Pleasure, Contemplation, and JudgmentThe field o.docxcravennichole326
CHAPTER 10
Pleasure, Contemplation, and Judgment
The field of aesthetics casts a very wide net. The arts are many, and they happen in different places all over the world. They always have. Our enjoyment, appreciation, and judgment of art—together with the question of what defines art to begin with— are the key elements to consider in aesthetics. The word itself is derived from the Greek Αισθητικη ́ , aisthetikos, meaning “coming from the senses.”
More than any other branch of axiology, that is, of the philosophy of making value judgments, aesthetics has sensuality built into it as much as it has seductive, ineffable quality in its critical analysis. Still, though some philosophers disagree, it is not just a matter of taste.
Aesthetics, Art, and Criticism
You might ask, what is it critics do, exactly? Serious arts critics have to travel, usually a lot. They contemplate paintings in museums all over the world, listen to different orchestras in different concert halls, witness ballet and opera wherever they may come to life. Critics also often serve on juries, observe the impact of social and politi-cal forces on the art of their time, reflect on the art of the past and the art of the future and do so by experiencing that art in person. A literary critic can of course just sit and read a book, and that book will be the same artistic object that everyone elsewhere is reading. But the other arts, especially the performing arts, are different. To analyze painting and sculpture, or theater, music, dance, and opera, the critic has to travel wherever these artistic works may be.
Yes, critics travel. And the toughest journey a critic takes is the vast one from the statement “I like this”’ to “This is good.” The shortest distance between those two points is seldom a straight line.
“Today it goes without saying that nothing concerning art goes without saying. Everything about art has become problematic: its inner life, its relation to society, even its right to exist.”
—Theodor Adorno
One easy way of dividing the arts is between what we like, which must be good, and everything else. On some level, this remains the case even in the most complex aesthetics systems. Blaise Pascal’s clever littler dictum that “the heart has its reasons that reason does not know” is as unsettling as it is true. Say something strikes you as absolutely right in the concert hall, something in the theater has a powerful effect on you. You begin to articulate what you will choose to call the reasons for the work’s success. But maybe your heart still has other reasons; these reasons do not begin to touch. It is in this sense that criticism defines not so much what the work of art is as what happens when we witness it. The act of witnessing is what transforms a work of art standing alone into the object of our aesthetic experience. This is the moment of attention, the vehicle for the journey from the report of a private experi- ence—“I like this”—to the public utterance and jud ...
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
CHAPTER 10Pleasure, Contemplation, and JudgmentThe field o.docxcravennichole326
CHAPTER 10
Pleasure, Contemplation, and Judgment
The field of aesthetics casts a very wide net. The arts are many, and they happen in different places all over the world. They always have. Our enjoyment, appreciation, and judgment of art—together with the question of what defines art to begin with— are the key elements to consider in aesthetics. The word itself is derived from the Greek Αισθητικη ́ , aisthetikos, meaning “coming from the senses.”
More than any other branch of axiology, that is, of the philosophy of making value judgments, aesthetics has sensuality built into it as much as it has seductive, ineffable quality in its critical analysis. Still, though some philosophers disagree, it is not just a matter of taste.
Aesthetics, Art, and Criticism
You might ask, what is it critics do, exactly? Serious arts critics have to travel, usually a lot. They contemplate paintings in museums all over the world, listen to different orchestras in different concert halls, witness ballet and opera wherever they may come to life. Critics also often serve on juries, observe the impact of social and politi-cal forces on the art of their time, reflect on the art of the past and the art of the future and do so by experiencing that art in person. A literary critic can of course just sit and read a book, and that book will be the same artistic object that everyone elsewhere is reading. But the other arts, especially the performing arts, are different. To analyze painting and sculpture, or theater, music, dance, and opera, the critic has to travel wherever these artistic works may be.
Yes, critics travel. And the toughest journey a critic takes is the vast one from the statement “I like this”’ to “This is good.” The shortest distance between those two points is seldom a straight line.
“Today it goes without saying that nothing concerning art goes without saying. Everything about art has become problematic: its inner life, its relation to society, even its right to exist.”
—Theodor Adorno
One easy way of dividing the arts is between what we like, which must be good, and everything else. On some level, this remains the case even in the most complex aesthetics systems. Blaise Pascal’s clever littler dictum that “the heart has its reasons that reason does not know” is as unsettling as it is true. Say something strikes you as absolutely right in the concert hall, something in the theater has a powerful effect on you. You begin to articulate what you will choose to call the reasons for the work’s success. But maybe your heart still has other reasons; these reasons do not begin to touch. It is in this sense that criticism defines not so much what the work of art is as what happens when we witness it. The act of witnessing is what transforms a work of art standing alone into the object of our aesthetic experience. This is the moment of attention, the vehicle for the journey from the report of a private experi- ence—“I like this”—to the public utterance and jud ...
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Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
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Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
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Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
2. Changing Relationship with ArtChanging Relationship with Arthttps://youtu.be/Ca9dfo0Y5cMhttps://youtu.be/Ca9dfo0Y5cM
3. Art as “Skill”Art as “Skill”
A skillA skill
From the Latin ars,
Greek word - technē
4. Art as BeautyArt as Beauty
An act of beautyAn act of beauty
From a branch of philosophy known as
aesthetics
5. Art as Meaning and PerspectiveArt as Meaning and Perspective
A specific meaningA specific meaning
From an attempt to understand ourselves and
the world around us
A way of seeing or understanding
The artists directs us to see things in a new
way
A way of challenging our beliefsA way of challenging our beliefs
6. What is Art?What is Art?
A skillA skill
From the Latin ars,
Greek word - technē
An act of beautyAn act of beauty
From a branch of philosophy known as
aesthetics
A specific meaningA specific meaning
From an attempt to understand ourselves and
the world around us
7. What are the basic qualities of artWhat are the basic qualities of art
that all works of art share?that all works of art share?
WilliamMissouriDowns
8. Art is a Form of Human ExpressionArt is a Form of Human Expression
(Maybe)(Maybe)
9. WilliamMissouriDowns
The word art springs from the
same root as the word artificial.
Art is not the real thing
but rather a human creative
endeavor that involves the
perceptions and imagination of
an artist who is trying to say
something in his or her own
particular way.
10. Art Involves Subject and MediumArt Involves Subject and Medium
Spatial ArtsSpatial Arts
ArchitectureArchitecture
SculptureSculpture
Pictorial ArtsPictorial Arts
PaintingPainting
Line and color in two dimensionsLine and color in two dimensions
Literary ArtsLiterary Arts
PoetryPoetry
Novels and short storiesNovels and short stories
Performing ArtsPerforming Arts
Performed by a personPerformed by a person
11. Art Makes You Feel SomethingArt Makes You Feel Something
Paul Drinkwater/NBCU Photo Bank via AP Images
Michael Falco/The New York Times/Redux
12. Art Provides a Perception of OrderArt Provides a Perception of Order
““It is the function of all art to give us someIt is the function of all art to give us some
perception of an order in life, by imposing orderperception of an order in life, by imposing order
upon it.”upon it.”
T. S. Eliot, poetT. S. Eliot, poet
““Life is very nice, but it lacks form. It’s the aim ofLife is very nice, but it lacks form. It’s the aim of
art to give it some.”art to give it some.”
Jean Anouilh, playwrightJean Anouilh, playwright
13. What is the Purpose of Art?What is the Purpose of Art?
https://cdn.theguardian.tv/https://cdn.theguardian.tv/
mp4mp4
MichalDaniel/Proofsheet
15. What is Theatre?What is Theatre?
The word theatre comes from the Greek word
theatron meaning “seeing place.”
“A man walks across this empty space whilst
someone else is watching him, and this is all that
is needed for act of theatre to be engaged.”
Peter Brook, The Empty Space
16. What is Drama?What is Drama?
The word drama comes from the Greek wordThe word drama comes from the Greek word
drandran meaning “to take action, to do, or to make”meaning “to take action, to do, or to make”
Drama tells a story about people in conflictDrama tells a story about people in conflict
18. 1. Commercial Theatre1. Commercial Theatre
Commercial playsCommercial plays
offer safe themes,offer safe themes,
plenty of laughs, andplenty of laughs, and
spectacle designed tospectacle designed to
appeal to a majority ofappeal to a majority of
people, thereby fillingpeople, thereby filling
lots of seats andlots of seats and
ideally making lots ofideally making lots of
money.money.
WilliamMissouriDowns
21. 4. Experimental Theatre4. Experimental Theatre
It might break downIt might break down
barriers by eliminatingbarriers by eliminating
the distance betweenthe distance between
actor and audience,actor and audience,
trying out new stagingtrying out new staging
techniques, or eventechniques, or even
questioning thequestioning the
nature of theatre itselfnature of theatre itself
Courtesy,Living
Theatre
22. 5. Cultural Theatre5. Cultural Theatre
Is designed to support the heritage,Is designed to support the heritage,
customs, and POV of a particular people,customs, and POV of a particular people,
religion, class, country, or community.religion, class, country, or community.
This theatre provides a window into aThis theatre provides a window into a
world that is different from their own or byworld that is different from their own or by
preserving the unique traditions of apreserving the unique traditions of a
particular society.particular society.
23. ““When you come into theWhen you come into the
theater, you have to be willing totheater, you have to be willing to
say, ‘We're all here to undergo asay, ‘We're all here to undergo a
communion, to find out what thecommunion, to find out what the
hell is going on in this world.’ Ifhell is going on in this world.’ If
you're not willing to say that,you're not willing to say that,
what you get is entertainmentwhat you get is entertainment
instead of art, and poorinstead of art, and poor
entertainment at that.entertainment at that.
David Mamet,David Mamet, Three UsesThree Uses
of the Knifeof the Knife
Art and EntertainmentArt and EntertainmentPhotocourtesyofKarenBerman
24. Art and EntertainmentArt and Entertainment
Lets us see another’sLets us see another’s
POVPOV
Requires active viewingRequires active viewing
Is about self-examinationIs about self-examination
Has great potential as anHas great potential as an
agent of social changeagent of social change
Challenges the audienceChallenges the audience
Is about edification,Is about edification,
transcendence,transcendence,
contemplationcontemplation
Does not compromise forDoes not compromise for
public tastepublic taste
Reaffirms our own POVReaffirms our own POV
Is directed toward theIs directed toward the
largest possible numberlargest possible number
Makes no intellectualMakes no intellectual
demands on the viewerdemands on the viewer
May examine life butMay examine life but
does not lead to criticismdoes not lead to criticism
Has little potential as anHas little potential as an
agent of social changeagent of social change
Is about gratification,Is about gratification,
indulgence, escapeindulgence, escape
25. Curtain CallCurtain Call
We need art and theatre because they help usWe need art and theatre because they help us see lifesee life
differently.differently. Entertainment allows us to see life asEntertainment allows us to see life as we seewe see
it, with our values and perceptionsit, with our values and perceptions intact.intact.
Art, on the other hand, allows us to expand ourArt, on the other hand, allows us to expand our
experience, intensify our perceptions, challengeexperience, intensify our perceptions, challenge
conventional wisdom, and introduce another frame ofconventional wisdom, and introduce another frame of
reference—that of the artist.reference—that of the artist.