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The individual changes effected through transformative arts are commonly cognitive and emotional. This results from the way participation in a creative process and pursuit of an artistic practice can promote a critical re-evaluation of previously held beliefs , accompanied by unfamiliar feelings , which alters perception of the world, oneself ...
That is why these theories are so crucial to people's social and educational life. Such a change in emphasis does not imply, though, that the individual art object has lost significance; far from it, its primacy is clarified: one recognizes an object as the primary site for the dialectical processes of experience, as the unifying occasion for ...
Emotions are momentary states and differ in intensity depending on the person. Each emotion elicits a different response. Surprise completely wipes the brain and body of any other thoughts or functions because everything is focused on the possibility of danger. Interest ties in with curiosity and humans are a curious species.
The philosophy of art specifically studies how artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize art. Aesthetics considers why people like some works of art and not others, as well as how art can affect our moods and our beliefs. [5] Both aesthetics and the philosophy of art try to find answers ...
Bohemianism is a social and cultural movement that has, at its core, a way of life away from society's conventional norms and expectations. The term originates from the French bohème and spread to the English-speaking world. It was used to describe mid-19th-century non-traditional lifestyles, especially of artists, writers, journalists ...
These practices must themselves be put into dialogue with broad international artistic tendencies towards social engagement and the social sciences, evident, for instance, in the work of Stephen Willats and Hans Haacke, exhibitions such as Art into Society, Society into Art (Institute of Contemporary Art, London, 1974), and the intellectual ...
Most people did not consider the depiction of a store-bought urinal or Brillo Box to be art until Marcel Duchamp and Andy Warhol (respectively) placed them in the context of art (i.e., the art gallery), which then provided the association of these objects with the associations that define art.
In implicit evaluation, people reacted more positively to the figurative art, where they could at least make out the shapes. In terms of explicit evaluation, when people had to think about the art, there was no real difference in judgement between abstract and representational art. [33]