This project is a result of spending 20 hours discussing the purpose of aesthetics in a work of art, its importance by the tasteful understanding or by reading its social, political, apolitical, cultural, secular, non-secular, congruous or incongruous adaptations. Several of such matters were questioned and brought forward. Understanding a work of art with the critical eye, how and whether a work of art carries a purpose in the everyday life of the pedestrian, art enthusiast, and connoisseur brought up the question: What might that purpose be?
The syllabus played a central role in being organic and relying on students needs in their understanding of arts and aesthetics. Based on that, several topics were tackled as we took a step away from collegiate readings, and focused on one main dialogue that occurred between Arthur C. Danto and Michael Seel and what they determined to be the END OF ART, and its INFINITE counterpart – The concept of appearance and its new aesthetic understandings. The course was concluded with a brief read into Roland Barthes EMPIRE OF SIGNS, in determining a system of emptiness, and it is with Barthes was nothingness and emptiness a central theme defined through a cultural understanding of Japan, an imaginary land, far far away seen through an act or an object – the visual and conceptual understanding, without the knowing of a statement or spoken language, and removing the work of art from its aesthetic origins.
The term, POP-UP AESTHETICS was coined by James Allan Douglas, a student and critical thinker of aesthetic understanding, and it was agreed on by classmates and peers Christine Douglas, Martina Crescenti, and Denisse Barky (Denisse will not be taking part in this workbook). Their views varied with the different perspectives sought. Please read on to discover the meaning behind Pop-Up Aesthetics.
Please read on to discover the meaning behind Pop-Up Aesthetics.
Download here: POP-UP Aesthetics.