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| are sensory immediate noniferential that are then refined by sustained contemplation (Not by extraphenomenal factors) |
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| are part of both the artwork and art appreciation/theory/interpretation |
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| aesthetic is sensitive cognition |
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| it is the free play within the sensus communis, of the creative imagination and of understanding |
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| criteria of encounters and judgements |
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| order,harmony, balance, evocation |
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| the design or intention of a creator of a work is neither available nor desirable as a standard for determining the success of an artwork. It is a fallacy to try to rely on artist-intention |
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| intentionality,purposiveness,framing |
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| beauty,power,sacred,absolute |
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| connections to culture thorugh |
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| metaphor,allegory, and narrative |
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| order, harmony, proportion, moderation |
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| in which the creative imagination, seen asa character trait of the "genius" the original artist, is the inherent impetus for artful creation- cultural moment, characterized by a local value system |
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| artworks and thus the art framing them are only possible within the context of their cultural moment, characterized by a local value system |
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| - presupposes a connection among various “levels” of reality and experience (i.e. the artwork imitates something” – this connectivity is the “truth” of things; this is a VERTICAL sense of the world, privileging skill and technoque (techne) in copying or re-producing elements (seen or unseen) of the world; this is its frame |
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| presupposes no such connection; it privileges creativity as such, claiming that the “artwork” emanates from a creative imagination but is no longer connected to it; it is not imitative but autonomous |
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