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Aesthetics (also spelled æsthetics) is a branch of philosophy dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty.[1][2] It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste.[3] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."[4][5]
More specific aesthetic theory, often with practical implications, relating to a particular branch of the arts is divided into areas of aesthetics such as art theory, literary theory, film theory and music theory.
The word aesthetic is derived from the Greek αἰσθητικός (aisthetikos, meaning "esthetic, sensitive, sentient"), which in turn was derived from αἰσθάνομαι (aisthanomai, meaning "I perceive, feel, sense").[6] The term "aesthetics" was appropriated and coined with new meaning in the German form Æsthetik (modern spelling Ästhetik) by Alexander Baumgarten in 1734.
History of aesthetics[edit]
Ancient aesthetics[edit]
Any aesthetic doctrines that guided the production and interpretation of prehistoric art are mostly unknown. Ancient art was largely, but not entirely, based on the nine great ancient civilizations: Egypt, Mesopotamia, Persia, Greece, China, Rome, India, the Celtic peoples, and Maya. Each of these centers of early civilization developed a unique and characteristic style in its art. Greece had the most influence on the development of aesthetics in the West. This period of Greek art saw a veneration of the human physical form and the development of corresponding skills to show musculature, poise, beauty and anatomically correct proportions. Furthermore, in many Western and Eastern cultures alike, traits such as body hair are rarely depicted in art that addresses physical beauty.[citation needed] In contrast with this Greek-Western aesthetic taste is the genre of the grotesque.[7]
Greek philosophers initially felt that aesthetically appealing objects were beautiful in and of themselves. Plato believed that for us to have a perception of beauty there must be a transcendent form for beauty in which beautiful objects partake and which causes them to be beautiful also. He felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the Metaphysics, Aristotle found that the universal elements of beauty were order, symmetry, and definiteness. An example of ancient aesthetics in Greece through poetry is Plato's quote: "For the authors of those great poems which we admire, do not attain to excellence through the rules of any art; but they utter their beautiful melodies of verse in a state of inspiration, and, as it were, possessed by a spirit not their own."[8]
Indian aesthetics[edit]
Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. According to Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature (kāvya), music, and dancing evolved their own rules conditioned by their respective media, but they shared with one another not only the underlying spiritual beliefs of the Indian religio-philosophic mind, but also the procedures by which the relationships of the symbol and the spiritual states were worked out in detail."
In the Pan Indian philosophic thought the term 'Satyam Shivam Sundaram' is another name for the concept of the Supreme. 'Sat' is the truth value, 'Shiv' is the good value & 'Sundaram' is the beauty value. Man through his 'Srabana' or education, 'Manana' or experience and conceptualization and 'Sadhana' or practice, through different stages of life (Ashramas) comes to form and realize the idea of these three values to develop a value system. This Value-system helps us to develop two basic ideas 1) that of 'Daksha' or the adept/expert and 2) of Mahana/Parama or the Absolute and thus to judge anything in this universe in the light of these two measures, known as 'Adarsha'. A person who has mastered great amounts of knowledge of the grammars, rules, & language of an art-form are adepts (Daksha), whereas those who have worked through the whole system and journeyed ahead of these to become a law unto themselves is called a Mahana. Individuals idea of 'Daksha' and 'Mahana' is relative to one's development of the concept of 'Satyam-Shivam-Sundaram.' For example, Tagore's idea of these two concepts should be way above any common man's and many perceive Tagore as a 'Mahana' Artist in the realm of literature. This concept of Satyam-Shivam-Sundaram, a kind of Value Theory is the cornerstone of Indian Aesthetics.
Of particular concern to Indian drama and literature are the term 'Bhava' or the state of mind and rasa referring generally to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya or one with positive taste and mind. Poets like Kālidāsa were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in contemporary India the term rasa denoting "flavor" or "essence" is used colloquially to describe the aesthetic experiences in films; "māsala mix" describes popular Hindi cinema films which serve a so-called balanced emotional meal for the masses, savored as rasa by these spectators.
Rasa theory blossoms beginning with the Sanskrit text Nātyashāstra (nātya meaning "drama" and shāstra meaning "science of"), a work attributed to Bharata Muni where the Gods declare that drama is the 'Fifth Veda' because it is suitable for the degenerate age as the best form of religious instruction. While the date of composition varies wildly among scholars, ranging from the era of Plato and Aristotle to the seventh century CE. The Nātyashāstra presents the aesthetic concepts of rasas and their associated bhāvas in Chapters Six and Seven respectively, which appear to be independent of the work as a whole. Eight rasas and associated bhāvas are named and their enjoyment is likened to savoring a meal: rasa is the enjoyment of flavors that arise from the proper preparation of ingredients and the quality of ingredients. What rasa actually is, in a theoretical sense, is not discussed and given the Nātyashāstra's pithy wording it is unlikely the exact understanding of the original author(s) will be known.
The theory of the rasas develops significantly with the Kashmiri aesthetician Ãndandavardhana's classic on poetics, the Dhvanyāloka which introduces the ninth rasa, shānta-rasa as a specifically religious feeling of peace (śānta) which arises from its bhāva, weariness of the pleasures of the world. The primary purpose of this text is to refine the literary concept dhvani or poetic suggestion, by arguing for the existence of rasa-dhvani, primarily in forms of Sanskrit including a word, sentence or whole work "suggests" a real-world emotional state or bhāva, but thanks to aesthetic distance, the sensitive spectator relishes the rasa, the aesthetic flavor of tragedy, heroism or romance.
The 9th - 10th century master of the religious system known as "the nondual Shaivism of Kashmir" (or "Kashmir Shaivism") and aesthetician, Abhinavagupta brought rasa theory to its pinnacle in his separate commentaries on the Dhvanyāloka, the Dhvanyāloka-locana (translated by Ingalls, Masson and Patwardhan, 1992) and the Abhinavabharati, his commentary on the Nātyashāstra, portions of which are translated by Gnoli and Masson and Patwardhan. Abhinavagupta offers for the first time a technical definition of rasa which is the universal bliss of the Self or Atman colored by the emotional tone of a drama. Shānta-rasa functions as an equal member of the set of rasas but is simultaneously distinct being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis.
Chinese aesthetics[edit]
Chinese art has a long history of varied styles and emphases. Confucius emphasized the role of the arts and humanities (especially music and poetry) in broadening human nature and aiding li (etiquette, the rites) in bringing us back to what is essential about humanity. His opponent Mozi, however, argued that music and fine arts were classist and wasteful, benefiting the rich over the poor.
By the 4th century AD artists had started debating in writing over the proper goals of art as well. Gu Kaizhi has left three surviving books on the theory of painting. Several later artists or scholars both created art and wrote about the creation of it. Religious and philosophical influences on art were common (and diverse) but never universal.
African aesthetics[edit]
African art existed in many forms and styles, and with fairly little influence from outside Africa. Most of it followed traditional forms and the aesthetic norms were handed down orally as well as written. Sculpture and performance art are prominent, and abstract and partially abstracted forms are valued, and were valued long before influence from the Western tradition began in earnest. The Nok culture is testimony to this. The mosque of Timbuktu shows that specific areas of Africa developed unique aesthetics.
Islamic aesthetics[edit]
Islamic art does not pertain to religion only. The term "Islamic" refers not only to the religion, but to any form of art created in an Islamic culture or in an Islamic context. Not all Muslims are in agreement on the use of art in religious observance, the proper place of art in society, or the relation between secular art and the demands placed on the secular world to conform to religious precepts. Islamic art frequently adopts secular elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.[9]
According to Islam, human works of art are inherently flawed compared to the work of God[citation needed]; thus, it is believed by many[who said this?] that attempting to realistically depict the form of an animal or person is insolence to God.[citation needed] This tendency affected the narrowing field of artistic possibility to such forms of art as Arabesque, mosaic, Islamic calligraphy, and Islamic architecture, as well as any form of abstraction that can claim the status of non-representational art.
Limited possibilities have been explored by artists as an outlet to artistic expression, and has been cultivated to become a positive style and tradition, emphasizing the decorative function of art, or its religious functions via non-representational forms such as Geometric patterns, floral patterns, and arabesques.
Human or animal depiction is generally forbidden.[citation needed] Muslims believe these depictions lead to sculptural pieces,[citation needed] which then leads to worship of that sculpture or "idol". Human portrayals can be found in early Islamic cultures with varying degrees of acceptance by religious authorities. Human representation for the purpose of worship is uniformly considered idolatry as forbidden in Sharia law.[10][11]
The calligraphic arts grew out of an effort to devote oneself to the study of the Quran. By patiently transcribing each word of the text, the writer was made to contemplate the meaning of it. As time passed, these calligraphic works began to be prized as works of art, growing increasingly elaborate in the illumination and stylizing of the text. These illuminations were applied to other works besides the Quran, and it became a respected art form in and of itself.
Western medieval aesthetics[edit]
Surviving medieval art is primarily religious in focus and funded largely by the State, Roman Catholic or Orthodox church, powerful ecclesiastical individuals, or wealthy secular patrons. These art pieces often served a liturgical function, whether as chalices or even as church buildings themselves. Objects of fine art from this period were frequently made from rare and valuable materials, such as gold and lapis, the cost of which commonly exceeded the wages of the artist.
Medieval aesthetics in the realm of philosophy built upon Classical thought, continuing the practice of Plotinus by employing theological terminology in its explications. St. Bonaventure's "Retracing the Arts to Theology", a primary example of this method, discusses the skills of the artisan as gifts given by God for the purpose of disclosing God to mankind, which purpose is achieved through four lights: the light of skill in mechanical arts which discloses the world of artifacts; which light is guided by the light of sense perception which discloses the world of natural forms; which light, consequently, is guided by the light of philosophy which discloses the world of intellectual truth; finally, this light is guided by the light of divine wisdom which discloses the world of saving truth.
Saint Thomas Aquinas's aesthetic is probably the most famous and influential theory among medieval authors, having been the subject of much scrutiny in the wake of the neo-Scholastic revival of the late 19th and early 20th centuries and even having received the approbation of the celebrated Modernist writer, James Joyce. Thomas, like many other medievals, never gives a systematic account of beauty itself, but several scholars have conventionally arranged his thought—though not always with uniform conclusions—using relevant observations spanning the entire corpus of his work. While Aquinas's theory follows generally the model of Aristotle, he develops a singular aesthetics which incorporates elements unique to his thought. Umberto Eco's The Aesthetics of Thomas Aquinas identifies the three main characteristics of beauty in Aquinas's philosophy: integritas sive perfectio, consonantia sive debita proportio, and claritas sive splendor formae. While Aristotle likewise identifies the first two characteristics, St. Thomas conceives of the third as an appropriation from principles developed by neo-Platonic and Augustinian thinkers.
With the shift from the Middle Ages to the Renaissance, art likewise changed its focus, as much in its content as in its mode of expression.
Modern aesthetics[edit]
From the late 17th to the early 20th century Western aesthetics underwent a slow revolution into what is often called modernism. German and British thinkers emphasised beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty.
For Alexander Gottlieb Baumgarten aesthetics is the science of the sense experiences, a younger sister of logic, and beauty is thus the most perfect kind of knowledge that sense experience can have. For Immanuel Kant the aesthetic experience of beauty is a judgment of a subjective but similar human truth, since all people should agree that "this rose is beautiful" if it in fact is. However, beauty cannot be reduced to any more basic set of features. For Friedrich Schiller aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature.
For Friedrich Wilhelm Joseph Schelling, the philosophy of art is the "organon" of philosophy concerning the relation between man and nature. So aesthetics began now to be the name for the philosophy of art. Friedrich von Schlegel, August Wilhelm Schlegel, Friedrich Schleiermacher and Georg Wilhelm Friedrich Hegel have also given lectures on aesthetics as philosophy of art after 1800.
For Hegel all culture is a matter of "absolute spirit" coming to be manifest to itself, stage by stage, changing to a perfection that only philosophy can approach. Art is the first stage in which the absolute spirit is manifest immediately to sense-perception, and is thus an objective rather than subjective revelation of beauty.
For Arthur Schopenhauer aesthetic contemplation of beauty is the most free that the pure intellect can be from the dictates of will; here we contemplate perfection of form without any kind of worldly agenda, and thus any intrusion of utility or politics would ruin the point of the beauty. It is thus for Schopenhauer one way to fight the suffering.
The British were largely divided into intuitionist and analytic camps. The intuitionists believed that aesthetic experience was disclosed by a single mental faculty of some kind. For Anthony Ashley-Cooper, 3rd Earl of Shaftesbury this was identical to the moral sense, beauty just is the sensory version of moral goodness. For Ludwig Wittgenstein aesthetics consisted in the description of a whole culture which is a linguistic impossibility. That which constitutes aesthetics lies out side the realm of the language game.
For Oscar Wilde the contemplation of beauty for beauty's sake, augmented by John Ruskin's search for moral grounding, was not only the foundation for much of his literary career but was quoted as saying "Aestheticism is a search after the signs of the beautiful. It is the science of the beautiful through which men seek the correlation of the arts. It is, to speak more exactly, the search after the secret of life.".[12]
Wilde famously toured the United States in 1882. He travelled across the United States spreading the idea of Aesthetics in a speech called "The English Renaissance." In his speech he proposed that Beauty and Aesthetics was "not languid but energetic. By beautifying the outward aspects of life, one would beautify the inner ones." The English Renaissance was, he said, "like the Italian Renaissance before it, a sort of rebirth of the spirit of man".[13]
For Francis Hutcheson beauty is disclosed by an inner mental sense, but is a subjective fact rather than an objective one. Analytic theorists like Henry Home, Lord Kames, William Hogarth, and Edmund Burke hoped to reduce beauty to some list of attributes. Hogarth, for example, thinks that beauty consists of (1) fitness of the parts to some design; (2) variety in as many ways as possible; (3) uniformity, regularity or symmetry, which is only beautiful when it helps to preserve the character of fitness; (4) simplicity or distinctness, which gives pleasure not in itself, but through its enabling the eye to enjoy variety with ease; (5) intricacy, which provides employment for our active energies, leading the eye on "a wanton kind of chase"; and (6) quantity or magnitude, which draws our attention and produces admiration and awe. Later analytic aestheticians strove to link beauty to some scientific theory of psychology (such as James Mill) or biology (such as Herbert Spencer).
Post-modern aesthetics and psychoanalysis[edit]
Early-twentieth-century artists, poets and composers challenged existing notions of beauty, broadening the scope of art and aesthetics. In 1941, Eli Siegel, American philosopher and poet, founded Aesthetic Realism, the philosophy that reality itself is aesthetic, and that "The world, art, and self explain each other: each is the aesthetic oneness of opposites."[14][15]
Various attempts have been made to define Post-modern aesthetics. The challenge to the assumption that beauty was central to art and aesthetics, thought to be original, is actually continuous with older aesthetic theory; Aristotle was the first in the Western tradition to classify "beauty" into types as in his theory of drama, and Kant made a distinction between beauty and the sublime. What was new was a refusal to credit the higher status of certain types, where the taxonomy implied a preference for tragedy and the sublime to comedy and the Rococo.
Croce suggested that "expression" is central in the way that beauty was once thought to be central. George Dickie suggested that the sociological institutions of the art world were the glue binding art and sensibility into unities.[16] Marshall McLuhan suggested that art always functions as a "counter-environment" designed to make visible what is usually invisible about a society.[page needed] Theodor Adorno felt that aesthetics could not proceed without confronting the role of the culture industry in the commodification of art and aesthetic experience. Hal Foster attempted to portray the reaction against beauty and Modernist art in The Anti-Aesthetic: Essays on Postmodern Culture. Arthur Danto has described this reaction as "kalliphobia" (after the Greek word for beauty - 'kalos').[17] André Malraux explains that the notion of beauty was connected to a particular conception of art that arose with the Renaissance and was still dominant in the eighteenth century (but was supplanted later). The discipline of aesthetics, which originated in the eighteenth century, mistook this transient state of affairs for a revelation of the permanent nature of art.[18] Brian Massumi suggests to reconsider beauty following the aesthetical thought in the philosophy of Deleuze and Guattari.[19]
Daniel Berlyne created the field of experimental aesthetics in the 1970s, for which he is still the most cited individual decades after his death.[20]
Pneumaist aestheticism is a theory of art and a highly experimental approach to art negating historical preconceptions of the aesthetic.
Jean-François Lyotard re-invokes the Kantian distinction between taste and the sublime. Sublime painting, unlike kitsch realism, "... will enable us to see only by making it impossible to see; it will please only by causing pain."[21][22]
Sigmund Freud inaugurated aesthetical thinking in Psychoanalysis mainly via the "Uncanny" as aesthetical affect.[23] Following Freud and Merleau-Ponty,[24] Jacques Lacan theorized aesthetics in terms of sublimation and the Thing[25]
Guy Sircello pioneered efforts in analytic philosophy to develop a rigorous theory of aesthetics, focusing on the concepts of beauty,[26] love[27] and sublimity.[28] In contrast to romantic theorists Sircello argued for the objectivity of beauty and formulated a theory of love on that basis.
Evolutionary aesthetics[edit]
Evolutionary aesthetics refers to evolutionary psychology theories in which the basic aesthetic preferences of Homo sapiens are argued to have evolved in order to enhance survival and reproductive success. One example being that humans are argued to find beautiful and prefer landscapes which were good habitats in the ancestral environment. Another example is that body symmetry is an important aspect of physical attractiveness which may be due to this indicating good health during body growth. Evolutionary explanations for aesthetical preferences are important parts of evolutionary musicology, Darwinian literary studies, and the study of the evolution of emotion.
Aesthetics and information[edit]
In the 1970s, Abraham Moles and Frieder Nake were among the first to analyze links between aesthetics, information processing, and information theory.[29][30]
In the 1990s, Jürgen Schmidhuber described an algorithmic theory of beauty which takes the subjectivity of the observer into account and postulates: among several observations classified as comparable by a given subjective observer, the aesthetically most pleasing one is the one with the shortest description, given the observer's previous knowledge and his particular method for encoding the data.[31][32] This is closely related to the principles of algorithmic information theory and minimum description length. One of his examples: mathematicians enjoy simple proofs with a short description in their formal language. Another very concrete example describes an aesthetically pleasing human face whose proportions can be described by very few bits of information,[33][34] drawing inspiration from less detailed 15th century proportion studies by Leonardo da Vinci and Albrecht Dürer. Schmidhuber's theory explicitly distinguishes between what's beautiful and what's interesting, stating that interestingness corresponds to the first derivative of subjectively perceived beauty. Here the premise is that any observer continually tries to improve the predictability and compressibility of the observations by discovering regularities such as repetitions and symmetries and fractal self-similarity. Whenever the observer's learning process (which may be a predictive neural network - see also Neuroesthetics) leads to improved data compression such that the observation sequence can be described by fewer bits than before, the temporary interestingness of the data corresponds to the number of saved bits. This compression progress is proportional to the observer's internal reward, also called curiosity reward. A reinforcement learning algorithm is used to maximize future expected reward by learning to execute action sequences that cause additional interesting input data with yet unknown but learnable predictability or regularity. The principles can be implemented on artificial agents which then exhibit a form of artificial curiosity.[35][36][37][38]
Applied aesthetics[edit]
As well as being applied to art, aesthetics can also be applied to cultural objects such as crucifix or tools. Aesthetic coupling between art-objects and medical topics was made by speakers working for the US Information Agency[39] This coupling was made to reinforce the learning paradigm when English-language speakers used translators to address audiences in their own country. These audiences were generally not fluent in the English language. It can also be used in topics as diverse as mathematics, gastronomy, fashion and website design.[40][41][42]
Aesthetic ethics[edit]
Aesthetic ethics refers to the idea that human conduct and behaviour ought to be governed by that which is beautiful and attractive. John Dewey[43] has pointed out that the unity of aesthetics and ethics is in fact reflected in our understanding of behaviour being "fair" - the word having a double meaning of attractive and morally acceptable. More recently, James Page[44] has suggested that aesthetic ethics might be taken to form a philosophical rationale for peace education.
Truth as beauty, mathematics, analytic philosophy, and physics[edit]
Mathematical considerations, such as symmetry and complexity, are used for analysis in theoretical aesthetics. This is different from the aesthetic considerations of applied aesthetics used in the study of mathematical beauty. Aesthetic considerations such as symmetry and simplicity are used in areas of philosophy, such as ethics and theoretical physics and cosmology to define truth, outside of empirical considerations. Beauty and Truth have been argued to be nearly synonymous,[45] as reflected in the statement "Beauty is truth, truth beauty" in the poem Ode on a Grecian Urn by John Keats. The fact that judgments of beauty and judgments of truth both are influenced by processing fluency, which is the ease with which information can be processed, has been presented as an explanation for why beauty is sometimes equated with truth.[46] Indeed, recent research found that people use beauty as an indication for truth in mathematical pattern tasks.[47]
Computational inference of aesthetics[edit]
Since about 2005, computer scientists have attempted to develop automated methods to infer aesthetic quality of images.[48][49][50][51] Typically, these approaches follow a machine learning approach, where large numbers of manually rated photographs are used to "teach" a computer about what visual properties are of relevance to aesthetic quality. The Acquine engine, developed at Penn State University, rates natural photographs uploaded by users.[52]
Notable in this area is Michael Leyton, professor of psychology at Rutgers University. Leyton is the president of the International Society for Mathematical and Computational Aesthetics and the International Society for Group Theory in Cognitive Science and has developed a generative theory of shape.
There have also been relatively successful attempts with regard to chess and music.[53] A relation between Max Bense's mathematical formulation of aesthetics in terms of "redundancy" and "complexity" and theories of musical anticipation was offered using the notion of Information Rate.[54]
Aesthetic judgment[edit]
Judgments of aesthetic value rely on our ability to discriminate at a sensory level. Aesthetics examines our affective domain response to an object or phenomenon. Immanuel Kant, writing in 1790, observes of a man "If he says that canary wine is agreeable he is quite content if someone else corrects his terms and reminds him to say instead: It is agreeable to me," because "Everyone has his own (sense of) taste". The case of "beauty" is different from mere "agreeableness" because, "If he proclaims something to be beautiful, then he requires the same liking from others; he then judges not just for himself but for everyone, and speaks of beauty as if it were a property of things."
Aesthetic judgments usually go beyond sensory discrimination. For David Hume, delicacy of taste is not merely "the ability to detect all the ingredients in a composition", but also our sensitivity "to pains as well as pleasures, which escape the rest of mankind." (Essays Moral Political and Literary. Indianapolis, Literary Classics 5, 1987.) Thus, the sensory discrimination is linked to capacity for pleasure. For Kant "enjoyment" is the result when pleasure arises from sensation, but judging something to be "beautiful" has a third requirement: sensation must give rise to pleasure by engaging our capacities of reflective contemplation. Judgments of beauty are sensory, emotional and intellectual all at once.
Viewer interpretations of beauty possess two concepts of value: aesthetics and taste. Aesthetics is the philosophical notion of beauty. Taste is a result of an education process and awareness of elite cultural values learned through exposure to mass culture. Bourdieu examined how the elite in society define the aesthetic values like taste and how varying levels of exposure to these values can result in variations by class, cultural background, and education.[55] According to Kant, beauty is subjective and universal; thus certain things are beautiful to everyone.[56][citation needed] The contemporary view of beauty is not based on innate qualities, but rather on cultural specifics and individual interpretations.[citation needed]
Factors involved in aesthetic judgment[edit]
Judgments of aesthetical values seem often to involve many other kinds of issues as well. Responses such as disgust show that sensory detection is linked in instinctual ways to facial expressions, and even behaviors like the gag reflex. Yet disgust can often be a learned or cultural issue too; as Darwin pointed out, seeing a stripe of soup in a man's beard is disgusting even though neither soup nor beards are themselves disgusting. Aesthetic judgments may be linked to emotions or, like emotions, partially embodied in our physical reactions. Seeing a sublime view of a landscape may give us a reaction of awe, which might manifest physically as an increased heart rate or widened eyes. These unconscious reactions may even be partly constitutive of what makes our judgment a judgment that the landscape is sublime.
Likewise, aesthetic judgments may be culturally conditioned to some extent. Victorians in Britain often saw African sculpture as ugly, but just a few decades later, Edwardian audiences saw the same sculptures as being beautiful. Evaluations of beauty may well be linked to desirability, perhaps even to sexual desirability. Thus, judgments of aesthetic value can become linked to judgments of economic, political, or moral value.[57] In a current context, one might judge a Lamborghini to be beautiful partly because it is desirable as a status symbol, or we might judge it to be repulsive partly because it signifies for us over-consumption and offends our political or moral values.[58]
Aesthetic judgments can often be very fine-grained and internally contradictory. Likewise aesthetic judgments seem often to be at least partly intellectual and interpretative. It is what a thing means or symbolizes for us that is often what we are judging. Modern aestheticians have asserted that will and desire were almost dormant in aesthetic experience, yet preference and choice have seemed important aesthetics to some 20th-century thinkers. The point is already made by Hume, but see Mary Mothersill, "Beauty and the Critic's Judgment", in The Blackwell Guide to Aesthetics, 2004. Thus aesthetic judgments might be seen to be based on the senses, emotions, intellectual opinions, will, desires, culture, preferences, values, subconscious behavior, conscious decision, training, instinct, sociological institutions, or some complex combination of these, depending on exactly which theory one employs.
Are different art forms beautiful, disgusting, or boring in the same way?[edit]
A third major topic in the study of aesthetic judgments is how they are unified across art forms. We can call a person, a house, a symphony, a fragrance, and a mathematical proof beautiful. What characteristics do they share which give them that status? What possible feature could a proof and a fragrance both share in virtue of which they both count as beautiful? What makes a painting beautiful is quite different from what makes music beautiful, which suggests that each art form has its own language for the judgement of aesthetics.[59]
At the same time, there is seemingly quite a lack of words to express oneself accurately when making an aesthetic judgment. An aesthetic judgment cannot be an empirical judgement. Therefore, due to impossibility for precision, there is confusion about what interpretations can be culturally negotiated. Due to imprecision in the standard English language, two completely different feelings experienced by two different people can be represented by an identical verbal expression. Wittgenstein stated this in his lectures on aesthetics and language games.
A collective identification of beauty, with willing participants in a given social spectrum, may be a socially negotiated phenomenon, discussed in a culture or context. Is there some underlying unity to aesthetic judgment and is there some way to articulate the similarities of a beautiful house, beautiful proof, and beautiful sunset?[60] Defining it requires a description of the entire phenomenon, as Wittgenstein argued in his lectures on aesthetics. Likewise there has been long debate on how perception of beauty in the natural world, especially perception of the human form as beautiful, is supposed to relate to perceiving beauty in art or artefacts. This goes back at least to Kant, with some echoes even in St. Bonaventure.[citation needed]
Aesthetics and the philosophy of art[edit]
Aesthetics is for the artist as Ornithology is for the birds.
For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.
Philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an autonomous entity for philosophy, because art deals with the senses (i. e. the etymology of aesthetics) and art is as such free of any moral or political purpose. Hence, there are two different conceptions of art in aesthetics : art as knowledge or art as action, but aesthetics is neither epistemology nor ethics.[63]
What is "art"?[edit]
How best to define the term "art" is a subject of constant contention; many books and journal articles have been published arguing over even the basics of what we mean by the term "art".[64] Theodor Adorno claimed in 1969 "It is self-evident that nothing concerning art is self-evident."[65][66] Artists, philosophers, anthropologists, psychologists and programmers all use the notion of art in their respective fields, and give it operational definitions that vary considerably. Furthermore, it is clear that even the basic meaning of the term "art" has changed several times over the centuries, and has continued to evolve during the 20th century as well.
The main recent sense of the word "art" is roughly as an abbreviation for creative art or "fine art." Here we mean that skill is being used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of the "finer" things. Often, if the skill is being used in a functional object, people will consider it a craft instead of art, a suggestion which is highly disputed by many Contemporary Craft thinkers. Likewise, if the skill is being used in a commercial or industrial way it may be considered design instead of art, or contrariwise these may be defended as art forms, perhaps called applied art. Some thinkers, for instance, have argued that the difference between fine art and applied art has more to do with the actual function of the object than any clear definitional difference.[67] Art usually implies no function other than to convey or communicate an idea.
Even as late as 1912 it was normal in the West to assume that all art aims at beauty, and thus that anything that wasn't trying to be beautiful couldn't count as art. The cubists, dadaists, Stravinsky, and many later art movements struggled against this conception that beauty was central to the definition of art, with such success that, according to Danto, "Beauty had disappeared not only from the advanced art of the 1960's but from the advanced philosophy of art of that decade as well."[65] Perhaps some notion like "expression" (in Croce's theories) or "counter-environment" (in McLuhan's theory) can replace the previous role of beauty. Brian Massumi brought back "beauty" into consideration together with "expression".[68] Another view, as important to the philosophy of art as "beauty," is that of the "sublime," elaborated upon in the twentieth century by the postmodern philosopher Jean-François Lyotard. A further approach, elaborated by André Malraux in works such as The Voices of Silence, is that art is fundamentally a response to a metaphysical question ('Art', he writes, 'is an 'anti-destiny'). Malraux argues that, while art has sometimes been oriented towards beauty and the sublime (principally in post-Renaissance European art) these qualities, as the wider history of art demonstrates, are by no means essential to it.[69]
Perhaps (as in Kennick's theory) no definition of art is possible anymore. Perhaps art should be thought of as a cluster of related concepts in a Wittgensteinian fashion (as in Weitz or Beuys). Another approach is to say that "art" is basically a sociological category, that whatever art schools and museums and artists define as art is considered art regardless of formal definitions. This "institutional definition of art" (see also Institutional Critique) has been championed by George Dickie. Most people did not consider the depiction of a Brillo Box or a store-bought urinal to be art until Andy Warhol and Marcel Duchamp (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.
Proceduralists often suggest that it is the process by which a work of art is created or viewed that makes it art, not any inherent feature of an object, or how well received it is by the institutions of the art world after its introduction to society at large. If a poet writes down several lines, intending them as a poem, the very procedure by which it is written makes it a poem. Whereas if a journalist writes exactly the same set of words, intending them as shorthand notes to help him write a longer article later, these would not be a poem. Leo Tolstoy, on the other hand, claims that what decides whether or not something is art is how it is experienced by its audience, not by the intention of its creator. Functionalists like Monroe Beardsley argue that whether or not a piece counts as art depends on what function it plays in a particular context; the same Greek vase may play a non-artistic function in one context (carrying wine), and an artistic function in another context (helping us to appreciate the beauty of the human figure). '
What should we judge when we judge art?[edit]
Art can be difficult at the metaphysical and ontological levels as well as at the value theory level. When we see a performance of Hamlet, how many works of art are we experiencing, and which should we judge? Perhaps there is only one relevant work of art, the whole performance, which many different people have contributed to, and which will exist briefly and then disappear. Perhaps the manuscript by Shakespeare is a distinct work of art from the play by the troupe, which is also distinct from the performance of the play by this troupe on this night, and all three can be judged, but are to be judged by different standards.
Perhaps every person involved should be judged separately on his or her own merits, and each costume or line is its own work of art (with perhaps the director having the job of unifying them all). Similar problems arise for music, film, dance, and even painting. Is one to judge the painting itself, the work of the painter, or perhaps the painting in its context of presentation by the museum workers?
These problems have been made even more difficult by the rise of conceptual art since the 1960s. Warhol's famous Brillo Boxes are nearly indistinguishable from actual Brillo boxes at the time. It would be a mistake to praise Warhol for the design of his boxes (which were designed by Steve Harvey), yet the conceptual move of exhibiting these boxes as art in a museum together with other kinds of paintings is Warhol's. Are we judging Warhol's concept? His execution of the concept in the medium? The curator's insight in letting Warhol display the boxes? The overall result? Our experience or interpretation of the result? Ontologically, how are we to think of the work of art? Is it a physical object? Several objects? A class of objects? A mental object? A fictional object? An abstract object? An event? Or simply an Act?
What should art be like?[edit]
Many goals have been argued for art, and aestheticians often argue that some goal or another is superior in some way. Clement Greenberg, for instance, argued in 1960 that each artistic medium should seek that which makes it unique among the possible mediums and then purify itself of anything other than expression of its own uniqueness as a form.[70] The Dadaist Tristan Tzara on the other hand saw the function of art in 1918 as the destruction of a mad social order. "We must sweep and clean. Affirm the cleanliness of the individual after the state of madness, aggressive complete madness of a world abandoned to the hands of bandits."[71] Formal goals, creative goals, self-expression, political goals, spiritual goals, philosophical goals, and even more perceptual or aesthetic goals have all been popular pictures of what art should be like.
The value of art[edit]
Tolstoy defined art (and by no coincidence also characterized its value) as the following: "Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them."
The value of art, then, is one with the value of empathy.
This section may contain original research. (December 2012) |
Other possible views are these: Art can act as a means to some special kind of knowledge. Art may give insight into the human condition. Art relates to science and religion. Art serves as a tool of education, or indoctrination, or enculturation. Art makes us more moral. It uplifts us spiritually. Art is politics by other means. Art has the value of allowing catharsis. In any case, the value of art may determine the suitability of an art form. Do they differ significantly in their values, or (if not) in their ability to achieve the unitary value of art?
But to approach the question of the value of art systematically, one ought to ask: for whom? For the artist? For the audience? For society at large, and/or for individuals beyond the audience? Is the "value" of art different in each of these different contexts?
Working on the intended value of art tends to help define the relations between art and other acts. Art clearly does have spiritual goals in many contexts, but what exactly is the difference between religious art and religion per se? The truth is complex; art is both useless in a functional sense, and also the most important human activity.[citation needed]
An argument for the value of art, used in the fictional work The Hitchhikers Guide to the Galaxy, proceeds that, if some external force presenting imminent destruction of Earth asked humanity what its value was—what should humanity's response be? The argument continues that the only justification humanity could give for its continued existence would be the past creation and continued creation of things like a Shakespeare play, a Rembrandt painting or a Bach concerto. The suggestion is that these are the things of value which define humanity.[72] Whatever one might think of this claim - and it does seem to undervalue the many other achievements of which human beings have shown themselves capable, both individually and collectively - it is true that art appears to possess a special capacity to endure ("live on") beyond the moment of its birth, in many cases for centuries or millennia. This capacity of art to endure over time - what precisely it is and how it operates - has been widely neglected in modern aesthetics.[73]
Aesthetic universals[edit]
The philosopher Denis Dutton identified six universal signatures in human aesthetics:[74]
- Expertise or virtuosity. Humans cultivate, recognize, and admire technical artistic skills.
- Nonutilitarian pleasure. People enjoy art for art's sake, and don't demand that it keep them warm or put food on the table.
- Style. Artistic objects and performances satisfy rules of composition that place them in a recognizable style.
- Criticism. People make a point of judging, appreciating, and interpreting works of art.
- Imitation. With a few important exceptions like abstract painting, works of art simulate experiences of the world.
- Special focus. Art is set aside from ordinary life and made a dramatic focus of experience.
It might be objected, however, that there are rather too many exceptions to Dutton's categories. For example, the installations of the contemporary artist Thomas Hirschhorn deliberately eschew technical virtuosity. People can appreciate a Renaissance Madonna for aesthetic reasons, but such objects often had (and sometimes still have) specific devotional functions. "Rules of composition" that might be read into Duchamp's Fountain or John Cage's 4′33″ do not locate the works in a recognizable style (or certainly not a style recognizable at the time of the works' realisation). Moreover, some of Dutton's categories seem too broad: a physicist might entertain hypothetical worlds in his/her imagination in the course of formulating a theory. Another problem is that Dutton's categories seek to universalise traditional European notions of aesthetics and art forgetting that, as André Malraux and others have pointed out, there have been large numbers of cultures in which such ideas (including the idea "art" itself) were non-existent.[75]
The philosophy of aesthetics as a practice has been criticized by some sociologists and writers of art and society. Raymond Williams argues that there is no unique and or individual aesthetic object which can be extrapolated from the art world, but that there is a continuum of cultural forms and experience of which ordinary speech and experiences may signal as art. By "art" we may frame several artistic "works" or "creations" as so though this reference remains within the institution or special event which creates it and this leaves some works or other possible "art" outside of the frame work, or other interpretations such as other phenomenon which may not be considered as "art". Pierre Bourdieu disagrees with Kant's idea of the "aesthetic". He argues that Kant's "aesthetic" merely represents an experience that is the product of an elevated class habitus and scholarly leisure as opposed to other possible and equally valid "aesthetic" experiences which lay outside Kant's narrow definition.
See also[edit]
- Art movement
- Formal analysis
- List of artistic media
- List of art movements
- 20th-century Western painting
- Western art history
- art periods
- ^ "Merriam-Webster.com". Retrieved August 21, 2012.
- ^ Definition 1 of aesthetics from the Merriam-Webster Dictionary Online.
- ^ Zangwill, Nick. "Aesthetic Judgment", Stanford Encyclopedia of Philosophy, 02-28-2003/10-22-2007. Retrieved 07-24-2008.
- ^ Kelly (1998) p. ix
- ^ Review by Tom Riedel (Regis University)
- ^ Definition of aesthetic from the Online Etymology Dictionary
- ^ Grotesque entry in Kelly 1998, pp. 338–341
- ^ Plato. Ion Or: On the Iliad
- ^ Davies, Penelope J.E. Denny, Walter B. Hofrichter, Frima Fox. Jacobs, Joseph. Roberts, Ann M. Simon, David L. Janson's History of Art, Prentice Hall; 2007, Upper Saddle River, New Jersey. Seventh Edition, ISBN 0-13-193455-4 pg. 277
- ^ The Arab Contribution to Islamic Art: From the Seventh to the Fifteenth Centuries, Wijdan Ali, American Univ in Cairo Press, 10 December 1999, ISBN 977-424-476-1
- ^ From the Literal to the Spiritual: The Development of the Prophet Muhammad's Portrayal from 13th century Ilkhanid Miniatures to 17th century Ottoman Art, Steve Mwai, EJOS (Electronic Journal of Oriental Studies), volume IV, issue 7, p. 1–24, 2001
- ^ "Oscar Wilde" by Richard Ellman p 122, pub Alfred A Knopf, INC. 1988
- ^ Ellman, p164
- ^ Green, Edward, "Donald Francis Tovey, Aesthetic Realism and the Need for a Philosophic Musicology," International Revue of the Aesthetics and Sociology of Music, 2005, p. 227. [1]
- ^ Siegel, Eli, "Is Beauty the Making One of Opposites?", Journal of Aesthetics & Art Criticism, 1955.[2]
- ^ "The Aesthetic Attitude".
- ^ 'Kalliphobia in Contemporary Art' in Art Journal v. 63 no. 2 (Summer 2004) p. 24–35
- ^ Derek Allan, Art and the Human Adventure, André Malraux's Theory of Art (Amsterdam: Rodopi, 2009)
- ^ Massumi, Brian, (ed.), A Shock to Thought. Expression after Deleuze and Guattari. London & NY: Routeledge, 2002. ISBN 0-415-23804-8
- ^ Daniel Berlyne (1924–1976): Biographical Analysis. http://www.psych.utoronto.ca/users/furedy/daniel_berlyne.htm
- ^ Lyotard, Jean-Françoise, What is Postmodernism?, in The Postmodern Condition, Minnesota and Manchester, 1984.
- ^ Lyotard, Jean-Françoise, Scriptures: Diffracted Traces, in Theory, Culture and Society, Volume 21, Number 1, 2004.
- ^ Freud, Sigmund, "The Uncanny" (1919). Standard Edition of the Complete Psychological Work of Sigmund Freud, 17:234-36. London: The Hogarth Press
- ^ Merleau-Ponty, Maurice (1964), "The Visible and the Invisible". Northwestern University Press. ISBN 0-8101-0457-1
- ^ Lacan, Jacques, The Ethics of Psychoanalysis (The Seminar of Jacques Lacan Book VII), NY: W. W. Norton & Company, 1992.
- ^ Guy Sircello, A New Theory of Beauty. Princeton Essays on the Arts, 1. Princeton, NJ: Princeton University Press, 1975.
- ^ Guy Sircello, Love and Beauty. Princeton, NJ: Princeton University Press, 1989.
- ^ Guy Sircello, "How Is a Theory of the Sublime Possible?" The Journal of Aesthetics and Art Criticism Vol. 51, No. 4 (Autumn, 1993), pp. 541–550
- ^ A. Moles: Théorie de l'information et perception esthétique, Paris, Denoël, 1973 (Information Theory and aesthetical perception)
- ^ F Nake (1974). Ästhetik als Informationsverarbeitung. (Aesthetics as information processing). Grundlagen und Anwendungen der Informatik im Bereich ästhetischer Produktion und Kritik. Springer, 1974, ISBN 3-211-81216-4, ISBN 978-3-211-81216-7
- ^ J. Schmidhuber. Low-complexity art. Leonardo, Journal of the International Society for the Arts, Sciences, and Technology, 30(2):97–103, 1997. http://www.jstor.org/pss/1576418
- ^ J. Schmidhuber. Papers on the theory of beauty and low-complexity art since 1994: http://www.idsia.ch/~juergen/beauty.html
- ^ J. Schmidhuber. Facial beauty and fractal geometry. Cogprint Archive: http://cogprints.soton.ac.uk , 1998
- ^ J. Schmidhuber. Simple Algorithmic Principles of Discovery, Subjective Beauty, Selective Attention, Curiosity & Creativity. Proc. 10th Intl. Conf. on Discovery Science (DS 2007) p. 26–38, LNAI 4755, Springer, 2007. Also in Proc. 18th Intl. Conf. on Algorithmic Learning Theory (ALT 2007) p. 32, LNAI 4754, Springer, 2007. Joint invited lecture for DS 2007 and ALT 2007, Sendai, Japan, 2007. arXiv:0709.0674
- ^ J. Schmidhuber. Curious model-building control systems. International Joint Conference on Neural Networks, Singapore, vol 2, 1458–1463. IEEE press, 1991
- ^ J. Schmidhuber. Papers on artificial curiosity since 1990: http://www.idsia.ch/~juergen/interest.html
- ^ J. Schmidhuber. Developmental robotics, optimal artificial curiosity, creativity, music, and the fine arts. Connection Science, 18(2):173–187, 2006
- ^ Schmidhuber's theory of beauty and curiosity in a German TV show: http://www.br-online.de/bayerisches-fernsehen/faszination-wissen/schoenheit--aesthetik-wahrnehmung-ID1212005092828.xml
- ^ Giannini AJ (December 1993). "Tangential symbols: using visual symbolization to teach pharmacological principles of drug addiction to international audiences". Journal of clinical pharmacology 33 (12): 1139–46. doi:10.1002/j.1552-4604.1993.tb03913.x. PMID 7510314.
- ^ Moshagen, M. & Thielsch, M. T. (2010). Facets of visual aesthetics. In: Interrnational Journal of Human-Computer Studies, 68 (10), 689-709.
- ^ "Visual Aesthetics". Interaction-design.org. Retrieved 2012-07-31.
- ^ Lavie, T. & Tractinsky, N. (2004). Assessing dimensions of perceived visual aesthetics of web sites. International Journal of Human-Computer Studies, 60, 269 - 298.
- ^ Dewey, John. (1932)'Ethics', with James Tufts. In: The Collected Works of John Dewey, 1882–1953 Edited Jo-Ann Boydston: Carbonsdale: Southern Illinois University Press. p. 275.
- ^ Page, James S. (2008) Peace Education: Exploring Ethical and Philosophical Foundations. Charlotte: Information Age Publishing. ISBN 978-1-59311-889-1. [3] [4]
- ^ Why Beauty Is Truth: The History of Symmetry, Ian Stewart, 2008
- ^ Reber, R, Schwarz, N, Winkielman, P: "Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience?", Personality and Social Psychology Review, 8(4):364-382
- ^ Reber, R, Brun, M, Mitterndorfer, K: "The use of heuristics in intuitive mathematical judgment", Psychonomic Bulletin & Review, 15(6):1174–1178
- ^ Datta, R.; Joshi, D.; Li, J.; Wang, J. (2006). "Studying aesthetics in photographic images using a computational approach". Europ. Conf. on Computer Vision. Springer.
- ^ Wong, L.-K.; Low, K.-L. (2009). "Saliency-enhanced image aesthetic classification". Int. Conf. on Image Processing. IEEE.
- ^ Wu, Y.; Bauckhage, C.; Thurau, C. (2010). "The good, the bad, and the ugly: predicting aesthetic image labels". Int. Conf. on Pattern Recognition. IEEE.
- ^ Faria, J., Bagley, S., Rueger, S., Breckon, T.P. (2013). "Challenges of Finding Aesthetically Pleasing Images". Proc. International Workshop on Image and Audio Analysis for Multimedia Interactive Services. IEEE. Retrieved 19 June, 2013.
- ^ "Aesthetic Quality Inference Engine - Instant Impersonal Assessment of Photos". Penn State University. Archived from the original on 9 May 2009. Retrieved 21 June 2009.
- ^ Manaris, B., Roos, P., Penousal, M., Krehbiel, D., Pellicoro, L. and Romero, J.; A Corpus-Based Hybrid Approach to Music Analysis and Composition; Proceedings of 22nd Conference on Artificial Intelligence (AAAI-07); Vancouver, BC; 839-845 2007.
- ^ Dubnov, S.; Musical Information Dynamics as Models of Auditory Anticipation; in Machine Audition: Principles, Algorithms and Systems, Ed. W. Weng, IGI Global publication, 2010.
- ^ Bourdieu, Pierre (1984). Distinction. Routledge. ISBN 0-674-21277-0
- ^ http://plato.stanford.edu/entries/aesthetic-judgment/
- ^ Holm, Ivar (2006). Ideas and Beliefs in Architecture and Industrial design: How attitudes, orientations, and underlying assumptions shape the built environment. Oslo School of Architecture and Design. ISBN 82-547-0174-1.
- ^ Korsmeyer, Carolyn ed. Aesthetics: The Big Questions 1998
- ^ Consider Clement Greenberg's arguments in "On Modernist Painting" (1961), reprinted in Aesthetics: A Reader in Philosophy of Arts.
- ^ Immanuel Kant, The Critique of Judgment.
- ^ Barnett Newman Foundation, Chronology, 1952 Retrieved August 30, 2010
- ^ The Abuse of Beauty: Aesthetics and the Concept of Art, By Arthur Coleman Danto, p.1, Published by Open Court Publishing, 2003, ISBN 0-8126-9540-2, ISBN 978-0-8126-9540-3
- ^ Annemarie Gethmann-Siefert, Introduction to Aesthetics (Einführung in die Ästhetik), Munich, Wilhelm Fink, 1995, p. 7.
- ^ Davies, 1991, Carroll, 2000, et al.
- ^ a b Danto, 2003
- ^ Goodman,
- ^ Novitz, 1992
- ^ Brian Massumi, Deleuze, Guattari and the Philosophy of Expression, CRCL, 24:3, 1997.
- ^ Derek Allan. Art and the Human Adventure. André Malraux's Theory of Art. (Amsterdam: Rodopi, 2009)
- ^ Clement Greenberg, "On Modernist Painting".
- ^ Tristan Tzara, Sept Manifestes Dada.
- ^ The Hitchhiker's Guide to the Galaxy, by Douglas Adams
- ^ Derek Allan, Art and Time, Cambridge Scholars, 2013
- ^ Denis Dutton's Aesthetic Universals summarized by Steven Pinker in The Blank Slate
- ^ Derek Allan, Art and the Human Adventure: André Malraux's Theory of Art. (Amsterdam: Rodopi. 2009)
Further reading[edit]
- Chung-yuan, Chang (1963/1970). Creativity and Taoism, A Study of Chinese Philosophy, Art, and Poetry. New York: Harper Torchbooks. ISBN 0-06-131968-6.
- Handbook of Phenomenological Aesthetics. Edited by Hans Rainer Sepp and Lester Embree. (Series: Contributions To Phenomenology, Vol. 59) Springer, Dordrecht / Heidelberg / London / New York 2010. ISBN 978-90-481-2470-1
- Theodor W. Adorno, Aesthetic Theory, Minneapolis, University of Minnesota Press, 1997.
- Ayn Rand, The Romantic Manifesto: A Philosophy of Literature, New York, NY, New American Library, 1971
- Derek Allan, Art and the Human Adventure, Andre Malraux's Theory of Art, Rodopi, 2009
- Derek Allan. Art and Time, Cambridge Scholars, 2013.
- Augros, Robert M., Stanciu, George N., The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, c1984. ISBN 0-89526-833-7 (has significant material on Art, Science and their philosophies)
- John Bender and Gene Blocker Contemporary Philosophy of Art: Readings in Analytic Aesthetics 1993.
- René Bergeron. L'Art et sa spiritualité. Québec, QC.: Éditions du Pelican, 1961.
- Christine Buci-Glucksmann (2003), Esthétique de l'éphémère, Galilée. (French)
- Noël Carroll (2000), Theories of Art Today, University of Wisconsin Press.
- Mario Costa (1999) (in Italian), L'estetica dei media. Avanguardie e tecnologia, Milan: Castelvecchi, ISBN 88-8210-165-7.
- Benedetto Croce (1922), Aesthetic as Science of Expression and General Linguistic.
- E. S. Dallas (1866), The Gay Science, 2 volumes, on the aesthetics of poetry.
- Danto, Arthur (2003), The Abuse of Beauty: Aesthetics and the Concept of Art, Open Court.
- Stephen Davies (1991), Definitions of Art.
- Terry Eagleton (1990), The Ideology of the Aesthetic. Blackwell. ISBN 0-631-16302-6
- Feagin and Maynard (1997), Aesthetics. Oxford Readers.
- Penny Florence and Nicola Foster (eds.) (2000), Differential Aesthetics. London: Ashgate. ISBN 0-7546-1493-X
- Berys Gaut and Dominic McIver Lopes (eds.), "Routledge Companion to Aesthetics". London: Routledge, 2005. ISBN 0-415-32798-9
- Annemarie Gethmann-Siefert (1995), Einführung in die Ästhetik, Munich, W. Fink.
- David Goldblatt and Lee Brown, ed. (1997), Aesthetics: A Reader in the Philosophy of the Arts.
- Greenberg, Clement (1960), "Modernist Painting", The Collected Essays and Criticism 1957–1969, The University of Chicago Press, 1993, 85-92.
- Evelyn Hatcher (ed.), Art as Culture: An Introduction to the Anthropology of Art. 1999
- Georg Wilhelm Friedrich Hegel (1975), Aesthetics. Lectures on Fine Art, trans. T.M. Knox, 2 vols. Oxford: Clarendon Press.
- Hans Hofmann and Sara T Weeks; Bartlett H Hayes; Addison Gallery of American Art; Search for the real, and other essays (Cambridge, Mass., M.I.T. Press, 1967) OCLC 1125858
- Michael Ann Holly and Keith Moxey (eds.), Art History and Visual Studies. Yale University Press, 2002. ISBN 0-300-09789-1
- Carol Armstrong and Catherine de Zegher (eds.), Women Artists at the Millenium. Massachusetts: October Books/MIT Press, 2006. ISBN 0-262-01226-X
- Kant, Immanuel (1790), Critique of Judgement, Translated by Werner S. Pluhar, Hackett Publishing Co., 1987.
- Kelly, Michael (Editor in Chief) (1998) Encyclopedia of Aesthetics. New York, Oxford, Oxford University Press. 4 voll., pp. XVII-521, pp. 555, pp. 536, pp. 572; 2224 total pages; 100 b/w photos; ISBN 978-0-19-511307-5. Covers philosophical, historical, sociological, and biographical aspects of Art and Aesthetics worldwide.
- Alexander J. Kent, "Aesthetics: A Lost Cause in Cartographic Theory?" The Cartographic Journal, 42(2) 182-8, 2005.
- Søren Kierkegaard (1843), Either/Or, translated by Alastair Hannay, London, Penguin, 1992
- Peter Kivy (ed.), The Blackwell Guide to Aesthetics. 2004
- Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. 1998
- Lyotard, Jean-François (1979), The Postmodern Condition, Manchester University Press, 1984.
- Merleau-Ponty, Maurice (1969), The Visible and the Invisible, Northwestern University Press.
- David Novitz (1992), The Boundaries of Art.
- Mario Perniola, The Art and Its Shadow, foreword by Hugh J.Silverman, translated by Massimo Verdicchio, London-NewYork, Continuum, 2004.
- Robert Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry into Values, 1974, paperpack, or hardback first edition ISBN 0-688-00230-7
- Griselda Pollock, "Does Art Think?" In: Dana Arnold and Margaret Iverson (eds.) Art and Thought. Oxford: Basil Blackwell, 2003. 129-174. ISBN 0-631-22715-6.
- Griselda Pollock, Encounters in the Virtual Feminist Museum: Time, Space and the Archive. Routledge, 2007. ISBN 0-415-41374-5.
- Griselda Pollock, Generations and Geographies in the Visual Arts. Routledge, 1996. ISBN 0-415-14128-1.
- George Santayana (1896) , The Sense of Beauty. Being the Outlines of Aesthetic Theory. New York, Modern Library, 1955.
- Elaine Scarry, On Beauty and Being Just. Princeton, 2001. ISBN 978-0-691-08959-1
- Friedrich Schiller, (1795), On the Aesthetic Education of Man. Dover Publications, 2004.
- Alan Singer and Allen Dunn (eds.), Literary Aesthetics: A Reader. Blackwell Publishing Limited, 2000. ISBN 978-0-631-20869-3
- Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, The Hague, 1980. ISBN 978-90-247-2233-4
- Władysław Tatarkiewicz, History of Aesthetics, 3 vols. (1–2, 1970; 3, 1974), The Hague, Mouton.
- Markand Thakar Looking for the 'Harp' Quartet: An Investigation into Musical Beauty. University of Rochester Press, 2011.
- Leo Tolstoy, What Is Art?, Penguin Classics, 1995.
- The London Philosophy Study Guide offers many suggestions on what to read, depending on the student's familiarity with the subject: Aesthetics
- John M. Valentine, Beginning Aesthetics: An Introduction To The Philosophy of Art. McGraw-Hill, 2006. ISBN 978-0-07-353754-2
- von Vacano, Diego, "The Art of Power: Machiavelli, Nietzsche and the Making of Aesthetic Political Theory," Lanham MD: Lexington: 2007.
- Thomas Wartenberg, The Nature of Art. 2006.
- John Whitehead[disambiguation needed], Grasping for the Wind. 2001.
- Ludwig Wittgenstein, Lectures on aesthetics, psychology and religious belief, Oxford, Blackwell, 1966.
- Richard Wollheim, Art and its objects, 2nd edn, 1980, Cambridge University Press, ISBN 0-521-29706-0
- Sen, R. K., Aesthetic Enjoyment: Its Background in Philosophy and Medicine, Calcutta: University of Calcutta, 1966
External links[edit]
Wikiversity has learning materials about Aesthetics at |
- Aesthetics at the Indiana Philosophy Ontology Project
- Aesthetics at PhilPapers
- Aesthetics entry in the Internet Encyclopedia of Philosophy
- Revue online Appareil
- Postscript 1980- Some Old Problems in New Perspectives
- Aesthetics in Art Education: A Look Toward Implementation
- More about Art, culture and Education
- An history of aesthetics
- The Concept of the Aesthetic
- Aesthetics entry in the Routledge Encyclopedia of Philosophy
- Philosophy of Aesthetics entry in the Philosophy Archive
- Washington State Board for Community & Technical Colleges: Introduction to Aesthetics


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Friday, October 24, 2008
Annual Meeting
The Annual Meeting is a meeting of the citizens of the district, the "Electorate", not a meeting of the school board. The meeting is required by state statute to approve the tax levy for the district and a few other items which are reserved for the electorate.
Committee chairs will present annual reports summarizing the year's business and the auditor's statement and 2008-9 annual budget will be presented. But no school board business will be conducted.
The agenda of the meeting can be found by clicking here.
40 comments:
Is there anything going on underground that we need to know about or just be on the ready?
I recall meetings in the past... - October 27, 2008 at 10:45 AM
I heard that there will be a proposal to authorize the Board to act to sell Nichols School.
- October 27, 2008 at 12:43 PM
So how come nobody at the meeting brought up the rumor in the post above? Makes you wonder about the motive of whomever started the rumor or made that post.
- October 28, 2008 at 9:41 AM
I heard the rumor too. Supposedly CG parents want it closed and sold so they can build another elementary school or add on the the two existing ones in CG.
- October 28, 2008 at 10:17 AM
- Peter Sobol said...
Nichols is on a prime piece of real estate that could be a real asset for the development of the Monona. But it probably would be prudent to wait until the reconstruction of Monona drive is done and the real estate market improves.
- October 28, 2008 at 11:32 AM
Actually-I watched the meeting.
I thought it was great-
I knew who was charge and he did it a kind, respectful and forward manner. There was none of the business of trying to shut people down with tactics that I have come to abhor.
It was a welcome change.
good hire. - October 28, 2008 at 1:32 PM
- This comment has been removed by a blog administrator.
- October 28, 2008 at 1:34 PM
- This comment has been removed by a blog administrator.
- October 28, 2008 at 4:11 PM
"Neighborhood schools belong in the Neighborhood not in the business district."
It is a neighborhood school-families and student commonly biked, walked and played at that site. Frankly, you show your own bias with the above statement and it looks a bit dark from where I sit.
"Freeing it up would be a great thing for Monona. "
Glad to hear you have monona's best interest in mind!
"As usual the old Monona crowd is so resistant to change they would cut off their nose to spite their faces. THey complain about taxes and spending and then fight tooth and nail against responsible decisions."
Again, it is an age old technique to stereotype or typecast a group of people that you really do not know and you have done a very nice job. Congratulations!
Would you like to know your typecast or stereotype? - October 28, 2008 at 4:50 PM
OK, I'll bite. You obviously prefer Nichols. Which of the other two schools, Maywood or Winnequah should we move to the Nichols building?
- October 28, 2008 at 7:05 PM
"Which of the other two schools, Maywood or Winnequah should we move to the Nichols building?"
Sorry, that is not the point. I really do not care about that..per say-the point being do not say that building ineeds to be closed until the facts are on the table....and espically do not tell me that would be good for me or Monona-'cause at this point we have very few facts all the previous post does is poke fun and sterotype. - October 28, 2008 at 7:30 PM
That is the rub. Monona has at least one too many Elementary school buildings in close proximity. There is never going to be a time again when Monona will have enough students to require these three buildings. On the other hand we have to respect the desire of CG parents to have neighborhood elementaries just as much as we do.
Given that, it would be illogical and wasteful for the district to continue to keep 3 building off the tax rolls and on the district expenses. Nichols is the logical building to sell. Isn't it? - October 28, 2008 at 7:33 PM
- Peter Sobol said...
What facts do you need?
- October 28, 2008 at 7:35 PM
Here we go.
SPLIT the damn district now, keep our schools and bring back our middle schoolers.
What are we waiting for? A cheesy, slopped together re-development that will never provide the benefits of neighborhood schools? How many people do you think would buy a residential lot there, when they will very soon be able to buy one right behind that nice new shiny middle school in cottage grove?
Your posts show your ignorance regarding the state of mind in Monona. Lots of people have learned very valuable lessons since the passage of the middle school referendum.
Stay tuned.
And since you ask Peter, how about the numbers and space needs should your board be presented with a valid (we already know it would be valid, from the last time the board looked at it) split study and the will of the people indicates that Monona wants to stand on it's own? - October 28, 2008 at 9:03 PM
Think that through for a second. There are something like 700 total Monona students. In a split district they could all fit into Winnequah or the High School. The fastest way to unload school buildings in Monona would be to split the district - the new district could not afford to operate more than one building.
- October 28, 2008 at 9:25 PM
Look, if you believe the majority of people in Monona would prefer a split, then please, oh please, get on with it so we can move forward. Research the statutes and proceed. But if you are not willing to do that, then stop complaining.
- October 28, 2008 at 10:12 PM
It amazes me the way people focus on buildings instead of education. What the heck is the problem with consolidating schools? It saves money that can then be spent in the classrooms, not on the classrooms. Its not like Maywood and Winnequah are so far apart that it makes any difference. They are both practically on top of each other in the same "neighborhood". So long as the people in Monona are more concerned about buildings than education this district will never have any success attracting children.
Consolidating these two schools would be a financial boon to the district and the kids would get a better education because they would all have access to better facilities. - October 28, 2008 at 11:03 PM
- This comment has been removed by a blog administrator.
- October 29, 2008 at 9:25 AM
"Given that, it would be illogical and wasteful for the district to continue to keep 3 building off the tax rolls and on the district expenses."
I agree on the surface.
Let me try this-playing devils advocate.
We are sitting on some VERY valuable property in the district. We have some capital projects that need to get done (athletic fields-come to mind). We could sell that property invest in our district and make change for many years to come. However, people are too close minded and want to stick to what they know, right?
I am talking about the large tract of land called the school forest...in CG...now what do you say?
That land and the land bldgs in Monona are part of the district and we need to honor our traditions and step carefully and kindly...leaving out the parties with cool aid and name calling....
See-I do not want to sell that land...but when people post such FLIP things and call people NAMES-they need to get a life. - October 29, 2008 at 9:32 AM
I am a Monona resident and greatly opposed to a split. The way things are funded these days, the only way for a district to survive is with student growth.
- October 29, 2008 at 9:35 AM
"That land and the land bldgs in Monona are part of the district and we need to honor our traditions and step carefully and kindly..."
I am greatly confused by this comment. Sitting on closed buildings, spending money to maintain them, keeping the valuable land from benefiting the city through better use should sit behind "honoring traditions". Education is more important than stupid buildings and traditions. - October 29, 2008 at 10:37 AM
The school forest provides educational opportunities for all students. An empty building does not. Your post makes no sense.
- October 29, 2008 at 10:42 AM
Looks like we spent over 28 million dollars and didn't solve a thing. We're back to not enough room in Cottage Grove and the need for trailers or buildings.
http://www.madison.com/tct/news/stories/311733 - October 29, 2008 at 11:17 AM
"Education is more important than stupid buildings and traditions."
The logical conclusion from post is as follows:
1. We need move to home schooling via the net and sell all buildings.
2. We should eliminate all athletics and music programs. - October 29, 2008 at 11:21 AM
"The school forest provides educational opportunities for all students. An empty building does not. Your post makes no sense."
It is NOT that I disagree with you, it is that we have to walk carefully.
Stereotyping is not going to get the job done.
For instance, I heard the following "if CG people would not have been so excited to be in new and shiny things like GDS and their houses and think things through...there would not be problems with kids and bikes and their taxes."
Yep, pretty stupid and stereotyping...get us anywhere...nope. - October 29, 2008 at 11:26 AM
If the people in Monona want their Middle Schoolers in Monona, that's fine. There is plenty of room for them in Monona. The sale of Nichols school could fund additional upgrades to Winnequah (another science lab, etc). This would also free up room at GD if the CG 4th graders needed to be moved out of CG school. This would also have the happy result of keeping Maywood open. Problem solved. Now, can we please start showing a little concern for the educational programs in this district? Whenever Peter posts anything here about education, very few people weigh in. But when it's about our buildings, everyone goes nuclear. If I were a parent checking out districts and happened upon this blog, I would be very worried this is a district that has its priorities screwed up.
- October 29, 2008 at 11:54 AM
There is room for ALL of the Monona Pre-K through middle school in the Winnequah building according to the number handed out at the meeting 2 weeks ago. It would be irresponsible of the district not to sell both Nichols and Maywood even if the Middle schoolers were kept there.
- October 29, 2008 at 12:30 PM
"when it's about our buildings, everyone goes nuclear"
That is because it is not about bldgs. - October 29, 2008 at 12:43 PM
- This comment has been removed by a blog administrator.
- October 29, 2008 at 12:49 PM
When did the district "try to remove a principal" without telling the parents?
- October 29, 2008 at 12:57 PM
- Lily Schlammeldanger said...
You think a new super and new board members are going to change anything? Do you really believe that anything is going to be any different than before? I believe in the adage that the best predictor of the future is the past. We have a culture in this district that does not permit honest, respectful, open, civil disagreement on issues. The minute there is disagreement, we all retreat to our camps, suck our thumbs and brand those who disagree with us as evil and selfish. We are unwilling to tolerate a decision we do not agree with and move on to the next issue. We are not willing to believe that those who disagree with us simply disagree rather than assign some sort of nefarious agenda to them. Most of us only talk to people who agree with us. We are stuck. I do not have a magic answer to what will change the dynamic but this I will say - we cannot engage in the same behavior over and over again and expect that the outcome will be different.
- October 29, 2008 at 1:37 PM
Truly a sad time for Monona, especially as we continue to foot a majority of the bill for the misguided decision to build that middle school.
Here comes round two. Another of our neighborhood schools is about to be taken away, but the price we pay on our tax bill goes up and up. - October 29, 2008 at 2:52 PM
"Now, can we please start showing a little concern for the educational programs in this district? "
OK, Watch This-
WHY, do we have some business ed. classes and communication classes? - October 29, 2008 at 7:38 PM
I tink that says so many....
- October 30, 2008 at 8:10 AM
- Peter Sobol said...
- This comment has been removed by the author.
- October 31, 2008 at 10:43 AM
- Peter Sobol said...
I've been especially busy and haven't had time to keep up with the housekeeping. I've removed some inappropriate posts that should have gone sooner. Again: keep it civil, factual and DON'T presume to speak for anyone else. That means when you say I "don't support neighborhood schools" you are both wrong and out of line.
Lily: You are my favorite commentor here. Thank you for your thoughtful posts. - October 31, 2008 at 1:32 PM
- This comment has been removed by a blog administrator.
- October 31, 2008 at 2:36 PM
I think we should look at a unified district where each community keeps k-8 with their own school boards and then unify in high school with a joint school board.
The reality is that high school sports and music are very important to many in Monona and those programs would suffer under a total split. - November 2, 2008 at 9:16 AM
'we will never again have the students that will fill these schools" this is from the same crowd that said realestate would never go down..... (until 2024) how is your 201k doing peter?
- November 2, 2008 at 10:16 PM
- Peter Sobol said...
I have never said that real-estate wouldn't go down, it is always easier to attack people by putting words in their mouths than it is to attack on a factual basis isn't it?
However, over the last 6 months Monona has bucked the national trend and seen an increase in average real-estate value.(www.zillow.com) This is reflected in the enrollment trend of families with school age kids moving into the district.
But the real question is how much do you think the district should spend each year hedging the bet that enrollment currently at 440 won't exceed 825 (the combined capacity of Maywood and Winnequah), and does that hedge exceed the cost of maintaining Nichols? I can't see a plausible scenario where the school age enrollment in Monona doubles. - November 3, 2008 at 12:27 AM


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BTDT - Been There Done That (PC, 360, PS3) Real Life Military Gamers
Posted 26 May 2012 - 06:13 PM
You've been there.
You've seen the sun set on the desert and heard the sounds of mortars and rocket shells in the night. You know the taste of sand on an MRE. You know the sound of an A-10 as it takes off for a strafing run. You know the taste of salt in your mouth as your Zodiac pushes for the beach.
You've done that.
You didn't get just a lousy T-shirt. You got wounds, scars, memories and a brotherhood. For you, it wasn't a game. It was a job. It was a job you volunteered for- many times, more than once.
Welcome to [BTDT]'Been There Done That'.
We are a group of veterans, active, inactive and retired, who game, socialize and continue the brotherhood. We don't care about your skill level, your gender, your age or if you were combat deployed. We don't care if you were a Soldier, Sailor, Airman or Marine.
We only ask one question. Did you serve?
We'd love for you to apply. Why? Because you've Been There and Done That.
So have we.
We currently are playing in CoD, BF3, Halo, Ghost Recon, and Diablo 3. Once these parts of the community start to take off we are hoping to add other games that any Vets might enjoy.
Website: www.btdt.enjin.com
Posted 26 May 2012 - 06:14 PM
Also on a side note:
We are starting to get some what competitive and we just reached 200 total members.
We are starting to get some what competitive and we just reached 200 total members.
Posted 27 May 2012 - 11:58 AM
Not bad. Took Silver in the Clan Challenge with only two member scores! Imagine if we had 4 more premium members adding to it. Easily could've taking Gold.
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Our service plan sets the tone for the delivery of community cohesion and the equality and diversity function within an evolving environment where business transformation and change management will be at the heart of our thinking and arrangements.
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Campbell County Property Transfers
Oct 3 – Oct 7
Tammy Sheridan to Jimmy Shade Snodgrass and Wendy Ann Snodgrass, Dist. 1, $63,000.
Darrell Hicks and Flora Mae Hicks to Timothy D. Hembree, Dist. 3, $122,000.
Tiffany Depellegrini to Mark A. Fosnight, Dist. 5, $79,900.
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Second Suspect Named in 14-Year-Old's Murder
Police seek help finding a 22-year-old Lewisdale man.
Prince George's County Police have named a second suspect in the murder of 14-year-old Eliezer Benjamin in Lewisdale earlier this week. But detectives need help finding the suspect.
Police have issued an arrest warrant for 22-year-old John Junior Hernandez of the 2200 block of Guilford Road in Chillum's Lewisdale neighborhood. Police have charged Hernandez in the first degree murder of Benjamin.
Benjamin was one of two victims struck by gunfire just after midnight on Dec. 5, 2012. The teen was hit in the upper body by gunfire from a passing car, while he and the other victim walked along the 2200 block of Sheridan Street.
Benjamin was declared dead after being transported to a local hospital. The other victim was treated and released from the hospital.
Police are asking anyone with information which could lead to the capture of Hernandez to call the county police homicide unit at 301-772-4925.
Hernandez is the second suspect charged in relation to the fatal double shooting.
Shortly after the shooting, police arrested 24-year-old Hyattsville Jose Luis Rodriguez-Nunez after a Hyattsville city police officer tried to pull over a car believed to have been involved in the shooting. Two men ran from the car, and the officer was only able to capture the driver, Rodriguez-Nunez.
Police continue to investigate the homicide.
9:43 am on Sunday, December 9, 2012
LEWISDALE IS NOT CHILLUM'S NEIGHBORHOOD. REPORT THE FACTS PLEASE. IF you want to wrongly associate Lewisdale with another NEIGHBORHOOD, how about making us WEST COLLEGE PARK. (Afterall, I live just 2 miles from the University of MD Adult Education Building and I'm in the heart of Lewisdale.)
Michael Theis
1:24 pm on Sunday, December 9, 2012
Ma'am, with all due respect, I am reporting the facts. The Maryland Department of Planning and the United States Census Bureau all say that Lewisdale is a part of Chillum. When it comes to location I use the MDP and the USCB boundaries–and only those boundaries–as my reference. Lewisdale is a neighborhood within the census designated place of Chillum. Anything else is simply unofficial line-drawing.


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After installing STS 3.1.0 under users\me\ of windows Vista (BTW, I just learn the installation location to save myself from the Windows write access right restriction troubles), I run into a problem on the final step:
And the message in the detail field is the following:Could not load the Tomcat server configuration at C:\Users\me\springsource\vfabric-tc-server-developer-2.7.2.RELEASE\conf. The configuration may be corrupt or incomplete.
I can't see the conf directory there. The installation process seems to be find to me. There wasn't any errors. I, however, do see a conf directory under a tc Server instance directory. So, something is not right here.C:\Users\me\springsource\vfabric-tc-server-developer-2.7.2.RELEASE\conf\catalina.policy (The system cannot find the path specified)
How to solve this problem?
I copy the conf directory one level up and create another tc server instance. The problem is solved. Something in STS needs to be fixed though.


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...and it went off without a hitch! No flubs!
[Image via Now This News screen capture]
I grew up just outside Detroit and have worked on the radio ever since I was 19.
I'm told it was an inevitable career choice as my mom has pictures of me as a kid turning any household item into a microphone (experience shows that big wooden soup spoons work best).
I attended college studying theatre and political science at the University of Michigan. In February of 2010, I got the call that changed my life. HOT 99.5 asked me to move to DC and take over The HOT FREEK SHOW. I could not be happier.
I enjoy green shoes, zipper hoodies, chicken wings, green olives, beer, McClure's spicy pickles and games.
When I finally grow up one day, I want to own a small French Piano Bar and be skilled in the art of tasting fine wines.
All photos used with permission and credited too Nickolay Lamm from UK discount site MyVoucherCodes.co.uk.
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Sarah and the HOT 99.5 crew stopped by the Capital Bridal Affair!!
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...and it went off without a hitch! No flubs!
[Image via Now This News screen capture]