Beauty (unlike ugliness)

steady (un resembling ugliness) jackpotnot re eithery be explained and it was withal quoted that Like a beau ideal (and as empty), it bottom of the inning only offer I am what I am. 1 The path to knockout is what we atomic number 18 all trying to find and to follow. To gear up looker as that which is sought, as it appears in imagination, is sufficient that e rattling one and only(a) is seeking smasher, for it cannot be denied that everyone is looking for roundthing and dreaming about it. 2 To dispute taste is futile, because beauty varies for different passel and for the same person.The vulgar have their beauty, the lofty theirs. b bely the vulgar have moments in which they may appreciate an other(a)wise beauty, and so have lofty. Beauty is not entirely a personal affair, because the finishly natural things are an objective part of human nature which is customary as the hidden arrangements in one house are like those other houses. Ideas we take into our heads dif fer hardly more that food we consume. rarely is at that place reason to suppose more individuality in our persuasion s than in our behavior and apparel.We happen to have access to our let physical and psychical quarters, and can shut the door on the nap of the world but on that point is no mysterious cleavage in the midst of this subjectivity or what is objective or out in the open. 3 The sameness of human wishes in their about subjective stir is make public on screen of the movie, in the human interest stories of the paper magazines and novels, in window displays and on billboards. Advertisers write the open text on aesthetics that all may read.They know that men and women are bountiful alike to want the same things, to admire the same beauty and they are so sure of this that on it they stake their fortunes. It would be idle to cope that each person has not a different idea of beauty, were not the illusion of uniqueness rather universal. According to Ames, people are r icher or poorer in appreciation, but as, as in their belongings, they are luxurious or lacking in similar things, so that their very differences are same.He added that, imaginations and predilections are as objective as hair and eyes, and equally dependent upon heredity and environment. Given a certain nature, education and knowledge, certain wishes will be inevitable which will necessarily reflect in appropriate beauty. simply because variation is rare it is magnified. Each person cherishes what personality he has, and is rejoicing that in being conditioned to seek his own he can reject what is foreign to him and call it as ugly, though he is also happy to belike other people and to share their enthusiasm.Based on Ames, there are fewer disputes about beauty than is often assumed, because most people accept the standards of their country and sex, class and set. Western philosophers and psychologist have always been elicit in the nature of art, the appreciation of art, and the psychology of artist. 4 Plato argued that aesthetic see _____________________________________ 1. Pacteau, F. (1994). The Symtom of Beauty. peeled York Reaktion Books, 1-232. ISBN 094846254X. 2. Ames, V. M (1968). Introduction to Beauty. unsanded York Ayer Publishing, ISBN 094846254X. 3. Ibid. 4. Hagman, G. (2005). aesthetic live beauty, creativity, and the pursuit for the ideal. newborn York Rodopi, ISBN 9042018569. 1 2 snarly the apprehension of the good in nature. The non-sensuous delight, perhaps awe, of aesthetic feeling resulted from the reflection of ideal orchestrate in the object that only hinted at the profound perfection and beauty of its high model. Hagman said that, for Plato, it was the apperception of this hint, the glimpse of the ideal, which was the source of aesthetic develop.Later, religious thinkers believed that aesthetic picture was link up to the revelation of god in the world, the awareness of the worldly beauty being a reflection of the eter nal beauty of divinity. Similar to Platos view was the belief that some objects, most e limitedly art, expressed Gods love and perfection more than others or at least, the divinity was more easily glimpsed in some objects than in others according to Hagman. He also added that, it was not until the eighteenth century that a true psychology of aesthetic beget began to emerge.Starting with David Hume and Immanuel Kant, these modern thinkers tried to explain aesthetic experience in psychological terms. The objective nature of the good and the beauty of God came to be replaced by psychological processes by which our experience of the world is tending(p) aesthetic qualities and values5. Hume argued that aesthetic experience was associated with sensitivity to the association between a perception and a feeling. The particular aesthetic feeling s were those of polish pleasure, delight, awe, admiration, joy, and so on in other say, the effects and passions considered to be special, po sitively charged value.Hume believed that certain type of experiences, those possessing beauty, attained higher qualities in the formal style of these feelings. Thus, for Hume, humans sensibility and emotion replaced divinity and ideal form of aesthetic experience. Art, as opposed to natural sources of beauty, expressed certain associated feelings in refined and highly valued ways6. Hume argued that a person could develop his or her critical judgment in aesthetic matters by means of experience and study.He also stressed the need for the audience to keep his mind from all prejudice and allow nothing to enter into consideration but the very object that is submitted to examination. Hume claimed that the audience must be comfortable and without other intentions when viewing something aesthetically this was one of the initial argument for the role of neutrality in aesthetic experience. What Hume was describing was type of empathy, an ability to put aside ones general position and need s and to place oneself in that arrest of view that the artwork supposes.Thus, aesthetic experience assumed a special form of relationship with the object in which the audience members would approach the experience with benign neutrality and willingness to give themselves over to the experience without prejudice. This relationship would past ideally result in a pleasant emotional state evoked by the specialness and refinement of the object ______________________________________ 5. Hagman, G. (2005). Aesthetic experience beauty, creativity, and the search for the ideal. New York Rodopi, ISBN 9042018569. 6. Ibid 3Immanuel Kant postulated that aesthetic experience was a type of subjective judgment distinct from other human emotions, referring to this as taste. Essentially, taste was a type of universal and natural human capability similar to other modes of perception. As one experiences something aesthetically, there are whizs of pleasure within an side of disinterest. In fact, for Kant, taste was closemouthedr to reason than to emotion or sensation it constituted recognition of a priori truths (such as beauty) in the concrete, objective purposiveness. Nonillusions and some Persistent MysteriesOne of the most curious phenomena that simply cannot be understood in terms of their primary cause sat the present time is the close relationship between certain mathematical serial publication (e. g. , the Fibonacci numbers in which each successive term is the sum of the two preceding numbers) and the uttermost(a) vaguely defined cognitive experience we call visual pleasure or beauty. 7 If each Fibonacci numbers is then divided by the one previous to it, this new series converges on what has become a magical number 1. 615838, otherwise known as the well-fixed ratio.The luxurious ratio appears ubiquitously in a wide variety of biological systems including the arrangements of seeds on a flower, the structure of fruits and vegetables, and the shape of the spiral shell s of a Chambered Nautilus. 7 Most interesting in the present context, however, is the fact that if an observer is asked to observe the width and height of the most beautiful rectangle, the usual answer is close to the golden ratio. They said that this phenomenon appears through the history of art with the pyramids, Greek temples, metempsychosis art, and the contemporary views of female beauty all showing evidence of golden ratio.It is also observable in musical compositions. 8 Thus, there appears to be a close relationship between a subjective aesthetic judgment and a fundamental number appearing in a mathematical expression. 9 The problem is that this is a purely empirical watching there is no theory of why these two domains should be linked in this manner. This mysterious relationship suggests, however, that mathematics and human aesthetic is well-nigh tied together for totally obscure reasons. Perhaps it is due to evolutionary forces of which we are only beginning to understan d, but even this is the loosest kind of speculation.Nevertheless, there are some well established links that are considered. Aestheticians themselves are in surprising accord as to the nature of beauty and art. They ordinarily agree that beauty is a value and that art is the means of realizing the value. They say that beauty lifts us out of littleness to understanding of the meaning of existence. In beauty we see the finish and finality toward which our efforts tend the poise to which our cockeyed lives aspire. In beauty we behold our desire without ceasing to desire it, for the most firm beauty is the more it arouses longing.The classic ideal of beauty is more calm, the amorous more vehement, ______________________________________ 7. Uttal, W. R. (2003). Psychomythics Sources of Artifacts and Misconceptions in Scientific Psychology. New York Lawrence Erlbaum Associates, ISBN 0805845844. 9. Ibid. 10. Ibid 4 era the modern tends to be wild and madcap yet there is a passion in t he classic ideal, composure in the romantic, and some simplicity in the modern, else none of them could be beautiful. From Sublimation to RegressionIn 1961, Robert Fleiss published an interesting elaboration of Freuds sublimation model of aesthetic experience. Fleiss believed that in aesthetic experience, especially in the sense of beauty, there is a normal regression to an early perceptory relation involving the sense modality of primary perception, which he conceived of as the combinations of perceptions of the labyrinth outer skin, hands, and mouth unite into a single, nondistinguishable experience. According to Fleiss, in aesthetic enjoyment there is a muscular discharge of neutral energy.Rather than cannibalizing the object, the person experiences emphatic introjections of it. 12 Fleiss fit(p) the developmental level of aesthetic experience in the first oral exam phase prior to the mobilization of aggression that results in incorporative actions and fantasies. He argued t hat the sublimation of this neutral oral libido is inseparable from aesthetic enjoyment and includes muscular discharges involved in the modality of primary perception a modality that continues to work on throughout life.Thus, for Fleiss, sublimation is not simply a defense, but a normal aspect of the vicissitudes of libido that re essentially neutral during the first oral phase. It is the natural process of this libido throughout life that accounts for the ubiquity of aesthetic experience. In an interesting series of case reports, Fleiss illustrated the relationship between sex and aesthetic enjoyment, and even argued for the coinciding experience of both in mature, healthy sexual relations. ConclusionFor centuries, beauty has been considered a feminine attribute, and its pursuit a feminine responsibility. In fact the word beauty itself reflects the intimate connection between beauty and femininity. Even the most recent revision of the Webmasters New World Dictionary has as one of its definitions of beauty a very good looking woman. Thus we postulate that womens preoccupation their appearance is consistent with the feminine sex-role stereotype. There are at least two additional aspects of beauty that may fuel womens effort to emulate their cultures beauty ideal.First, beauty often is associated with moral goodness, with being virtuous. Second, beauty can contribute to being powerful. _________________________________________ 11. Santayana, G. (1955). The Sense of Beauty Being the Outline of Aesthetic Theory. New York Courier Dover Publications, ISBN 0486202380. 12. Hagman, G. (2005). Aesthetic experience beauty, creativity, and the search for the ideal. New York Rodopi, ISBN 9042018569. BIBLIOGRAPHY Ames, V. M (1968). Introduction to Beauty. New York Ayer Publishing, ISBN 094846254X.Hagman, G. (2005). Aesthetic experience beauty, creativity, and the search for the ideal. New York Rodopi, ISBN 9042018569. Pacteau, F. (1994). The Symtom of Beauty. New Y ork Reaktion Books, 1-232. ISBN 094846254X. Santayana, G. (1955). The Sense of Beauty Being the Outline of Aesthetic Theory. New York Courier Dover Publications, 1-168. ISBN 0486202380. Uttal, W. R. (2003). Psychomythics Sources of Artifacts and Misconceptions in Scientific Psychology. New York Lawrence Erlbaum Associates, ISBN 0805845844.