CONCLUSION
In order to convey the coherent statement on art and aesthetics, I have mentioned primary works of artists, philosophers, and scientists from many eras and cultures who expressed their views in the field of aesthetic exploration. With the main conclusion I would like to get back to the assertion of English philosopher Roger Scruton who stated that “nothing is more useful than the useless”. Art has a strong impact on individual and people generally need useless things as much as they need things for their use. To me, beauty conveys internal pleasure that brings assertion in joy and shows human life to be worthwhile.
In my thesis I analyzed conceptual art of the last century that in many cases conveyed an idea that allows people to see the world in which they are living in presence, the world of the here and now that teaches how to be and leave more at ease with it. Yet in my opinion conceptual art is often an idea, a beautiful concept but having an idea does not mean it’s a work of art. To me it is not sufficient and the duty of the real artist is to share the creativity and call others to see the world the way artist sees it in order to “show the real in the light of the ideal and so transfigure it”
I am reviewing and estimating art and designs not just as a subjective notion, but as an objective universal need. It is hard to argue about objectivity since every individual interprets art personally, yet it has some characteristics as order, composition, color, orientation in space that are inherent for human commonly. Therefore beauty can be reviewed as a quality and an emotion suggested by the object .
An intuitive appreciation is better than any attempt to analyze the source of one's delight in a beautiful object. Pleasure is evoked due to an unconscious appreciation of the subconscious logic applied to an object. I believe that consequently, judgments of beauty are universal and grounded in the real world.
Objective approach of beauty that I have examined in the thesis is easily (and especially) applicable to graphic design, since advertisement is a motor of trade, it have to be intelligible and accessible for perception for a broad range of people. In this case communication, functionality, and aesthetics can not be perceived as a separated notion but has a unified conditions and stand alongside.
Personally, I consider the investigation aspects defined in my thesis very motivating and significant in my own design practice. Our digital era gives us an opportunity to work much faster and use a media of other disciplines and therefore explore and broaden the horizons of the certain field in order to become multifunctional artists. This tendency nowadays can already be observed in the art world of today and I am glad to have an opportunity to follow it. Objective notion in this case is very relevant as well since the aesthetics plays a major role in contemporary design and art .
The aim of my research does not involve any criticism of functional graphic design. It simply arguments the fact that graphic design as well as other artistic fields today is affected broadly by certain contemporary tendencies. Yet a large number of designers reject aesthetic concept in their works and still assert on the originality of their work to be centered on a pure concept. Wim Crouwel (November 21, 1928 ) says: “You are always a child of your time, you can not step out of that"
Currently many designers and critics of aesthetical approach are trying to close their eyes to the rules and styles that surround us. And yet artists always have been looking for something unique and innovative, as we may observe today, even at the cost of incomprehension. After all, if one is able to produce a piece of modern design it is fair to say that he is able to express the spirit of “our time”.
BIBLIOGRAPHY
Books:
Plato, 1998,The Symposium, MA: Focus Publishing,
Cynthia Freeland, 2001, But is it Art , Oxford University Press.
Plato, 1925, Hippias Major, MA, Harvard University Press; London
Pythagoreanism . The system of esoteric and metaphysical beliefs held by Pythagoras
Schofield, Malcolm, 1998, 2002, "Plato." Encyclopedia of Philosophy. London
Aristotle, 1996, Poetics, translated with an introduction and notes by M. Heath, (Penguin) London .
Aristotle, 1966, Metaphysics. Trans. Hippocrates Gorgias Apostle. Bloomington: Indiana U. Press.
Simon Harrison, 2006, Augustine's Way into the Will - The Theological and Philosophical Significance of De libero arbitrio, Oxford University Press, Oxford,.
Gottfried Wilhelm von Leibniz, 1714, Principles of Nature and Grace Based on Reason.
William Hogarth, 1753, The Analysis of Beauty.
D. Birkhoff , 1725, Inquiry into the Original of Our Ideas of Beauty and Virtue
Daniel E. Berlyne, 1960, Conflict, Arousal, and Curiosity.
Heinrich Wölfflin, 1915, Principles of Art History.
Francis Hutcheson, 1712, The Spectator.
Joseph Addison, 1896, The Sense of Beauty.
Thomas Reid, 1785, on the Intellectual Powers of Man.
Clarence I. Lewis, 1946, An Analysis of Knowledge and Valuation.
John Locke,1690, An Essay Concerning Human Understanding.
David W. Prall, 1929, Aesthetic Judgment.
Georg Wilhelm Friedrich Hegel, 1835, Aesthetics.
Friedrich von Schiller, 1795, Letters on the Aesthetic Education of Man.
Oscar Wilde, 1894, The Decay of Lying.
Robin G. Collingwood, 1925, Outlines of a Philosophy of Art.
Ludwig Wittgenstein, 1938, Lectures and Conversations on Aesthetics.
Curt J. Ducasse, 1966, The Philosophy of Art
Nelson Goodman.,1968, Languages of Art
Documentories:
Why beauty matters, Roger Scruton, 2009 (UK)
Websites:
https://en.wikipedia.org/wiki/Gestalt_psychology
https://www.sciencenews.org/article/measure-beauty
http://etudes-studio.com/#intro
http://www.akatre.com
http://www.uberandkosher.com/2802782
http://www.studioletiquette.com
http://www.reneemes.com