Emotion and art
Knowledge emotions[ edit ] Knowledge emotions deal with reactions to thinking and feeling, such as interest, confusion, and surprise.
Emotional response to art
It seems plausible that some emotions at least are epistemically appropriate responses to the content of fictional stories. For Collingwood however, art used as propaganda is not art. The plausibility of the contour account remains to be assessed. The forms are a non physical idea of what objects are. Plato is concerned that people will be swept up in a wave of uncontrollable emotion that will lead them to irrational behaviour. Unless we are committed to a form of motivational hedonism according to which nothing other than pleasure can account for the pervasiveness of the motivation to engage with works of fiction eliciting negative emotions, the question arises as to whether some other factor s may play the relevant motivating role. Art allows people to have a cathartic release of pent-up emotions either by creating work or by witnessing and pseudo-experiencing what they see in front of them. It is quite clear that many of the affective states we have in response to fiction are experienced as directed towards some object or other. Leading artists reveal the key to really engaging the viewer. The main problem with such a view, as with all pleasure-centered views, is simply that not all works of fiction that we are motivated to engage with succeed in compensating for the unpleasant states they elicit in the relevant way and may even leave us utterly depressed or disturbed. Here are a couple of examples. Yet, natural ideas about emotion, at least taken collectively, make it hard to see why such an assumption should be true. As a result, nothing prevents one from answering these questions separately.
The basic question is how best to describe such responses. Leading artists reveal the key to really engaging the viewer. The completed bed, an object in space, is the next level of knowledge.
How does art express emotion?
Empty ice-cream truck? Plato has argued against the poets on two fronts. The problem is precisely what kinds of emotion these can be and towards what they can be directed. Artists create for those who understand. Davies, S. Of course, the acquisition of the relevant knowledge may be experienced as meaningful or valuable, but it may not be what one ultimately pursues. The art work could be a record of what the artist was feeling at the time of making it, and it could also bring about emotional reactions in the viewer. In the past, research has suggested our emotional and aesthetic responses to art were based on a basic stimulus. Develops a solution appealing to surrogate objects. Moods, Idiosyncratic Responses and Surrogate Objects As in the case of fiction, there are affective responses to music that may not pose any substantial philosophical problem. Deonna, J. For further reading, see Smuts, ,
Cognitive thesis: Emotions are cognitive states in the sense that they purport to be about things in the world. Morreall, J.
Expressing emotions through art
Blood smears? Asking yourself these questions can help you to create a narrative for your illustration. Radford could reply however that such emotions are uncontroversial, as they are directed at properties of the work rather than at its fictional content. Researchers have tried to understand how experts interact with art so differently from the art naive, as experts tend to like more abstract compositions, and show a greater liking for both modern and classical types of art. Art containing symmetry therefore is typically approached and positively valenced to humans. Here, the question of what is the object of the relevant emotions is even more pressing than for fiction, as in this case there seems to be no characters and situations for an emotion to be about. We have seen that each of these problems admits more or less plausible answers that may require a revision of our pre-theoretical beliefs about emotion, on the one hand, and artworks, on the other. This is because an impeded visual field is disadvantageous for a human to be able to defend itself. Utilize lighting High-contrast lighting helps build the tension in this image by Kamil Murzyn Platige Image artist Kamil Murzyn says: "Lighting is a very important factor in creating any mood and directing a story.
Of course, the acquisition of the relevant knowledge may be experienced as meaningful or valuable, but it may not be what one ultimately pursues.
Nussbaum, M. One might wonder why there is a focus on experience here, in addition to what the notion of experience at play here is supposed to amount to.
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