Monday, March 25, 2019

Innovation and Traditionalism in Art Essay -- Art Artistic Arts Histor

I am sure that we thrust all, at one time or another, noticed that almost whatever discussion concerning the merits and demerits of art, if it goes on long enough will come to the qualities of asylum and traditionalism in regards to esthetic value. As soon as these dickens qualities atomic number 18 mentioned, there comes an inevitable forming up of those who favor existence and mock tradition and those who favor tradition and deride innovation. Either side ordinarily admits only enough merit to their opposition, and limitation of their own view, to make themselves depend reasonable and objective yet the bulk of their effort goes into savaging their opponents and extolling the ultimately beginning nature of their position. I am inclined to take neither view, but to propose a third. It is not enough that we should pursue either innovation or traditionalism simply be ready we hurt some sort of aesthetic attraction to them, such as, for example, sentimentality or novelt y. There may be those who would respond that there is simply no arguing about understanding that you like what you like and that is that. Certainly such people are rectify in one sense, but this response seems too simplistic and of a sour grapes nature to convince me that this is the end of the matter. Rather, I suggest, it is the purpose to which we bind either innovation or traditionalism which dictates whether or not they have aesthetic merit too often, our adherence to either of the two qualities becomes a thoughtless habit of our culture rather than anything useful in itself. In order to prove the viability of this qualification, I will first explore the disallow and positive qualities of innovation, and the possible causes thereof. Then I will look at the negative and positive qual... ...wild beast, a tiger or some such, with whom I am trapped in a small room. There are many factors which may influence the tiger in one path or another, and while these factors, such as my experience of tigers (traditionalism), or gifted new ways to influence them (innovation), are of deadly importance, the tiger cadaver the primary focus, or reality, in the room. Often, however, we confuse the factors for the art itself, the means for the ends, the cause for the effect. We talk of our difficulty about defining art in experiential terms, as if it were an elusive fog of wraiths, a veil of unk instantlying, or an ethereal mist of fleeting experiences we are unable to ever rattling grasp the identity of what we seek to define. Maybe this is true, but every now and again I am sure I see something peculiarly beautiful, terrifyingly real, gracefully elusive, gliding through the vapours.

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