Why Study Art ?

By Cincinnatus Hibbard

I present three powerful arguments for the study and the practice of art : pleasurable, practical and poltical. Three powerful arguments that each correspond to each of the three motive-types, and, together, to the general audience, and
a mass market of artists and art collectors.

Three arguments for the study and the practice of art is the organization I’ve given to thirty powerful and radical new ideas about art, and human nature.
These include :
The conception of the world as a single work of art that composes all 2 dimentional, 3 dimentional and 4 dimentional art.
A mode of life that is a continuum of planar, sculptural and temporal art, and art making.
The concepts that allow all art work to be viewed as work in a single medium and tradition and source of inspiration.
The reasons why beauty gives pleasure.
The practical functions of art work.
The political functions of art work.
A new theory of memory that describes memory as nearly perfect in light of its true function.
The discovery of the analogic equivalence of mental and physical behavior and with it the analogic equivalence of the mind and the physical world.
The sufficiency of a new art training in realizing proficiency in any practice.
The sufficiency of art – the art world view and the art religion.
And the vision of a new Utopia !

• Language: English
• Publisher: BookBaby
• Release date: Aug 1, 2014
• ISBN: 9781483534763

Book preview

RELIGION

WHY STUDY ART

PART 1 : ART

A : THE FACTUAL HEDONIC, PRAGMATIC, AND POLITICAL ARGUMENTS FOR

INTRODUCTION

Why study the fine arts? ...

Why practice the fine arts? ...

...

Because

The principles of aesthetic composition in the fine arts media

Are general to composition in all arts media.

The principles general to aesthetic composition in drawing, painting and sculpture,

In gold, iron and copper, in wood and oil, ink and pastel and lead

Are general to flowers too–

To flower arranging for example.

Examples? Models of principles

That can make any composition in stone, parchment or spray-paint beautiful?

Take the grouping of similar figures for your example.

Take balance for your model.

Def. : Principle of Aesthetic Composition in Fine Arts Media,

The Grouping or Composition of Similar Figures.

When the objects, figures or major features that make-up or

Compose a fine arts composition have an apparent likeness,

Similarity or commonalities.

Fine arts compositions that are comprised of similar figures produce

Aesthetic pleasure.

Fine arts compositions made-up or composed to realize the principle

Of similar figures produce aesthetic pleasure in their viewer.

Def. : Principle of Aesthetic Composition,

Composed Balance

The objects, figures, or major features that make-up a fine arts composition

All have weights or apparent weights.

When the spatial arrangement of the objects figures or major features

Counter-balances their weights on an implied framework the fine arts

Composition is balanced.

Fine arts compositions that are balanced produce aesthetic pleasure.

Fine arts compositions made-up or composed to realize the principle of

Balance produce aesthetic pleasure in the viewer.

These principles,

And others

General to aesthetic composition in the fine arts media

can be used to make aesthetic composition

In

the arrangement of flowers, in the printing of fabrics, wallpaper and paper,

In graphic design, in fashion – the design of items of clothing and accessories,

In dress – in the composition of our dress, in make-up, in masonry, brickwork,

The planning of gardens, landscaping, in the planning of park design,

Environmental design, architecture, graphic design – typesetting, filers, and adverts

And presentations, in the design of consumer goods, the design of window

Displays the display of goods in the design of interiors and, the decoration of single

rooms set design and in the preparation of food in the preparation of food –

presentation, in dance, in our snaps, our cinematography and

movies and more...

more and all --

all arts media...

At an art gallery

A person sits on a bench in front of a painting,

Studying it.

Studying one of the aesthetic principles it realizes in its simultaneity – part

Of what makes the composition particularly beautiful,

A way of balancing a number of objects, figures, major features,

A way of balancing a number of weights I had not seen before.

They make a sketch in color pencils.

A sketch that realizes in its composition the same balanced spatial

Arrangement of the same set of weights

With a different set of objects.

It’s pretty.

In doing so they express or act-out their understanding

That when they study aesthetic composition in one fine arts medium –painting

They are learning how to make aesthetic in paints,

And in the other fine arts too.

But with equal validity he might have arranged the weights of his own limbs

in a pretty dance pose with the very same balance.

Or re-arranged the pictures and posters on her bedroom wall,

Or changed the way I plate a dish at my restaurant.

Or change the placements of the blocks of texts on the flier for her band’s

Upcoming gig,

Or the arrangement of furniture in my furniture showroom

So it’s balanced the same pretty way..

Or the mise en scene for that shot in his film

Or all of them,

In expression of all what we are truly learning when we study aesthetic composition

In the fine arts...

Why study the fine arts?

Why practice the fine arts?

Because when we study the principles of aesthetic composition in the fine arts

We study and learn at aesthetic composition in each arts medium at the

Same time...

A hundred competencies at the same time

A Stronger Arguement

...

Why study the fine arts?

Why practice the fine arts?

Because

The principles of aesthetic composition in the fine arts media

Are general to composition in all physical media.

[author waits 5 beats]

This

Broader claim,

This broader claim on truth –

The general validity of the principles of aesthetic composition.

The general ability of the principles of aesthetic composition to effect beauty in

Any physical medium

Is evident – I would say.

Evidenced, I would say in the generality of the arts media I listed,

Even argued, in the spread of the list of fine arts media.

It really only remains to be recognized.

....

So

It is to round off the argument

That I offer a second type of proof.

I will take

From within the generality of the arts media I listed

Three physical media not recognized as arts media.

Using the principles of aesthetic composition

I will make aesthetic.

Three New Art Media

1 : You are the missing compositional element

2 : Compositions in the contents of my pockets

3 : The Beautiful Day

1

The first medium

Is your setting

And you in it.

To the viewer

You and the objects that compose your setting

Comprise an artistic composition.

And like a viewer before a painting

The viewer makes an aesthetic judgment of the artistic composition

And has an aesthetic reaction.

If the composition – if the setting and you in it realize one of the principles of

Aesthetic composition in fine arts media

Then so judged,

The viewer’s reaction will be one of pleasure, aesthetic pleasure

At seeing you in your setting.

If the composition – if the setting and you in it realize one of the principles of

Aesthetic composition in fine arts media

Then so judged,

The viewer’s reaction will be one of pleasure, aesthetic pleasure

At seeing you in your setting.

In nearer conformation to the principle

The viewer’s pleasure is greater

And if your composition realizes close conformity to more than one aesthetic

Principle, they will feel great pleasure

or a highly associated feeling—elation, euphoria, awe.

And...

If your composition is far out of conformation with one

Principle of fine arts composition...

Then, so judged,

The viewers aesthetic reaction will be a dis-aesthetic reaction – displeasure.

Displeasure at seeing the you in your setting

In farther dis-confirmation to the principle

The viewer’s displeasure is greater.

And if your artistic composition is far out of confirmation with

More than one aesthetic principle they will feel great displeasure

Or a highly associated feeling --- psychical pain, anxiety.

...The received model of aesthetic judgment and aesthetic reaction

but instead of a painting, the aesthete is a person looking at

you wait for the bus.

Practice in this physical medium

Consists

Of arranging yourself in your setting – your position among the objects, the figures

Or the features of the setting, arranging your limbs – your pose

So as to realize one or more of the principles of fine arts composition

With respect to the viewer

You place yourself so that the objects that compose the setting are

Better balanced in the viewer’s eye,

Or pose yourself to realize or to extend the principle of feature similarity

Realized among the settings objects with as a similar figure.

People

Arrange themselves to realize an aesthetic composition...

They arrange their hair, they arrange their face, they arrange their clothes

They arrange their pose – and with the same principles of fine arts composition.

People

Arrange their private settings to realize an aesthetic composition...

[pause]

But they don’t know to arrange themselves in their present setting to

Realize an aesthetic composition...

The decoration of a private setting is done from the perspective of a person

Viewing a setting – from the door of your room

Self-decoration is done in a mirror – from the perspective of a person viewing them,

Judging them.

And perhaps that’s why this medium is elusive,

Even to people that are very concerned with the aesthetic arrangement of their

Appearance and their private settings,

Because, absent a giant mirror, it takes an act of imagination to take the perspective

Of a person viewing them in their present setting.

When you take the perspective of a person viewing you in your setting

You, at the same time assume the perspective of a painter viewing their canvas...

From this perspective

You compose.

And re-arrange and recompose it until, approximating one of the principles

Your experience of the displeasure of a viewer becomes aesthetic pleasure.

Note.

For simplicity

I wrote this privileging one viewer at one position and perspective

Respective to you in your setting, the compositional subject.

It was therefore appropriate to use painting and drawing as

The principle study.

One can practice in this compositional medium so as to favor

Multiple viewers at multiple positions and perspectives with respect

To you in your present setting. The model is sculpture, which

Is composed to be aesthetic from every perspective.

You and the setting you’re in is the first of three un-established media

Within the generality or generalness

of established arts media

in which I will further demonstrate

the validity of fine arts compositional principles

to all media.

Before proceeding to the second un-established medium

A speculative notice.

When the viewer judges that an aesthetic principle has been realized

The viewer judges that a whole has been realized.

Not an aesthetic whole...

A whole... that is aesthetic...

An example medium makes the speculative thesis more definite:

When the compositional medium is you, and the setting you’re in,

The viewer judges that you, and the objects of the setting realize a whole.

[pause]

As you move into a position and a pose that realizes the aesthetic balancing

Of the objects, figures and major features of the setting’s composition,

In the viewer’s perceptual judgment you become

Not part of an aesthetic composition

But

Part of the setting.

[pause]

The perceptual dividing lines between you and the objects of the setting

Disappear and you become an integral part of a whole

And you and the setting become the setting...

Unified by an aesthetic principle.

A example in the medium.

Picture me practicing the