Esthétique et Communication

Dossier: Esthétique et Communication

• The dossier is formatted according to university guidelines (introduction, problem statement, thematic sections, bibliography).
• Submission deadline will be communicated later.
• The introduction discusses aesthetics and communication, specifically how "communication aesthetics" refers to an aesthetic format.

Introduction (continued)

• The concept of "beauty" ("beau") is universally understood.
• The focus shifts to understanding what constitutes beauty, whether art's beauty is inherent in the work or is shaped by the viewer, and what qualities define an artist.
• The text mentions the merging of aesthetics and functionality, using an example of a French architect designing a large building in Marseille.
• The interplay between art and advertising (or advertising as a form of art) is also referenced.

Aesthetics of Communication (page 2)

• The author, F. Forest, believes artists should be in harmony with their environment and time period, using the available tools and techniques.
• Emphasizes the importance of the "message" as a communication tool.
• Communication effectiveness would be reduced by removing the explicit message.
• The role of media in shaping psychology is also discussed.

Fluxus Movement

• This artistic movement aims to transcend conventional artistic boundaries.
• Total freedom of expression.
• The boundary between art and life becomes blurred.
• The Dadaist movement and its concept of a readymade piece, such as Duchamp's urinal, are mentioned as having influenced subsequent artists.
• This movement also inspired photomontage and phonetic poetry.

Surrealism

• Initiated in 1924.
• Characterized by automatic writing as the primary creative process.
• Aims to break free from rational control and censorship, valuing spontaneity and unexpected aspects.
• Emphasizes the unconventional and non-conformist nature of artistic expression.

Greek Aesthetics (1200-31 BC)

• Aesthetics in ancient Greece explored broader concepts than just art.
• Beauty is examined in terms of representation, copying (in art forms such as painting and poetry), and illusion.
• The concepts encompass moral and political considerations.
• Beauty is not exclusively material, and usefulness does not inherently equate to beauty.
• Senses are fallible and art should not be judged based on mimicking reality.

Renaissance Aesthetics (14th-16th Centuries)

• Revival of Greek cultural values.
• Recognition of artists and artisans.
• Introduction of new elements including the Sorbonne University and the development of polyphonic music.

Classical Aesthetics (17th Century)

• Theatre was a major focus.
• Development of music theory.
• Importance of symmetry in architecture.

Beauty (Kant)

• Kant believed beauty allows for inner peace.
• The importance of the form over the content is emphasized.
• Art is seen as more of a game than a serious, deep-seated endeavor.

Beauty (Hegel)

• Hegel argued that beauty equals truth, relating art to intellectual understanding.
• Natural beauty is not important; only art's representations of nature are.

Beauty (Nietzsche)

• Nietzsche argued that beauty is not about harmony or truth but about appearances.
• Beauty allows for coexistence with the meaninglessness of life.
• The concepts of Apollonian (order, reason) and Dionysian (inspiration, excitement) are introduced.