TECHNOLOGICAL INSTITUTE OF THE PHILIPPINES - MANILA CAMPUS

FUNCTIONS OF ART & PHILOSOPHY

Written Report

HUM 513
Art Appreciation

DATE:
November 13, 2018- Tuesday

SUBMITTED BY: (AR51FA1)

Alcantara, Hanxie
Bejerano, Ara Shane
Caballa, Julie Ann
Cadiz, Jonavielle Vera
Cayobit, Reinette Vanz
Cue, Timmy Blaire
INTRODUCTION
Art, philosophy of, the study of the nature of art, including such concepts as interpretation, representation
and expression, and form. It is closely related to aesthetics, the philosophical study of beauty and taste.

Aesthetics is the philosophical study of art.

In its original Greek derivation, the term denoted the study of sense experience generally and it was not until
the mid-18th century, following a usage introduced by Baumgarten, that a particular reference to the idea of beauty
in nature and art was established. The current mean in developed even later in the 18th and early 19th articulation of
the concept of fine art.

Although discussions of beauty have always figured in the history of philosophy, these discussions were,
until the modern period, invariably linked to primary concerns with epistemology, and ontology, or with moral and
social value, or with logic. Plato and Aristotle, for example, were both concerned with the question whether art
could embody and communicate truth and knowledge. And Plato’s view that it could not – that art stood at several
removes from reality – led him to proscribe most forms of art from his ideal Republic, lest its citizens be diverted
from nobler pursuits.

In the early 18th century, empiricist philosophers such as Hutcheson and Hume were primarily concerned
with the standards and logic of our judgements of taste and beauty.

The real impetus to the idea of aesthetics as a distinctive branch of philosophy occurred in the work of
Baumgarten and Kant. For each came to regard aesthetic consciousness as a significant and unitary element of
human existence. In Kant’s view, aesthetic judgement is unlike either theoretical judgement or practical judgement,
in that is effected entirely subjectively, solely in reference to the subject himself. Kant argued in the Critique of
Judgement, aesthetic judgement provides the essential focus for connecting the theoretical and practical aspects of
our nature. It can thus reconcile the worlds of nature and freedom.

Humanism: Art as a philosophy

Humanistic themes and techniques were woven deeply into the development of Italian Renaissance art.
Conversely, the general theme of “art” was prominent in humanistic discourse. The mutually enriching character of
the two disciplines is evident in a variety of areas.

Philosophy and Humanities

Philosophy is the consideration of many different ideas, some deriving from the intellectual heritage of past
cultures, others stemming from those issues we face in our present moment in history. While many disciplines study
specific features of the world, Philosophy can be about almost anything. Philosophy can ask big questions, such as
"Why am I here?", "Is there a God?" and "How do we tell right from wrong?"

But Philosophy can also pose very specific questions about the environment, about political life, about art,
about the self. Traditionally, Philosophy has been divided into specific branches, many of which provide the basis for
particular courses. For example, philosophers are interested in ethics, in knowledge and truth, in the nature of
reality and the mind, in logic, beauty, social justice. Philosophy emphasizes thinking as a pleasurable end in itself, as a
method of critical inquiry, and as a way of developing theories that enable us to understand the world and our place
within it.
Humanities

The humanities are the stories, the ideas, and the words that help us make sense of our lives and our world.
The humanities introduce us to people we have never met, places we have never visited, and ideas that may have
never crossed our minds. By showing how others have lived and thought about life, the humanities help us decide
what is important in our own lives and what we can do to make them better. By connecting us with other people,
they point the way to answers about what is right or wrong, or what is true to our heritage and our history. The
humanities help us address the challenges we face together in our families, our communities, and as a nation.

The humanities should not be confused with "humanism," a specific philosophical belief, nor with
"humanitarianism," the concern for charitable works and social reform.

Realism

Humanists paid conscious tribute to realistic techniques in art that had developed independently of
humanism. Giotto, the Florentine painter responsible for the movement away from the Byzantine style and
toward ancient Roman technique, was praised by Giorgio Vasari as “the pupil of Nature.”

Classicism

Like the humanists, Italian artists of the 15th century saw a profound correlation between Classical
forms and realistic technique. Classical sculpture and Roman painting were emulated because of their ability
to simulate perceived phenomena, while, more abstractly, Classical myth offered a unique model for the
artistic idealization of human beauty.

Anthropocentricity and Individualism

Humanism and Italian art were similar in giving paramount attention to human experience, both in its
everyday immediacy and in its positive or negative extremes. Like the humanists, Italian artists stressed
the autonomy and dignity of the individual. High Renaissance art boasted a style of portraiture that was at
once humanely appreciative and unsparing of detail.

Though lacking permanence itself, humanism in large measure established the climate and provided the
medium for the rise of modern thought. An impressive variety of major developments in literature, philosophy, art,
religion, social science, and even natural science had their basis in humanism or were significantly nourished by it.
Important spokesmen in all fields regularly made use of humanistic eloquence to further their causes. More
generally, the so-called modern awareness—that sense of alienation and freedom applied both to the individual and
to the human race—derives ultimately, for better or worse, from humanistic sources. But with humanism, as with
every other historical subject, one should beware, lest valid concern about changes, crises, sources, and influences
obscure the even more important issues of human continuity and human value. Whatever its weaknesses and inner
conflicts, the humanistic movement was heroic in its breadth and energy, remarkable in its aspirations. For human
development in all fields, it created a context of seldom-equaled fertility. Its characteristic modalities of thought,
speech, and image lent themselves to the promptings of genius and became the media for enduring achievement.
Its moral program formed the basis for lives that are remembered with admiration.
Functions of Art

“Art is a way of talking to strangers.” By Marlene Dumas

 Personal or individual function

Art created to express personal feelings and ideas.

 Social function
Art created to reinforce and enhance the shared sense of identity of those in a family, community, or
civilization.

 Economic function
Art created to express.

 Historical function
Art created for recognition and remembrance, commemoration.

 Culture function
Art is used in rituals, performances, and dances as a decoration or symbol.

 Physical function
Art is used for a purpose or function.

 Aesthetic function
Artworks serve to beautify.

Functions of Philosophy
The functions of philosophy are the uses of the subject to us as individuals and as members of a
society. Some contemporary thinkers called the Analytic philosophers see philosophy as a study
that essentially simplifies and analyses issues and statements pertaining to other subjects in order
to enable us understand them better. The functions of philosophy are explained as follows:

 Analytical Function
This has to do with the analysis and clarification of ideas, issues, and statements to enable us
understand the subject matters of other disciplines function of philosophy.

 Speculative and Normative Function

The mind is a very essential instrument for doing philosophy. The mind enables him to think about
himself, the people around him and the world in general. With it he can speculate about things he is not sure
of; he can imagine things that are possible and even those that are not possible. It is to be noted however,
that, when we think about things or speculate on issues it is done within the context of our social and
cultural environment.

 Inspirational Function
The educational process is constantly inspired by philosophers. Such works as Plato’s Republic and
others like it have become the reference book for many educators because they obtain a lot of insight from
these books to guide their activities. For one thing, every society has its ideal and thus, strives to attain it.
 Plato’s ideal in the Republic is one in which education serves as an important criterion for assigning social
positions and responsibilities. It is therefore, believed that, people should be educated in order to enable them
achieve self-fulfillment.

Even though Plato’s society does not pretend to strive for equality of all people, it is still a model to
inspire the Nigerian educator in his effort to bring about a measure of equality in society.

 Prescriptive Function
Every nation has its problems which call for solution. It is expected that everyone would contribute
to the best of his ability. Although philosophy has a lot to contribute, philosophers are sometimes
excluded from the decision making process. This appears to have made the situation worse. For example,
before adopting a new educational or social policy in the country, one would expect that philosophers would
be included in the planning. Such contributions would benefit all concerned.

 Coordinating Function
Since it is well known that all other disciplines are generated from philosophy, philosophy cannot be
seen as competing with its offspring. In view of the fact that these disciplines have established their
knowledge base solidly, philosophy has mapped out for itself other responsibilities.

The fact that there exist at present such area as philosophy of science, philosophy of social science,
philosophy of law and philosophy of education among others, shows the contribution that philosophy still
makes to learning. Consequently, the coordinating role of philosophy in articulating the knowledge base of
these disciplines should not leave anyone in doubt about the prescriptive function of philosophy.

Art as Philosophy
The philosophy of art is distinguished from art criticism, which is concerned with the analysis and evaluation
of particular works of art.

The test of the success of art criticism with a given person is: has this essay or book of art criticism increased
his understanding or enhanced his appreciation of the work of art in question? Art criticism is particularly helpful and
often necessary for works of art that are more than usually difficult, so that the average person would be unable
adequately to understand or enjoy them if left to him.

 Art is an imitation for Plato, the work of the artisan is to copy or imitate the idea, eternal, immutable,
for one thing. The artist proceeds by imitation but also what copy is the sensible thing is to say an
already imperfect reproduction of the Idea. Instead of approaching the truth, it increases the
distance that separates her.

 The Judgement of Taste: Kant, is the art of reflective judgment opposing the ruling factor. The latter
is used in scientific discourse and is to apply concepts (universal) prior to singular objects. Reflective
Judgement (eg, “How beautiful”) may instead assume universality. The beautiful is disinterested
(the utility and fun do not take part) it pleases universally without a concept (universal subjective)
well, it’s a finality without end (it shows in order, a plan, but does nothing beyond itself)

 The Science of Art: Hegel criticizes Kant for having retained a subjective point of view on art. But a
science of art is possible in that art is a production of the spirit (Geist), it is not unlike the individual
consciousness. The science of art is historical, because the idea of art unfolds itself in history until the
modern era that marks the end of art.
  The powers of the imagination: Delacroix and Baudelaire assert the primacy of the imagination
(constructive) in art. The primary subject of art is not nature but the artist himself, the depths of his
soul, emotions, etc. Alain critique this view by stating that the imagination is an illusion and that
nothing is given, in the human psyche, an emotional disorder. Art is the externalization, the act of
ordering and discipline of the passions.

 The artist as a work of art: For Nietzsche, the aesthetic categories are metaphysical categories. The
figure of Dionysus, which is essential to tragedy, is what is terrifying to disproportionate in nature.
Nature, only an artistic vision can support and embellish, is the power of metamorphosis, becoming,
creation and destruction. The artist, one man (or superman) is the one that truly manages to order
the chaos of impulses that inhabit it. Aesthetics is an “Applied Physiology”.

 Art and technology: The question of the future of art in an age where technology acquires a
dominant position is essential. Benjamin shows as well as the reproducibility of art (photography, for
example), they tend to lose their aura, their sacred nature.

 The work of art and the tool: For Heidegger the traditional conception of the natural thing, the tool
and the work of art as composed of matter and form comes from human activity in manufacturing
which a material is worked to fit a function, and thus becomes a tool. But daily use tools mask their
being, their truth because the tool is effective only in strict as it is forgotten. The work of art is what
reveals the being of the tool, membership in a human world and a primitive nature (the Earth).

Conclusion

Countless proffered definitions of “art” are not definitions at all but theories about the nature of art that
presuppose that the ability to identify certain things in the world as works of art already exists. Most of them are
highly unsatisfactory even as theories. “Art is an exploration of reality through a sensuous presentation”—but in
what way is it an exploration?

All that seems to be required for identifying something as a work of art in the wide sense is that it be not a
natural object but something made or transformed by a human being, and all that is required for identifying it as art
(not as good art but as art) in the narrower sense is that it function aesthetically in human experience, either wholly
(fine art) or in part (useful art); it is not even necessary, as has been shown, that it be intended by its creator to
function in this way.

References:

Modified title of Web site: Internet Archive - "The Philosophy of Art".

Written by: John Hospers

www.douglascollege.ca
Douglas College faculties: def. of philosophy and humanities

Introduction to the humanities: a holistic approach, jesus z. Menoy

Art appreciation: introductory reading on humanities focus on philippine art scene, crisanto q. Regadio jr.,josielyn m. Mendoza

Introduction to integrated humanities arts in perspective of time, 1st ed., daniel s. Yagyagan, ph.,roger cerda, mat, jayee p. Laurel

Introduction to art appreciation: a textbook in humanities, 2nd ed., mariano m. Ariola

www.yaaka.cc
Source: School of Education, National open University of Nigeria