Art vs Nature Art is basically creation by human beings though there are natural creations that are no less than best pieces of visual art. Art has been defined as “the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others” – (Britannica Online). If one goes by this definition, art has existed since time immemorial. It has been there in the form of wall paintings, frescos, body piercing, tattoos, statues, paintings etc. Art is the imagination in the mind of the artist that he transforms into a tangible form through his skills. An artist gets inspired mostly by nature though there are times when the genius of the artist draws on his own. For a long time now there has been a heated debate going on to find out differences between art and nature. Let us join this debate.

Have you seen how people get attracted to any food item that is promoted as being natural? The term organic is now ubiquitous and is being used as a marketing term to attract more and more customers. If this is what happens with food and clothing, one can easily assume the attraction for nature and things natural for someone who is artistic by nature. Nature has always been kind enough to inspire hordes of artists, and the impact of nature and natural objects has been more than evident on art works of artists down the civilization.

What is the difference between Art and Nature?

As for differences between art and nature, it is well known that nature is original and art is only a creation by human beings. Art tries to replicate things natural but nature will always remain supreme. There is another difference between art and nature and it is the manner in which much deeper meaning is conveyed by an artist on his canvas though he appears to mimic nature. Howsoever beautiful the creation by humans may be, art can never be better or more beautiful than nature itself.

ART AND CULTURE

There is a fine distinction between the two emphatic concepts – culture and the arts, though they are also related. Both the distinction and the seeming synonymity could be seen in their definitions. An American sculptor once said that art is something one does and culture is something that is done for one (as quoted by Hermann Glaser: 36). This close relationship between the arts and culture is analogous to that of a tree and its flowers. The arts are, therefore, a manifestation of culture. It follows that any art form is created and executed within a specific physical environment. It naturally interacts with the environment, is influenced by it, influences that environment in turn and acts together with the environment in the larger and far more complex history of society. Hence when art forms are considered from the point of view of survival strategies, the dynamics of cultural interaction with society become even more aesthetically challenging and fulfilling. This paper attempts to examine historical trends in the cultural administration and arts management in Nigeria.

In book form, art has many definitions. Art can be defined as an external manifestation by means of colors, lines, sounds and movement. “Art is a means of union among men, joining them together in the same feelings, and indispensable for life and progress towards well-being of individuals and of humanity.” (Margolis) I feel that art is something that has no concrete definition. The true beauty of art is that it is subjective, which means it can anything you want it to be, as long as it provides you with the result you are looking for. Each piece of art that I look at causes me to enter into a relationship with that piece of work. Just as reading transmits thoughts, art transmits feelings. Art often reflects someone’s personal taste. When you go to a person’s home and see pictures and paintings on the wall, you get a sense for the value that person places on art. Many pieces of art are personal. Their monetary value might be small, but the meaning behind the piece of art can be significant. For example, I have a friend who has a dog collar framed on the wall in her home. It is from her first puppy, and she says it always makes her smile when she sees it because it reminds her of how much she loved the dog. Unfortunately, you have to remember that not everyone is going to like the piece of artwork you select, not everyone is going to see or appreciate the time you spent finding the piece of art, and not everyone is going to appreciate the unique taste that you might have. So I feel that art exhibits a person’s strength if they have a unique personal taste that might not be well received. It takes courage to be artistic, whether you are creating the art yourself or displaying a piece of artwork in your home or office. I feel that culture and art are mainly related in the form of expression. Culture changes constantly and can get lost because it exists in our minds. Buildings and man made items are products of culture and are not...

how culture and art are relatedtwo examples that illustrate the relationship between art and American culture.

Paul Cézanne Post-Impressionist painter was quoted saying “A work of art which did not begin in emotion is not art." I absolutely agree with this statement. I will further describe what art means to me and what I feel art is. I will also review how art relates to culture. As well as give examples of the relationship between art and American culture

Two examples that clearly illustrate the relationship between art and American culture are architecture and literature.

t is the process or product of deliberately arranging elements in a way to affect the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music, literature, film, photography, sculpture, and paintings. The

meaning of art is explored in a branch of philosophy known as aesthetics. Traditionally,...

Is there a relationship between local arts and culture production and local prosperity that is permanentrather than transitory? The answer to this question determines whether arts and culture productiongenerates economic growth or a temporary ‘multiplier’ effect that diminishes over time. We argue thatdespite the obvious public policy interest in the subject there has been no fully satisfactory empiricalanalysis of this question. In this paper we provide a model that allows us to think systematically about theproblem and an empirical methodology capable of testing relevant hypotheses concerning possible answersto the question. We identify data to which these methods can be applied, using per capita GDP andexpenditure levels of arts and culture production by not-for-profit organizations in US urban areas. Ouranalysis suggests that the impact of arts and culture production is not transitory. Shocks to local arts andculture production generate impacts that alter the local economy and change steady-state GDP.

Art and culture’s core practice is one of the most participative, dynamic and social forms of human behaviour. It has the capacity to trigger reflection, generate empathy, create dialogue and foster new ideas and relationships and offers a powerful and democratic way of expressing, sharing and shaping values. It can help us build new capabilities and understand how to imagine and rehearse a different way of being and relating. It can enable us to design useful and meaningful things and is increasingly the basis of livelihoods and enterprises that are motivated by much more than profit.

But to fully release this potential, we need to deepen our understanding of how arts impact on our values and rethink how and why we value art. Our values represent our guiding principles, our broadest motivations, influencing the attitudes we hold and how we act. They shape the way we look at and understand the world and the mental structures that order our ideas. They are the frame through which we construct the stories that we tell ourselves and others about what is important.

ART

Art stimulates different parts of our brains to make us laugh or incite us to riot, with a whole gamut of emotions in between. Art gives us a way to be creative and express ourselves. For some people, art is the entire reason they get out of bed in the morning. You could say "Art is something that makes us more thoughtful and well-rounded humans."On the other hand, art is such a large part of our everyday lives that we may hardly even stop to think about it. Look at the desk or table where you are, right this minute. Someone designed that. It is art. Your shoes are art. Your coffee cup is art. All functional design, well done, is art. So, you could say "Art is something that is both functional and (hopefully) aesthetically pleasing to our eyes."

You might say "Art is in a constant state of change, so nobody can really pin down what it is." The constant change part is true, but the not pinning it down part is going to get you a bad grade. It may even raise a comment or two about your being some sort of wisenheimer. Don't go this route.

You might even say "Art is subjective, and means something different to every single person on earth." This, too, is the truth. I would caution against this approach, however, as it would require a stack of paper from here to the moon to cite all of your 6.8 billion references.

Now, everything just stated has elements of truth, but is largely based on opinion. My opinion is, frankly, useless in your paper-writing endeavor. Form your own opinions (that should be the reason you are receiving an education, after all), and be sure to sprinkle them in your answer... which needs a factual basis, so here are the cold hard facts:Art is form and content.

"Art is form and content" means: All art consists of these two things.

Form means:

The elements of art,the principles of design andthe actual, physical materials that the artist has used.Form, in this context, is concrete and fairly easily described -- no matter which piece of art is under scrutiny.Art is a form of self-expression. I believe we are all artists, because we are all capable of feelings and innovation. For example, I consider basketball an art, because to a lot of those players, they play to be themselves, and sometimes you can see their unique playing styles and body language as they move up and down the court, shoot or drive.

What I don't consider art is just blatantly copying a bunch of stuff to its exact detail. I hate a lot of Chinese artists because they have a lot of artists who simply copies something without thinking or feeling. So they can make a ridiculously photo-realistic sketch of something, but I simply can't tell whether it was really him that did it or a machine. There becomes a miscommunication between me and the artist, because I may not even get the slightest hint of what kind of person the artist is from the art.

To me, no matter how much skill it requires to completely replicate an artwork or something, it shouldn't be considered art if you can only do what a machine does, which currently machines can only copy things and do what they're told.

However, anything where I can find beauty in can also be art for me.

So then I guess my definition for art is:Art is anything that has recognizable human qualities from the artist, and/or anything that the viewer or the artist finds beauty in.

So I guess art is just really a character study of the maker.

The way i see it, the artistic creation process is like getting something out of your head. First your imagination acts creating an image or concept then your hands/camera/digital-tools make it as close to what you imagined as possible. Even in fotography, the night before a shot, you spend it dreaming with possible posses or angles, i´ve experianced this even in scenic shots. you are allways looking for that image that you have in mind about the place/person.

Now, do scientists have the same process of previsualicing then trying to make it possible... i´d say yes. Diferent techniques same process. I would say every scientist has an image of the reallity in his creative mind, and he just works to make it true, or probe it false.

CULTURE

new definitions on the details of culture began to develop. Now, people started to express that culture is the actions one chooses to define their character. Thus, however one chose to live their life was their "new culture." On top of this, not only is it how they live their lives, but it is the mental capacity with which they do it. What could be a better definition of culture than, the meanings and values that people contain with which they decide to move their lives?

In order for culture to survive a man, family, or generation, tradition and language become an integral part to its longevity.And by language, I do not just mean the verbal articulation of men and women as means to communicate. Instead, I am talking about all means of communication; music, architecture, poetry, sculpture, etc. These carriers of culture represent the meanings and values of both the artist creating, and more importantly, the meanings and values of all of his or her civilization at that moment in time. Each form of art described above has a story to it. The story is the lives and times of the people in the moment in which the work was created.

Culture, as a “complex whole,” is a system of interdependent components.Knowledge and beliefs are important parts. In the U.S., we know and believe that a person who is skilled and works hard will get ahead. In other countries, it may be believed that differences in outcome result more from luck. “Chunking,” the name for China in Chinese, literally means “The Middle Kingdom.” The belief among ancient Chinese that they were in the center of the universe greatly influenced their thinking.Other issues are relevant. Art, for example, may be reflected in the rather arbitrary practice of wearing ties in some countries and wearing turbans in others. Morality may be exhibited in the view in the United States that one should not be naked in public. In Japan, on the other hand, groups of men and women may take steam baths together without perceived as improper. On the other extreme, women in some Arab countries are not even allowed to reveal their faces. Notice, by the way, that what at least some countries view as moral may in fact be highly immoral by the standards of another country. For example, the law that once banned interracial marriages in South Africa was named the “Immorality Act,” even though in most civilized countries this law, and any degree of explicit racial prejudice, would itself be considered highly immoral.

Life without the collective resources of our libraries, museums, theatres and galleries, or without the personal expression of literature, music and art, would be static and sterile – no creative arguments about the past, no diverse and stimulating present and no dreams of the future.Of course the inherent value of arts and culture is, in part, a philosophical assertion that can’t be measured in numbers. Quantifying the benefits and expressing them in terms of facts and

figures that can evidence the contribution made to our collective and individual lives has always presented a problem, but it is something that arts and culture organisations will always have to do in order to secure funding from both public and private sources.When we talk about the value of arts and culture, we should always start with the intrinsic – how arts and culture illuminate our inner lives and enrich our emotional world. This is what we cherish. But while we do not cherish arts and culture because of the impact on our social wellbeing and cohesion, our physical and mental health, our education system, our national status and our economy, they do confer these benefits and we need to show how important this is.We need to be able to show this on different scales – on individual, communal and national levels – so that we can raise awareness among the public, across the cultural, educational and political sectors, and among those who influence investment in both the public and private sectors. We need this information to help people think of our arts and culture for what they are: a strategic national resource.We also need this information to see where the impact of our work is felt, and where we don’t yet reach. We want to understand how we can do better, so that arts and culture can be truly enjoyed by everyone.As this evidence review shows, there is a considerable body of research literature available – but there are also many gaps. There is a lack of data, for example, about the economic benefits of museums and libraries, and about the importance of the arts to the creative industries, particularly in regard to innovation.We lack longitudinal studies of the health benefits of participation in arts and culture, and comparative studies of the effects of participation in the arts as opposed to, say, participation in sport. We cannot demonstrate why the arts are unique in what they do. And when it comes to crime, we have little knowledge about the effect that participation in the arts may have on reducing the numbers of people who re-offend. In some areas, such as the environment and sustainability, and science and technology, we have a general lack of suitable research – yet these are areas in which our own experience and common sense tell us that the arts play an essential educational and communication role.

The value of arts and culture to society has long been debated. We know that arts and culture play an important role in promoting social and economic goals through local regeneration, attracting tourists, the development of talent and innovation, improving health and wellbeing, and delivering essential services. These benefits are ‘instrumental’ because art and culture can be a means to achieve ends beyond the immediate intrinsic experience and value of the art itself. This review concentrates on identifying robust research that explores to what extent arts and culture bring these benefits to individuals, communities and society. However, we are also conscious that there are intrinsic benefits of arts and culture experiences, such as aesthetic pleasure, which are seen as private and personal. These intrinsic benefits to an individual spillover to ‘instrumental’ impacts: ‘These intrinsic effects enrich individual lives, but they also have a public spillover component in that they cultivate the kinds of citizens desired in a pluralistic society. These are the social bonds created among individuals when they share their arts experiences through reflection and discourse, and the expression of common values and community identity through artworks commemorating events significant to a nation’s (or people’s) experience.’ (McCarthy et al, 2004, The Gifts of the Muse:

Reframing the Debate about the Value of the Arts) In recognition of the intrinsic benefits of arts and culture, we are commissioning an international literature review between October 2013 and February 2014 about the intrinsic value of the arts and culture to complement this evidence review. We acknowledge the varied, complex and sometimes unpredictable context in which arts and culture exist and create the types of benefits discussed in this review. In 2012 the Arts and Humanities Research Council and the Warwick Commission have opened a call for research on the theme of cultural value. These research programmes will add to thinking around the value of arts and culture, as well as developing some of the more complex questions about how this value operates – for example, how the benefits of art and culture can be negatively experienced, to what extent they are equitable, and how different types of engagement, full or partial, change the experience and benefits gained from engaging in arts and culture. Taken together, these pieces of work will deepen our understanding of the impact of arts and culture and will map out and reinforce the changing and complex role that art and culture plays in our experience as individuals and on the fabric of our society

Defining Arts, Culture, and CreativityThe arts and culture field encompasses the performing, visual, and fine arts, as well as applied arts including architecture and graphic design; crafts; film, digital media and video; humanities and historic preservation; literature; folklife; and other creative activities. The arts alone can be classified into 13 categories: acting, announcing, architecture, fine art, directing, animation, dancing and choreography, design, entertainment and performance, music and singing, photography, production, and writing (Gaquin 2008). Culture can be defined as the arts as well as the intangible shared beliefs, values, and practices of a community (Houston 2007). "Creativity" is sometimes used to describe the common elements of arts and culture, but this term encompasses other fields as well. We use the Bureau of Labor Statistics definition of creativity, which encompasses the development, design, or creation of "new applications, ideas, relationships, systems or products, including artistic contributions." As a whole, many forms of arts and culture naturally manifest as aspects of daily human activity (NACCCE 1999; Robinson 2007).

People pursue artistic and creative expression through a variety of outlets: formal theatrical performances, sculptures, paintings, and buildings; as well as the less formal arts, music and food festivals, celebrations and informal cultural gatherings, pickup bands, and crafts groups. Together, these formal and informal, tangible and intangible, professional and amateur artistic and cultural activities constitute a community's cultural assets. These activities — which encompass a diverse set of locations, spaces, levels of professionalism and participation, products, events, consumers, creators, and critics — are essential to a community's well-being, economic and cultural vitality, sense of identity, and heritage.

The formal, or professional, arts include people who are working as professional artists in arts-specific facilities, while the informal or vocational arts include a variety of community and individual activities. The locations and spaces where such activities are held include professional venues such as theaters, arenas, museums, and galleries and less formal settings such as local community and recreation centers, businesses, libraries, clubs, parks, schools, and other local gathering places. Of course, individual arts activities can occur anywhere and at any time; consider a choir singing in a church, a teenager listening to music, and an elder teaching a traditional craft to a grandchild.

People participate in arts and culture at varying levels of skill and engagement. Participants include creators (from the professional actor to a child actor in a school play), consumers (from the audience member for an opera performance to the parent of the child in the school play), and supporters and critics (whether foundations, parents and school fund-raisers, or journalists). Some create, while others listen to, watch, teach, critique, or learn a cultural activity, art form, or expression. Some are professional artists, designers, and inventors, while others engage informally in expressive activities or create innovative tools, relationships, or products. The field as a whole can be represented within a framework that has four main aspects: degree of professionalism, type of product or activity, locations and spaces, and level of participation and involvement. Table 1 outlines these dimensions.The arts and culture sector is continually developing and changing. Further, the ways in which arts and culture activity is defined, manifested, and valued vary somewhat by locality and community. For example, in one locale a folklife or traditional activity such as sail making or boat building may be recognized as a craft or art form, whereas the same activity elsewhere may be thought of simply as work. Since the arts and culture sector is intertwined with all forms of human activity and daily life, conceptualizing it requires a discriminative understanding of the roles played by different players and constituents. Of course, those roles are not necessarily fixed. A policy maker or planner may also be a creator or audience member; an arts nonprofit organization can also be a community partner;

and a municipality may be an arts funder, a partner with cultural organizations, and an employer of arts-based strategies to meet other goals.

BEAUTY AND AESTHETICS

When you say aesthetic emotion it means thought and emotion come together to create a meaning in response to an art and it is also known as working emotion because you just not only feel but it makes you think as well.

Aesthetics, a term that has accrued a wide range of meanings (which from an integral stance can all be honored, yet need be specified), emerged in philosophy in the middle of the eighteenth century, initially signifying a nascent science of or inquiry into the significance of the sensory, and often with a stress on feeling. Aesthetics is not necessarily aligned with questions of the beautiful. In Kant’s first critique (Critique of Pure Reason), rather than in his third (Critique of Judgment), the section on Transcendental Aesthetic is not concerned with beauty but with time and space. Nor are questions of the aesthetic-sensory restricted or reduced to perception of a work of art. Beauty, as Wilber notes, is one of the Big Three, a shining through of “the One.” This shining through however does not require the sensory, hence need not be aesthetic — as with the beauty of mathematical thought, proper to the eye of mind, or the beauty of a transpersonal domain, proper to the eye of spirit. Further, not all developmental waves of aesthetics (taking the cue from the note from SES) are necessarily or automatically transparent to “the One.” Art in Wilber’s construal is that which presents a frame around itself – art differentiating itself from the immediate world while situating itself in relation to that world: a world (of art) within a world (of actuality). Instances of neo-avant-garde art, such as Warhol’s Brillo Boxes, or moments of scatological art, purposefully repulsive and ugly, are not in the first instance concerned with the beautiful. In brief, we would do well in integral circles not to align too quickly the terms of art, beauty, and aesthetics, but instead explore their interplay in fresh lines of questioning.

Aesthetics (/ɛsˈθɛtɪks/; also spelled æsthetics and esthetics) is a branch of philosophy dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty.[1][2] It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste.[3] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."[4][5]

More specific aesthetic theory, often with practical implications, relating to a particular branch of the arts is divided into areas of aesthetics such as art theory, literary theory, film theory and music theory. An example from art theory is aesthetic theory as a set of principles underlying the work of a particular artist or artistic movement: such as the Cubist aesthetic.

Beauty is a characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure or satisfaction. Beauty is studied as part of aesthetics, sociology, social psychology, and culture. An "ideal beauty" is an entity which is admired, or possesses features widely attributed to beauty in a particular culture, for perfection.

The experience of "beauty" often involves an interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being. Because this can be a subjective experience, it is often said that "beauty is in the eye of the beholder."[1]

There is evidence that perceptions of beauty are evolutionarily determined, that things, aspects of people and landscapes considered beautiful are typically found in situations likely to give enhanced survival of the perceiving human's genes.

AestheticsAn aesthetic judgment, in Kant's usage, is a judgment which is based on feeling, and in particular on the feeling of pleasure or displeasure. According to Kant's official view there are three kinds of aesthetic judgment: judgments of the agreeable, judgments of beauty (or, equivalently, judgments of taste), and judgments of the sublime. However, Kant often uses the expression “aesthetic judgment” in a narrower sense which excludes judgments of the agreeable, and it is with aesthetic judgments in this narrower sense that the “Critique of Aesthetic Judgment” is primarily concerned. Such judgments can either be, or fail to be, “pure”; while Kant mostly focusses on the ones which are pure, there are reasons to think that most judgments about art (as opposed to nature) do not count as pure, so that it is important to understand Kant's views on such judgments as well.

The “Critique of Aesthetic Judgment” is concerned not only with judgments of the beautiful and the sublime, but also with the production of objects about which such judgments are appropriately made; this topic is discussed under the headings of “fine art” or “beautiful art” [schöne Kunst] and “genius.”

The most distinctive part of Kant's aesthetic theory, and the part which has aroused most interest among commentators, is his account

of judgments of beauty, and, more specifically, pure judgments of beauty. (Following Kant's usage, the expression “judgment of beauty” without qualification will refer, in what follows, to pure judgments of beauty.) The most important elements of this account are sketched here in Sections 2.1 and 2.2, and which correspond roughly to the “Analytic of the Beautiful” and the “Deduction of Pure Aesthetic Judgments” respectively. Sections 2.3 and 2.4 are concerned, respectively, with interpretative issues that have arisen in connection with the account, and with criticisms which have been made of it.

Other elements of Kant's theory are sketched in the remainder of the section. Section 2.5 is concerned with judgments of beauty that are not pure, in particular judgments of “adherent” as opposed to “free” beauty; Section 2.6 with beautiful art and genius; Section 2.7 with judgments of the sublime; Section 2.8 with the relation between aesthetics and morality; and Section 2.9 with other implications of Kant's aesthetic theory.

The word – aesthetics – derives from the ancient Greek word aisthanomai, which means perception by the senses. As such, it is used in modern English as a noun, in the sense that something can appeal to the senses. Since the meaning of the word relies upon sensory perception, its definition is fluid, varying through time, and it is subjective, differing between people and cultures.

In a more general sense, aesthetics as a philosophy, refers to the study of sensory values. This means the judgement or evaluation by the senses and through time has come to refer to critical or philosophical thought about art, culture and/or nature.

A subfield of axiology, the philosophy of art – aesthetics is interested in ways of seeing, and of sensing the world. As a field of study, aesthetics involves ways of seeing and perceiving the world, as well as new and novel interpretations.

In a contemporary sense, aesthetics can be used to reference a particular style or design. For example, a culture that uses a motif through many areas of design and function can be said to appreciate or adhere to a specific aesthetic.

As a critical study, aesthetics assumes an ability to judge on a sensory level, as well as a collective agreement about ideals of beauty. The philosopher Immanuel Kant distinguished between an object’s ability to be ‘agreeable’ to one person, as it is in line with personal taste, while not conforming to more widely held notions of beauty. In this analysis beauty is a more actual quality than mere opinion.

A philosophy of aesthetics can be drawn back to the early work of Plato – in which the classic Greek thinker supposed that all things of sensory beauty are imitations of the perfect form of their objectivity. In this view, each thing that belongs to a category – for example, the category of flower – imitates the most perfect form of flower that exists only in idea, and the closer the object comes to the perfect form, the more aesthetically pleasing it is.

While aesthetics are traditionally related to the critical evaluation of art and beauty, the use of appeal and attraction work in many areas of human life. Since aesthetic qualities are experienced by the senses, a pleasing environment can be said to influence people on an unconscious level. With the growth of modern industry, people and cultures have enjoyed a greater ease of living, allowing more attention to go into the details and design of many facets of life.

Aesthetics are at work in all areas of modern life – from the seemingly simple artifacts of everyday living to the self-professed complexities of architecture and design. In modern parlance, such practical renditions of the philosophy of art are often referred to as applied aesthetics. In fields like medicine and mathematics, applied aesthetics are used to translate English language terms through other languages with the use of form.

In modern Western society, aesthetics are used in the production of advertising with massive and overwhelming success. Images that convey luxury, success and opulence dominate media – and suggest that through the acquisition of the featured product or service the consumer will enjoy a coveted lifestyle. In this modern culture, sexuality is another highly marketed aesthetic. Almost unrelated to the product or service, images of beautiful people make for effective advertising.

The use of beauty expressed as symmetry is common in the design of buildings, houses and, more recently, cities. Taking into account the entire sensory life of human beings, contemporary urban planning, architecture, and landscape design all have an eye for the aesthetic. In this sense, modern design is interested in the shape of a city, house or park for more than its function – we are also interested in form – and the expression of both meaning and beauty in our surroundings.

Aesthetics are an integral part of the human experience, at least as a perception of beauty and art. Whether or not one develops a thorough understanding of aesthetics as philosophy, we encounter objects of beauty and perceive them as such. Contemporary aesthetics defy a universal rule, arguing that there is no singular definition of beauty or art, but rather that both can be found and experienced in the moment, by the observer.

There is evidence that a preference for beautiful faces emerges early in child development, and that the standards of attractiveness are similar across different genders and cultures.[6] A study published in 2008 suggests that symmetry is also important because it suggests the absence of genetic or acquired defects.[7]

Although style and fashion vary widely, cross-cultural research has found a variety of commonalities in people's perception of beauty. The earliest Western theory of beauty can be found in the works of early Greek philosophers from the pre-Socratic period, such as Pythagoras. The Pythagorean school saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive.[8] Ancient Greek architecture is based on this view of symmetry and proportion.

Plato considered beauty to be the Idea (Form) above all other Ideas.[9] Aristotle saw a relationship between the beautiful (to kalon) and virtue, arguing that "Virtue aims at the beautiful."[10]

Classical philosophy and sculptures of men and women produced according to the Greek philosophers' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called a "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty in western civilization.[citation needed] During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, the Renaissance and Humanism rejected this view, and considered beauty as a product of rational order and harmony of proportions. Renaissance artists and architect (such as Giorgio Vasari in his "lives of artists") criticised the Gothic period as irrational and barbarian. This point of view over Gothic art lasted until Romanticism, in the 19th century.

the relationship between art and emotion has newly been the subject of extensive study. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally.[1] Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression.[2] Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition.[3] Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art.[3]

“Aesthetic emotions refer to emotions that are felt during aesthetic activity and/or appreciation. These emotions may be of the everyday variety (such as fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes only a part of the overall aesthetic experience, but may play a more or less definitive role for that state.”

Since I’ve been covering the topic of emotions in filmmaking and screenwriting for almost three weeks now I thought I’d throw aesthetic emotion in the mix. While the word aesthetic isn’t as popular a word as when philosopher Immanuel Kant and others kicked the term around in the 18th century, its origins go back to at least the Greeks who were concerned with the study of beauty. Ideals that had more to do with moral and spiritual implications of beauty than say the cover of Vogue magazine.

An article I found online about British art critic and philosopher Clive Bell reads:

“He claimed (in his book Art, 1914) that there is a certain uniquely aesthetic emotion, and that aesthetic qualities are the qualities in an object that evoke this emotion. In the visual arts, what arouses this emotion is certain “forms and relations of forms” (including line and color), which Bell called “significant form”. Aesthetic response to significant form is not to be identified, according to Bell, with other emotional responses. For example, a photograph of a loved one might evoke fond memories and feelings of love; the statue of the planting of the flag at Iwo Jima might arouse feelings of patriotism; the Vietnam War Memorial might evoke feelings of grief or lament (my examples). While these are all perfectly appropriate responses, they are not aesthetic responses. Rather the aesthetic response is a response to the forms and relations of forms themselves, regardless of what other meanings, associations or uses they may have. It is a strong emotion, often a kind of ecstasy, akin to the ecstasy felt in religious contemplation. The emotion, and the kinds of significant form that evoke it, are the same for cave art, Polynesian carvings, a Vermeer painting or a Cezanne.”

Robert McKee in his classic book Story dedicated a few pages to aesthetic emotion, including this passage;

“When an idea wraps itself around an emotional charge, it becomes all the more powerful, all the more profound, all the more memorable. You might forget the day you saw a dead body in the street, but the death of Hamlet haunts you forever… A story well told gives you the very thing you cannot get from life: meaningful emotional experience. In life, experiences become meaningful with reflection in time. In art, they are meaningful now, at the instant they happen.

In this sense, story is, at heart, nonintellectual. It does not express ideas in dry, intellectual arguments of an essay. But this is not to say story is anti-intellectual. We pray that the writer has ideas of import and insight. Rather the exchange between artist and audience expresses idea directly through the senses and perceptions, intuition and emotion. It requires no mediator, no critic to rationalize the transaction.”

A movie scene that jumps to my mind of showing aesthetic emotion is from The Shawshank Redemption written and directed by Frank Darabont, where Mozart’s music is played in the prison courtyards;

“I have no idea to this day what those two Italian ladies were singing about. Truth is—I don’t want to know, some things are best left unsaid. I like to think they were singing about something so beautiful that it can’t be expressed in words and makes your heart ache because of it.”

Marketing management is a business discipline which focuses on the practical application of marketing techniques and the management of a firm's marketing resources and activities. Globalization has led firms to market beyond the borders of their home countries, making international marketing highly significant and an integral part of a firm's marketing strategy.[1] Marketing managers are often responsible for influencing the level, timing, and composition of customer demand accepted definition of the term. In part, this is because the role of a marketing manager can vary significantly based on a business's size, corporate culture, and industry context. For example, in a large consumer products company, the marketing manager may act as the overall general manager of his or her assigned product.[2] To create an effective, cost-efficient marketing management strategy, firms must possess a detailed, objective understanding of their own business and the market in which they operate.[3] In analyzing these issues, the discipline of marketing management often overlaps with the related discipline of strategic planning.

Marketing management employs various tools from economics and competitive strategy to analyze the industry context in which the firm operates. These include Porter's five forces, analysis of strategic groups of competitors, value chain analysis and others.[4] Depending on the industry, the regulatory context may also be important to examine in detail.

In competitor analysis, marketers build detailed profiles of each competitor in the market, focusing especially on their relative competitive strengths and weaknesses using SWOT analysis. Marketing managers will examine each competitor's cost structure, sources of profits, resources and competencies, competitive positioning and product differentiation, degree of vertical integration, historical responses to industry developments, and other factors.

Marketing management often finds it necessary to invest in research to collect the data required to perform accurate marketing analysis. As such, they often conduct market research (alternately marketing research) to obtain this information. Marketers employ a variety of techniques to conduct market research, but some of the more common include:

Qualitative marketing research, such as focus groups and various types of interviewsQuantitative marketing research, such as statistical surveysExperimental techniques such as test marketsObservational techniques such as ethnographic (on-site) observationMarketing managers may also design and oversee various environmental scanning and competitive intelligence processes to help identify trends and inform the company's marketing analysis.

A brand audit is a thorough examination of a brand’s current position in an industry compared to its competitors and the examination of its effectiveness. When it comes to brand auditing, five questions should be carefully examined and assessed. These five questions are how well the business’ current brand strategy is working, what are the company’s established resource strengths and weaknesses, what are its external opportunities and threats, how competitive are the business’ prices and costs, how strong is the business’ competitive position in comparison to its competitors, and what strategic issues are facing the business.

Generally, when a business is conducting a brand audit, the main goal is to uncover business’ resource strengths, deficiencies, best market opportunities, outside threats, future profitability, and its competitive standing in comparison to existing competitors. A brand audit establishes the strategic elements needed to improve brand position and competitive capabilities within the industry. Once a brand is audited, any business that ends up with a strong financial performance and market position is more likely than not to have a properly conceived and effectively executed brand strategy.

A brand audit examines whether a business’ share of the market is increasing, decreasing, or stable. It determines if the company’s margin of profit is improving, decreasing, and how much it is in comparison to the profit margin of established competitors. Additionally, a brand audit investigates trends in a business’ net profits, the return on existing investments, and its established economic value. It determines whether or not the business’ entire financial strength and credit rating is improving or getting worse. This kind of audit also assesses a business’ image and reputation with its customers. Furthermore, a brand audit seeks to determine whether or not a business is perceived as an industry leader in technology, offering product or service innovations, along with exceptional customer service, among other relevant issues that customers use to decide on a brand of preference.

A brand audit usually focuses on a business’ strengths and resource capabilities because these are the elements that enhance its competitiveness. A business’ competitive strengths can exist in several forms. Some of these forms include skilled or pertinent expertise, valuable physical assets, valuable human assets, valuable organizational assets, valuable intangible assets, competitive capabilities, achievements and attributes that position the business into a competitive advantage, and alliances or cooperative ventures.

The basic concept of a brand audit is to determine whether a business’ resource strengths are competitive assets or competitive

liabilities. This type of audit seeks to ensure that a business maintains a distinctive competence that allows it to build and reinforce its competitive advantage. What’s more, a successful brand audit seeks to establish what a business capitalizes on best, its level of expertise, resource strengths, and strongest competitive capabilities, while aiming to identify a business’ position and future performance.

Marketing strategy[edit]Main article: Marketing strategyTo achieve the desired objectives, marketers typically identify one or more target customer segments which they intend to pursue. Customer segments are often selected as targets because they score highly on two dimensions: 1) The segment is attractive to serve because it is large, growing, makes frequent purchases, is not price sensitive (i.e. is willing to pay high prices), or other factors; and 2) The company has the resources and capabilities to compete for the segment's business, can meet their needs better than the competition, and can do so profitably.[3] In fact, a commonly cited definition of marketing is simply "meeting needs profitably." [5]

The implication of selecting target segments is that the business will subsequently allocate more resources to acquire and retain customers in the target segment(s) than it will for other, non-targeted customers. In some cases, the firm may go so far as to turn away customers who are not in its target segment.The doorman at a swanky nightclub, for example, may deny entry to unfashionably dressed individuals because the business has made a strategic decision to target the "high fashion" segment of nightclub patrons.

In conjunction with targeting decisions, marketing managers will identify the desired positioning they want the company, product, or brand to occupy in the target customer's mind. This positioning is often an encapsulation of a key benefit the company's product or service offers that is differentiated and superior to the benefits offered by competitive products.[6] For example, Volvo has traditionally positioned its products in the automobile market in North America in order to be perceived as the leader in "safety", whereas BMW has traditionally positioned its brand to be perceived as the leader in "performance".

Ideally, a firm's positioning can be maintained over a long period of time because the company possesses, or can develop, some form of sustainable competitive advantage.[7] The positioning should also be sufficiently relevant to the target segment such that it will drive the purchasing behavior of target customers.[6] To sum up,the marketing branch of a company is to deal with the selling and popularity of its products among people and its customers,as the central and eventual goal of a company is customer satisfaction and the return of revenue.

Implementation planning[edit]Main article: Marketing plan

The Marketing Metrics Continuum provides a framework for how to categorize metrics from the tactical to strategic.If the company has obtained an adequate understanding of the customer base and its own competitive position in the industry, marketing managers are able to make their own key strategic decisions and develop a marketing strategy designed to maximize the revenues and profits of the firm. The selected strategy may aim for any of a variety of specific objectives, including optimizing short-term unit margins, revenue growth, market share, long-term profitability, or other goals.

After the firm's strategic objectives have been identified, the target market selected, and the desired positioning for the company, product or brand has been determined, marketing managers focus on how to best implement the chosen strategy. Traditionally, this has involved implementation planning across the "4 Ps" of : product management, pricing (at what price slot does a producer position a product, e.g. low, medium or high price), place (the place or area where the products are going to be sold, which could be local, regional, countrywide or international) (i.e. sales and distribution channels), and Promotion. Now[when?] a new P has been added making it a total of five P's. The fifth P is politics, which affects marketing in a significant way.

Taken together, the company's implementation choices across the 4(5) Ps are often described as the marketing mix, meaning the mix of elements the business will employ to "go to market" and execute the marketing strategy. The overall goal for the marketing mix is to consistently deliver a compelling value proposition that reinforces the firm's chosen positioning, builds customer loyalty and brand equity among target customers, and achieves the firm's marketing and financial objectives.

In many cases, marketing management will develop a marketing plan to specify how the company will execute the chosen strategy and achieve the business' objectives. The content of marketing plans varies from firm to firm, but commonly includes:

An executive summarySituation analysis to summarize facts and insights gained from market research and marketing analysisThe company's mission statement or long-term strategic visionA statement of the company's key objectives, often subdivided into marketing objectives and financial objectivesThe marketing strategy the business has chosen, specifying the target segments to be pursued and the competitive positioning to be achievedImplementation choices for each element of the marketing mix (the 4(5)Ps)Project, process, and vendor management[edit]

More broadly, marketing managers work to design and improve the effectiveness of core marketing processes, such as new product development, brand management, marketing communications, and pricing. Marketers may employ the tools of business process reengineering to ensure these processes are properly designed, and use a variety of process management techniques to keep them operating smoothly.

Effective execution may require management of both internal resources and a variety of external vendors and service providers, such as the firm's advertising agency. Marketers may therefore coordinate with the company's Purchasing department on the procurement of these services. Under the area of marketing agency management (i.e. working with external marketing agencies and suppliers) are techniques such as agency performance evaluation, scope of work, incentive compensation, RFx's and storage of agency information in a supplier database. Database is a critical thing to manage, but easy to allocate. While vendor allocation having complications to resolve but easy to handle.

Reporting, measurement, feedback and control systems[edit]Marketing management employs a variety of metrics to measure progress against objectives. It is the responsibility of marketing managers – in the marketing department or elsewhere – to ensure that the execution of marketing programs achieves the desired objectives and does so in a cost-efficient manner.

Marketing management therefore often makes use of various organizational control systems, such as sales forecasts, sales force and reseller incentive programs, sales force management systems, and customer relationship management tools (CRM). Recently, some software vendors have begun using the term "marketing operations management" or "marketing resource management" to describe systems that facilitate an integrated approach for controlling marketing resources. In some cases, these efforts may be linked to various supply chain management systems, such as enterprise resource planning (ERP), material requirements planning (MRP), efficient consumer response (ECR), and inventory management systems.