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A half-hour online class on Skillshare with curators Andrea Lipps and Ellen Lupton, who discuss beauty as an inspiration for design and engage viewers in a design project to explore personal expressions of beauty.
This is a cliche, but beauty is often in the eyes of the beholder. What is deemed attractive to one person may not be so for another. However, a conventional and symmetric face is generally considered appealing. Also, people are often drawn to what is familiar. For example, people who grew up in the same neighborhood are commonly attracted to each other.
Instead of focussing on attractiveness and beauty, it may be more worthwhile to pay attention to identity-shaping qualities that offer a depth of character. These things can be developed: intelligence, creativity, courage, athleticism, imagination, critical thinking, empathy. Attention to these characteristics can help girls and young women feel good about themselves and will have a more profound effect than just being pretty.
The limbal ring is the circle around the iris, this line separates the colored part of the eye from the white part. This ring fades as we age. Therefore, prominence of the ring signifies youth, health, and beauty.
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At Sigma Beauty, we use the inspiration of beauty enthusiasts and professional makeup artists to develop some of the best beauty tools on the market. Our journey started with cruelty-free luxurious makeup brushes and quickly evolved into a full line of makeup brush sets, beauty cleaning tools, eye makeup, brow makeup, blush palettes, contour palettes, lipsticks and much more. Our award-winning makeup brushes are made with the softest synthetic fibers to create flawless looks for day or night. Every Sigma Beauty makeup brush and brush care tool is backed by the beauty industry's only free 2-year warranty.
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This article will begin with a sketch of the debate over whetherbeauty is objective or subjective, which is perhaps the singlemost-prosecuted disagreement in the literature. It will proceed to setout some of the major approaches to or theories of beauty developedwithin Western philosophical and artistic traditions.
Beauty is no quality in things themselves: It exists merely in themind which contemplates them; and each mind perceives a differentbeauty. One person may even perceive deformity, where another issensible of beauty; and every individual ought to acquiesce in his ownsentiment, without pretending to regulate those of others. (Hume 1757,136)
Nevertheless, eighteenth-century philosophers such as Hume and Kantperceived that something important was lost when beauty was treatedmerely as a subjective state. They saw, for example, thatcontroversies often arise about the beauty of particular things, suchas works of art and literature, and that in such controversies,reasons can sometimes be given and will sometimes be found convincing.They saw, as well, that if beauty is completely relative to individualexperiencers, it ceases to be a paramount value, or even recognizableas a value at all across persons or societies.
Both Hume and Kant, as we have seen, begin by acknowledging that tasteor the ability to detect or experience beauty is fundamentallysubjective, that there is no standard of taste in the sense that theCanon was held to be, that if people did not experiencecertain kinds of pleasure, there would be no beauty. Both acknowledgethat reasons can count, however, and that some tastes are better thanothers. In different ways, they both treat judgments of beauty neitherprecisely as purely subjective nor precisely as objective but, as wemight put it, as inter-subjective or as having a social and culturalaspect, or as conceptually entailing an inter-subjective claim tovalidity.
Hume argues further that the verdicts of critics who possess thosequalities tend to coincide, and approach unanimity in the long run,which accounts, for example, for the enduring veneration of the worksof Homer or Milton. So the test of time, as assessed by the verdictsof the best critics, functions as something analogous to an objectivestandard. Though judgments of taste remain fundamentally subjective,and though certain contemporary works or objects may appearirremediably controversial, the long-run consensus of people who arein a good position to judge functions analogously to an objectivestandard and renders such standards unnecessary even if they could beidentified. Though we cannot directly find a standard of beauty thatsets out the qualities that a thing must possess in order to bebeautiful, we can describe the qualities of a good critic or atasteful person. Then the long-run consensus of such persons is thepractical standard of taste and the means of justifying judgmentsabout beauty.
Similarly, Crispin Sartwell in his book Six Names of Beauty(2004), attributes beauty neither exclusively to the subject nor tothe object, but to the relation between them, and even more widelyalso to the situation or environment in which they are both embedded.He points out that when we attribute beauty to the night sky, forinstance, we do not take ourselves simply to be reporting a state ofpleasure in ourselves; we are turned outward toward it; we arecelebrating the real world. On the other hand, if there were noperceivers capable of experiencing such things, there would be nobeauty. Beauty, rather, emerges in situations in which subject andobject are juxtaposed and connected.
Alexander Nehamas, in Only a Promise of Happiness (2007),characterizes beauty as an invitation to further experiences, a waythat things invite us in, while also possibly fending us off. Thebeautiful object invites us to explore and interpret, but it alsorequires us to explore and interpret: beauty is not to be regarded asan instantaneously apprehensible feature of surface. And Nehamas, likeHume and Kant, though in another register, considers beauty to have anirreducibly social dimension. Beauty is something we share, orsomething we want to share, and shared experiences of beauty areparticularly intense forms of communication. Thus, the experience ofbeauty is not primarily within the skull of the experiencer, butconnects observers and objects such as works of art and literature incommunities of appreciation.
A very compelling series of refutations of and counter-examples to theidea that beauty can be a matter of any specific proportions betweenparts, and hence to the classical conception, is given by Edmund Burkein A Philosophical Enquiry into the Origin of our Ideas of theBeautiful and the Sublime:
The candidate for this initiation cannot, if his efforts are to berewarded, begin too early to devote himself to the beauties of thebody. First of all, if his preceptor instructs him as he should, hewill fall in love with the beauty of one individual body, so that hispassion may give life to noble discourse. Next he must consider hownearly related the beauty of any one body is to the beauty of anyother, and he will see that if he is to devote himself to lovelinessof form it will be absurd to deny that the beauty of each and everybody is the same. Having reached this point, he must set himself to bethe lover of every lovely body, and bring his passion for the one intodue proportion by deeming it of little or no importance.
Plotinus, as we have already seen, comes close to equating beauty withformedness per se: it is the source of unity among disparate things,and it is itself perfect unity. Plotinus specifically attacks what wehave called the classical conception of beauty:
Almost everyone declares that the symmetry of parts towards each otherand towards a whole, with, besides, a certain charm of colour,constitutes the beauty recognized by the eye, that in visible things,as indeed in all else, universally, the beautiful thing is essentiallysymmetrical, patterned.
Only a compound can be beautiful, never anything devoid of parts; andonly a whole; the several parts will have beauty, not in themselves,but only as working together to give a comely total. Yet beauty in anaggregate demands beauty in details; it cannot be constructed out ofugliness; its law must run throughout. 041b061a72