Even though “Op Art Movement” was more pronounced during the 1960s, when artists were discovering new idealistic lifestyles of artwork that was commonly referred to “Optical Art”, the individual contribution to the development of art was equally significant in shaping one’s creativity.
The artworks during this period consisted of illusions because of their appearance and precision. Sometimes, they were mathematically based to create a definite illusion. For instance, Aesthetics are sensual qualities that a particular object depicts or its design experience. In an artwork, the aesthetic experience is usually meaningful, immersive and heightened to portray the desired outcome. Such items are outstanding and create an impact of impression to the marker and the third party. Since the aesthetic experiences display the expressive influence of the human and other animals’ life within the particular ecosystem, its understanding and practice becomes very significant. Therefore, this essay examines the topic in detail, and is properly presented in a thesis-paper. It is a discussion of the aesthetic appeal relative to its view point, clarifying the ways in which the aesthetic point of view greatly differs with the practical, scientific, and technical point of view. It also gives an account of the perception of the Ancient World, finally outlining and explaining the synthesis and integration of the concepts used in understanding the topic.
There are many ways in which the artist’s life could be changed by learning how to practice and present the aesthetic point of view of his artwork. In this regard, the two artworks are discussed in this essay, Victor Vasarely’s Zebra painting in 1938 and Bridget Riley’s chromatic pieces of artworks, which according to Wilson (2005) gave an aesthetic impression of Op Art. Basically, the background of artists in terms of education and cultural connection had minimal contribution to their creativity. For example, learning how to practice the aesthetic point of view widen their knowledge and concerns that the person might have, regarding the overall outcome.
Formal Organization of Visual Content
Considering formal organization of visual content (composition and elements of design), one has to look at all the characteristics of the planned incidents and how the designers actually portrayed the scene or occurrence (Wilson, 2005). First of all, this was very important in creating the aesthetic perspective for the current and future users. Second, acquiring the knowledge and practicing in relation to the aesthetic point of view has significant effect on the person’s life, because it offered an effective dimension to enhance the learning consequences, both in theory and in practice. Third, it increases the person’s sensitivity on his/her environment and the specific aspects of life through applying the theories and models, which the scholars have put forward.
An important aspect of one’s life that could be changed through learning how to practice the aesthetics was that it would help the person to integrate the instructional design (ID) theory in determining the compatibility that exists between the distinct aesthetic principles and variables of the two different pieces of artworks (Parrish, 2004). In addition, the person would also recognize that such principles complemented and virtually clarified the ID theories, since this helps the artist to embody them in the artwork. This means that the principles go beyond the mere compatibility with the current theories, a situation that enhances creativity and innovation of the person.
Aim/Characteristic/Processes/Context of the Op Art Movement
The aim of Op Art Movement was to make sure that individual creativity was recognized and enhanced. In considering the passionate appeals, which characterize the aesthetics of knowledge acquisition experiences, it becomes important for one to understand and integrate the various concepts, which underline the issue. Basically, the instructional design theories should be demonstrated to clarify the aspects, which make the artwork and instructions to arrive well or bad (Parrish, 2004). It also gives a way for using the weaknesses depicted in the product to develop its future appearance so that the abnormalities do not re-occur (Van Merriënboer & Ayres, 2005).
The aesthetic point of view was greatly different from the practical, scientific, and technical understanding, and the variations are pegged on the specific artwork in question. As depicted in the Op Art Movement, the aesthetic point of view depicts the human imagination about an occurrence. Therefore, the expression of moods, feelings, ideas, themes, content, and processes such as visual, symbolic, and conceptual aspects of the movement/works were significant. In terms of their artistic, social, cultural, political, and economic context, the pieces of artworks were meant to portray societal changes and advancement of human thought.
Rationale Observations and Explanations for These Differences
In fact, the rationale for these differences gives an elaborate view about a particular imagination or the integration of human thought in an explicit, but intelligent and attractive manner. Therefore, they create an interactive engagement with the entire aspects of the world such as ecology, human actions and technological development among others. In this regard, the information that the piece of artwork depicts, would be useful in expanding or improving the people’s understanding of the things to happen in the future (Wilson, 2005). This may assist the person to develop similar holistic approaches to deal with the impacts of artwork developments. Therefore, the scientific and technological aspect of the aesthetics employ the mechanical and computerized systems in designing and developing the aesthetics consequently that creates the desired appeal and brings the third dimension of the feature it highlights. Literally, using the computer interfaces make the work more efficient and accurate than applying the normal free hands.
Regarding presentation or display strategies and locations, the concept used in aesthetic experience is the instructional design (Parrish, 2004). In an artwork, the design that the creator uses to present ideas was significant since it minimized the wastage of resources, but gave the desirable products. The instructional theory played an integral part of realizing the objective of the designer and the actual maker of the artwork. Indeed, this helped in creating the appeal and the aesthetic experience that the designer intended to portray. The concept also used the aesthetic principles, which often had parallels in social learning models, constructivist and information processing. Additionally, the application of aesthetic lens might help in expanding the utility of the ID theory.
Views and Critiques
Concerning the different views of art critiques and historians, the ways in which the works were interpreted, reacted to, and/or integrated in society indicated that the artist of that era consisted of people with creative ideals to develop an illusion, where the people made their arts depending on the cultural outfit. In this regard, the people perceived the gods in the light of natural aspects of life, while other people knew arts to be in form of human psychology. The other interesting aspects of the arts were people who believed that they were from individual imagination. However, such artworks were in constant shift as the people embraced new ways of life.
Aesthetic experience was significant in helping a person to integrate the instructional design (ID) theory in order to determine the compatibility that existed between its distinct principles. The ancient artists’ minds were dominated by the physical and man-made features that contributed to the development of various forms of artworks. The philosophies also controlled the people’s ability to innovate, where the latter believed in the existence of intrinsic artist mindset that controlled several creative illusion and occurrences in human life.