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"Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience."

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"Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience.", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience."
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"Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience."

"There can be no meaningful discourse about art divorced from that. Intellectual appreciation starves for want of it. The less you see, the dumber you get." 

Writes Peter Schjeldahl in "The Revelations of an Unlikely Pairing/In a show at Zwirner, the soft cosmos of Giorgio Morandi’s domestic tableaux is relieved and refreshed by the architectonics of Josef Albers’s squares" (The New Yorker). 

How awful is it not to be looking directly at paintings? Schjeldahl takes a strong position.
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"There can be no meaningful discourse about art divorced from that. Intellectual appreciation starves for want of it. The less you see, the dumber you get." 

Writes Peter Schjeldahl in "The Revelations of an Unlikely Pairing/In a show at Zwirner, the soft cosmos of Giorgio Morandi’s domestic tableaux is relieved and refreshed by the architectonics of Josef Albers’s squares" (The New Yorker). 

How awful is it not to be looking directly at paintings? Schjeldahl takes a strong position.


Thus articles "Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience."

that is all articles "Nearly a year of being disheartened by the online garishness and promotional smarm of digitized images has set me up to rediscover the pungency of direct aesthetic experience." This time, hopefully can provide benefits to all of you. Okay, see you in another article posting.

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