By Anna-Teresa Tymieniecka

Attractiveness fulfils human lifestyles. because it registers in our aesthetic adventure, good looks complements nature’s appeal round us and our inward adventure lifting our soul towards ethical elevation. This selection of art-explorations seeks the fundamental ties of the Human situation. It endeavors to provide an explanation for the relation of attractiveness and human lifestyles, and explores many of the facets of attractiveness.

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In this “thrownness” our primary concern is the nature of our being, and as a lived experience this concern manifests itself as concern about our ontological contingency versus essentiality—the nature of our identity or self. What is the nature of our individual being, is it pure accident, are we simply a being whose own flame flickers meekly in the darkness of existence, lit by coincidence and ready to be snuffed out at anytime? It is my claim that opening up our relationship with the beautiful brings us to the question of contingency and identity itself, and that the question of beauty can, in a preliminary manner, provide us with some answers.

We are looking for authentication of our essentiality— our authenticity. And I argue that this is the very essence of what is at stake in the call of beauty. An experience with a beautiful object, hence a judgment of a beautiful object, a painting, for example, is not one of pure intellect; rather, it resonates through and from our entire body. While experiencing a beautiful object we are fully caught up in it, fully invested; we are taken outside of our everyday attunement and relationship with our world.

In this way we may want to see how we could draw beauty out of a linguistic excuse and attempt to see how it could be played in the game of life relations in terms of what it says of us when we use it as a kind of agency of thought and language. 28 JOHN BALDACCHINO However, here we are also discussing beauty in terms of art, and the consequence of that is more than simply assuming beauty in its linguistic agency. In art’s historic illustration we see that there is no straight answer prompted by historical function or aesthetic language.

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