f Berlin, sought to finish off the hostility of indecision of where to classify the study of . Dessoir sought to enlist the co-operation of many different approaches under the double name and general science of art. This implied that was still to be understood in the early, narrow sense as philosophy of beauty, but that a new, empirical and scientific sense of art was to be recognized as allied and parallel with it. However, it did not find favor outside of Germany, and since then the single term has been applied, however in a very broad sense, which includes all the various schools of thought and lines of research.Contemporary does not expect to discover exact, permanent laws like those of physics, but only approximate accounts of recurrent types and tendencies, correlations and causal connections. The phenomena of art and taste are obviously among the most variable, complex, and intangible, of those presented to scientific inquiry. is not as cut and dry as the leaves of a tree, or the genetic makeup of humans. It caries from person to person, culture to culture, period to period; their changing and unique aspects are often the most important ones. They cannot be reduced to fixed, numerical formulas, but they are not completely unique or chaotic, and it is the business of to describe both their constant and their variable aspects. Along these lines, contemporary is trying to achieve the status of an experimental science of the serious difficulties involved in interpreting the data. Although is completely unstable where concrete scientific data is concerned, many writers attempted to make sense off of one theory : art is beauty, and beauty is only art if it contains a purpose. Kant specifically utilized this theme in his Critique of Judgment, the third of his three fundamental works, applied the transcendental method of philosophical analysis to the problem of . He asked which are the conditions implied by the pheno...
