Download pdf
Research on the Aesthetic Education in the Age of Social Media
- 1 Dubai English Speaking College
* Author to whom correspondence should be addressed.
Abstract
In the generation of social media, the rapid development of technology has inevitably transformed art, and the way it is consumed, shared, and created. Art has developed a greater focus on aesthetics and beauty, along with the desires of the viewer instead of the artists. The rise of different trends and styles may pressure artists to change their art to conform to these trends, and individuality will have to be sacrificed for the sake of views, likes, and validation from the users. Nonetheless, these platforms have proved to be a great tool for artists, allowing a direct reach to global audiences and engagement in interactive experiences. Communities created online may encourage growth, providing information and opportunities that may have been inaccessible to them previously, lowering the threshold of artistic creation and increasing accessibility. This may allow emerging or discriminated artists to present their work without any traditional barriers. Additionally, social media may stimulate the creative spirit of artists, allowing a variety of sources to draw inspiration from, and creating an environment that fosters experimentation and innovation. Unfortunately, social media is not without its drawbacks on its impact on art. A focus on popularity with likes, follows, and shares may cause a superficial exchange of art. Platforms may usually promote artworks that are easily consumable and visually appealing, disregarding any genuine artworks that may require a deeper reflection. This may additionally exacerbate the commercialization tendency in art, leading to a lack of originality in artworks.
Keywords
Social media, interaction, artistic creation, accessibility, artistic integrity
[1]. Lammi, P. (2023). How the creation of art is influenced by social media? (Master's thesis).
[2]. Budge, K. (2013). Virtual studio practices: Visual artists, social media and creativity. Journal of Science and Technology of the Arts, 5(1), 15-23.
[3]. MILLS, C. (2018). Artistic Integrity. The Journal of Aesthetics and Art Criticism, 76(1), 9–20. http://www.jstor.org/stable/45210896
[4]. Statista Research Department, Apr 27, 2023, Social media platforms most commonly used by art buyers for art-related purposes worldwide from 2015 to 2022, https://www.statista.com/statistics/1021980/popular-social-media-platforms-used-for-art/
[5]. Schäfer, M. T. (2011). Participatory Culture: Understanding participation. In Bastard Culture!: How User Participation Transforms Cultural Production (pp. 167–174). Amsterdam University Press. http://www.jstor.org/stable/j.ctt46n23s.10
[6]. Kang, Xin, Wenyin Chen, and Jian Kang. 2019. "Art in the Age of Social Media: Interaction Behavior Analysis of Instagram Art Accounts" Informatics 6, no. 4: 52. https://doi.org/10.3390/informatics6040052
[7]. Gabrielle de la Puente. 2022. The Impact Of UsingSocial Media As An Artist, https://weareunlimited.org.uk/wp-content/uploads/2022/04/The-Impact-Of-Using-Social-Media-As-An-Artist-compressed.pdf
[8]. Yuqi Yang, March 2024, The Impact of Social Media on the Commercialization and Market Value of Visual Art, Lecture Notes in Education Psychology and Public Media 40(1):144-150
Cite this article
Huang,X. (2024).Research on the Aesthetic Education in the Age of Social Media.Communications in Humanities Research,45,21-24.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content
About volume
Volume title: Proceedings of the 3rd International Conference on Art, Design and Social Sciences
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).