There is an argument how to identify an art in four factors; Art that is aesthetically pleasing, art that expresses emotion, how the art is made, and Art that is evaluated and accepted through critic. Michael Parsons’(1987a-b) phenomenological work on how we understand art is the most well-known one in the Nordic countries. Parsons classified people’s responses to paintings in four categories based upon what they primarily were looking for in a work of art: subject matter (including ideas of beauty and realism); emotional expression; medium, form and style; and the nature of judgment.
It is said that arts that show visual images, can convey expressive emotion and viewers are able to take this factor into them and exchange it back with their
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sociologist, for example, would answer those kinds of questions by analysing when, where, and how participants in various social worlds, including the “art world”, would draw the lines that distinguish what they want and do not want to be taken as “art” (Becker, 1982). A simple way to define art, through creative process and showing it to others it should be fun and the work of art must be original in its own term. Art was supposed to be fun, which could be accomplished by using easy materials like coloured paper and paints, a range of subjects and themes to remind the children of what they were supposed to do, a prohibition against copying, or even looking at other art Lars Lindström (2009).
Art in terms of visual must be useful like a brain full of important memory, containing data of information. There are two ways in which social scientists approach the visual: the first is – like Aspers et al. (op. cit.) – to collect existing visual artefacts and to investigate their production, uses and interpretations; the second is to manufacture visual artefacts as part of the process of doing research. Being arts-based refers to the use of”visuals as data and as a form of investigation and reporting”