junio 17, 2022

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a Philosopher. Master in History and Theory of Art, Universidad Nacional de Colombia. Independent artist, teacher of the Bachelor’s Degree in Philosophy, Universidad Pedagógica Nacional. Colombia. E-mail: [email protected]
This reflection paper, which is the result of research, makes an analysis of the aesthetic appreciation of nature in Ronald Hepburn, which aims to address his critique of the rationalization of natural beauty, as well as his commitment to raise the aesthetic experience of nature as a question that has a moral-practical incidence.
This reflection paper, which is the result of an investigation, analyzes the aesthetic appreciation of nature in Ronald Hepburn, aiming to address his critique of the rationalization of natural beauty, as well as his proposal of the aesthetic experience of nature as a matter with a moral-practical impact.
The critique of the lack of truth and the standardization of natural beauty would lead, consequently, to the question of what is proper to the beauty of nature without the mediation of art. The experience of natural beauty shows that there are aesthetic problems without the mediation of art and that not all the philosophical question revolves around it. Art does not limit every aesthetic situation and is, rather, a way of mediating the experience of reality; it can vividly present perspectives on the «human world», even as an objective truth, but it does not contain natural beauty. Even if artistically created objects are assimilated to those of the natural world, in appreciating them aesthetically as nature (a natural object-space-phenomenon in its reference to the totality) we do not necessarily have an object such as art in mind9. Despite the fact that the tradition affirms this, it is a form of appreciation of a different nature from that of art. However, Hepburn would note that it is not a matter of summoning a conceptual purism on the experience, appreciation or object of natural beauty, but of tracing certain intrinsic aspects that contrast with the sphere of rationalizable characters of art, such as the determinability of the given, the distance from the object and its finiteness.

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The first interaction of the consumer with the product takes place through the packaging and what it conveys is often decisive in the final purchase decision. Many market data on this point have been published and support the importance of packaging. Not surprisingly, 96% of consumers say they are more inclined to buy a product if they can touch the packaging at the point of sale.
If we also add personalization and differentiation, something that brands have always pursued and that today has become a necessity, no one will have the slightest doubt that our droppers are the best option to dose the illusion of beauty products.

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This reflection paper, which is the result of an investigation, analyzes the aesthetic appreciation of nature in Ronald Hepburn, aiming to address his critique of the rationalization of natural beauty, as well as his bid to raise the aesthetic experience of nature as a question that has a moral-practical incidence.
This reflection paper, which is the result of an investigation, analyzes the aesthetic appreciation of nature in Ronald Hepburn, aiming to address his critique of the rationalization of natural beauty, as well as his proposal of the aesthetic experience of nature as a matter with a moral-practical impact.
The critique of the lack of truth and the standardization of natural beauty would lead, consequently, to the question of what is proper to the beauty of nature without the mediation of art. The experience of natural beauty shows that there are aesthetic problems without the mediation of art and that not all the philosophical question revolves around it. Art does not limit every aesthetic situation and is, rather, a way of mediating the experience of reality; it can vividly present perspectives on the «human world», even as an objective truth, but it does not contain natural beauty. Even if artistically created objects are assimilated to those of the natural world, in appreciating them aesthetically as nature (a natural object-space-phenomenon in its reference to the totality) we do not necessarily have an object such as art in mind9. Despite the fact that the tradition affirms this, it is a form of appreciation of a different nature from that of art. However, Hepburn would note that it is not a matter of summoning a conceptual purism on the experience, appreciation or object of natural beauty, but of tracing certain intrinsic aspects that contrast with the sphere of rationalizable characters of art, such as the determinability of the given, the distance from the object and its finiteness.

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He considers that the diary «is being reborn» as a genreHe began to get into this genre, he says, reading authors such as Andrés Trapiello, Miguel Sánchez-Ostiz or Josep Pla, but he also feels admiration for the work of other writers such as César Gónzalez Ruano and José Carlos Llop. «I think the genre is being reborn. Before it was something a bit marginal, but there seems to be an interest in the literature of the ‘I’ and the diary because it has something addictive; it does not have that commitment to immerse oneself in a novel, and it is a direct entrance to the universe of a person, of someone who opens, or at least that’s what I propose, his soul to others, and in a free way, without charging admission,» jokes Laporte, to whom the diaries of intimacy also allow him to discover himself.