By Dave Davies
During this richly argued and provocative ebook, David Davies elaborates and defends a large conceptual framework for brooding about the humanities that finds very important continuities and discontinuities among conventional and smooth artwork, and among diverse creative disciplines.
- Elaborates and defends a vast conceptual framework for brooding about the arts.
- Offers a provocative view in regards to the sorts of issues that works of art are and the way they're to be understood.
- Reveals vital continuities and discontinuities among conventional and smooth art.
- Highlights center subject matters in aesthetics and paintings conception, together with conventional theories in regards to the nature of paintings, aesthetic appreciation, inventive intentions, functionality, and inventive meaning.
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Additional resources for Art as Performance (New Directions in Aesthetics)
Walton concludes that aesthetic empiricism must be moderate rather than pure: artistic properties supervene on manifest properties and category of art, but no other aspects of the history of making of a work – no “supra-categoreal” aspects, we might say – bear upon its artistic value. 32 Aesthetic Empiricism and Philosophy of Art To challenge moderate empiricism, we require examples of works that differ in artistic properties while sharing both manifest properties and artistic category. In responding to Walton, Currie initially proposes the following sorts of examples.
Aesthetic empiricism in its purest form is the thesis that the focus of appreciation is what we may term the “manifest work” – an entity that Aesthetic Empiricism and Philosophy of Art 27 comprises only properties available to a receiver in an immediate perceptual encounter with an object or event that realizes the work. Only these properties of the product of the artist’s generative act are relevant to the appreciation of his or her work. In particular, the process whereby the manifest work came to have the properties it has can bear upon the appreciation of the work only to the extent that the nature of that process is itself manifest to receivers of the work.
P3 There is no basis for selectively dismissing either our or the Martians’ judgments of AV on the respective works. P4 So, from P1 and P3, there is a genuine difference in AV between G1 and G2. P5 So, from P2 and P4, there is a genuine difference in APs between G1 and G2. P6 But, by hypothesis, G1 and G2 share all pictorial properties and belong to the same category of art. P7 So, from P6 and the definition of supervenience, G1 and G2 share all APs that supervene on pictorial properties and category of art.
Art as Performance (New Directions in Aesthetics) by Dave Davies