This version of the artwork model is based on a faulty understanding of aesthetic appreciation as a synonym for the appreciation of art. But this camp doesnt think this is a reason to deny that we refer to fictional things. One way, of course, 18 Chapter Two is the way recommended by the impressionist model. However, even if one thinks of nature as the creation of an intelligent being and as beautiful, it doesnt necessarily follow that it is art. While aesthetics is the study of value, the philosophy of art deals with a much wider array of questions, including Second Edition issues in metaphysics, epistemology, the . Recall that Budd labels this the intrinsic value of the work. 133 that a work is something like a structure-given-in-a-context. Cambridge: Cambridge University Press, 157213. My own view is that the detailed descriptions and even the theoretical chapters of War and Peace promote the works aesthetic goals (though not everyone agrees), but some of the information may not be credible and the theory of history ultimately implausible. Consider the idea that colors are lower order ways of appearing, an idea that we have to understand before we can recognize higher order ways of appearing. To accomplish this Troy must be destroyed, its men killed, its women and children enslaved, and its fields made barren. 1994. Others with more specialized interests will do a better job than I could here. If there are two physical objects where the painting or sculpture 138 Chapter Six is, we appear to violate this principle. 2. The first question is whether this assumption is correct. Beauty is simply a property that we mention to indicate the value of the experiences that the object is capable of providing to (i.e., causing in) those who perceive it accurately and understand it correctly. Some doubt that appeal to aesthetic value is sufficient to explain the cultural significance of art. This is made even more difficult by the fact that it itself has two parts. 1975. Does it provide an aesthetic experience, and does that experience potentially take in everything mentioned thus far? But other features in the mix are aesthetic ones or commonly regarded as such in this contextcolor, design, and the relational property of coordination with ones kitchens decor. Is one conception of hearing emotion in music better than the other? The last cause for skepticism is also based on the idea that what we are trying to define is the concept of art. 238 Chapter Eleven This understanding of arts cognitive value is not the only one on offer, and some would like to extend it to make more ambitious claims such as that art is capable of giving us knowledge of one kind or another (D. Davies 2007, Gaut 2007, Nussbaum 1990, Young 2001). The conception is automatically true of and adequate to the intentional object, since it is defined as having just those properties it is conceived to have. This suggests that the view has different or at least additional roots. Unfortunately, this tendency may not uniformly lead us to the truth. This leaves open that in other cases the basis of our ability to recognize what a depiction depicts (to see the object in the picture) is something other than a resemblance. However, I want to leave the hypothetical intentionalist version on the table, because the point to emphasize is that an account of expression can be assimilated to a more general account of work meaning, whichever account proves to be the best. in Oxford: Blackwell. The Possibility of Criticism. Finally, we would not say the work would be even better if it displayed a set of values we would approve of. Or, if you take that for granted you may still be puzzled why many items are considered art. See the next section below, An Alternative Kantian Account, for an exposition of Kants distinction between free and dependent beauty. So does official recognition that a building is historical. (Remember that Dickie selfconsciouly refuses to say what kind of appreciation is conferred by agents of the art world.) However, if this is so, it raises a question about the viability of the distinction between architectural works that are and those that are not artworks. This alternative is viable, however, only if reactions of ideal audience members tend to converge. 7. Perhaps one can cleverly think of cases where a pair of artworks, or a pair consisting of an artwork and a nonwork, offer identical experiences. The values of virtuosity 4. Notes 1. The idea that many artworks have cognitive value is thus plausible. This chapter is concerned with the aesthetic appreciation of nature. 2003. They claim that fictional characters are akin to theoretical entities that we acknowledge because of their theoretical utility such as gravity or the average American income. The section introduces the three standard epistemic notions employed in the debate: propositional knowledge, experiential knowledge, and understanding. In describing this poem, I used a number of terms that seem both to describe the experience of reading it and capture properties we find valuable in it. What distinguishes pictorial symbols from others, according to Goodman, is that they are syntactically and semantically dense and relatively replete. It is very common to think of instrumental music, or at least many pieces of music, in these terms. This Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy) book is absolutely not ordinary book, you have it then the world is in your hands. Artistic Value and Opportunistic Moralism. In Contemporary Debates in Aesthetics and the Philosophy of Art, ed. Notice, however, that a mink coat, adventure, and travel do not look to be on a par with peace of mind. Acces PDF Aesthetics A Reader In Philosophy Of The Arts 3rd Edition of texts initiates readers into the study of the foundations of and central developments in aesthetic thought. I argue for and spell out in much more detail this conception of artwork and art form in Stecker (1997). Most relevant to the intention debate are: (1) The proper aim issue. Oxford: Blackwell, 192204. Wry, witty, amusing, poignant, moving, evocative, vivid, clear, intensifying, and great are among them, and they are good examples of words that stand for aesthetic properties. Thus, the expressiveness of lyric poetry tends to consist, in large part, in the articulation of the propositional content of an emotional statebeliefs, desires, perceptionswhereas expressiveness in music must necessarily be located, for the most part, elsewhere. Contempt for a particular race or pleasure in the suffering of others are examples of such attitudes. First, it should, he believes, reinstate the idea that the art world is structured according to roles defined by the authority they give to those who occupy them. By contrast, aesthetic definitions seem, at first glance, to be free of this problem. This first sense is also connected to the idea of falsehood: Your PhD is a fiction can be interpreted as: its false that you have such a degree. (See note 5 above Conceptions of the Aesthetic: Aesthetic Properties 71 for a qualification of this claim.) Chicago: University of Chicago Press, 22232. 1993. Lets suppose it is. In Praise of Immoral Art. Philosophical Topics, 25:15599. (This is not to deny that some skill is required to accurately discriminate fine shades of color.) Not only is it wrong to place too much emphasis on the ultimate truth or falsehood of the conceptions, but it is also wrong to suppose they boil down to such simple distillations or morals. 315. This assessment may be overhasty. Most significantly, there are now two different chapters on topics related to representation instead of the one chapter in the 1st edition. The idea of an art form currently of interest to philosophers of art derives from the idea of the fine arts that first fully emerged in the eighteenth century. Goodman, Nelson. We look up at a cloud and notice it looks like a fox. In addition to the views already discussed, some argue that all artworks should be identified with the act of creating an object of appreciation rather than with the object itself (Currie 1989, Davies 2004). Those who value sexual intercourse as procreation, value it as a means, perhaps, but not as the means to our speciess survival. 1997b. Now suppose I imagine the sad story in this way. Second, both the good and the bad will exhibit all the qualities and relations I have discussed. Second, we should note that different art forms are expressive in different ways. So the role of sympathetic arousal in understanding others is not as pervasive as Ridley suggests, and the alternatives of robotic belief formation and sympathetic understanding not as exhaustive. Artworks: Definition, Meaning, Value. Art. This conception of artistic value is endorsed by Zangwill (1995). Hence, the moral flaw of such works is essential to their cognitive value. Ithaca, NY: Cornell University Press. The new premise 2 seems to be an improvement over the original premise 2. A more subtle approach involving a reference to causes might work better. University Park: Pennsylvania State University Press. I need not imagine myself in the world of the fiction. (Notice that in this respect her motivation is very different from Budds.) You can download the paper by clicking the button above. Attitudes and Explorations Some works express pro or con attitudes toward institutions, practices, systems of values, characters, or actions. But what about after you have acquired this knowledge? Hence both views are capable of explaining how the musical expression of emotion is something that can be heard. 2002. However, Dickies commentary on the definition makes clear that he thinks artists are the exclusive agents of status conferral. For a summary of and response to these, see Levinson 2002. If one despairs because of a lack of agreement, one ought to despair about philosophy, and much else besides. Genuine Rational Fictional Emotions. In Contemporary Debates in Aesthetics and the Philosophy of Art, ed. Why are wine, food, cigars, and various skillful entertainments such as sitcoms and action movies excluded? Part of what we appreciate here is the lakes stillness, but it is not clear whether we are referring to an aesthetic property of stillness, or a first order perception of complete lack of movement, or a lack of surface disturbance that is there for anyone to see. Despite the ways of escaping the problem mentioned below, this example resembles those used in chapter 7 to refute HI as a theory of work meaning. The modest strategy does not claim that these works have aesthetic value, but simply claims that whatever value they do have can only be understood in relation to, and in contrast with, the aesthetic value possessed by most works. This seemingly obvious answer is mistaken. Individual conceptions, like other beliefs, can be evaluated against various desiderata, and ought to be revised to the extent that they fail to meet these. If art broadens ones conceptual repertoire in ways that can lead to new ways of thinking or perceiving and sometimes to new knowledge, engaging with works can also make us better thinkers and perceivers in other ways. Perhaps it is possible that there is more than one adequate conception of art due to this vagueness. First, there are a number of different aspects to visual appearancecolor, shape, rela- Representation: Depiction 195 tive sizeand one might think that not all of these are equally important. Although, as in ancient thought, one of the defining feature of the arts was the fact that they are representations, they were now valued in explicitly aesthetic terms. An ideal audience is one that is historically situated so that it knows the corpus of the artists work as well as other publicly available features of the context of creation. When the clay is a shapeless lump, whether this is before or after the sculpture of a man is created, it is not a sculpture of a man. Significant form is form that imbues what possesses it with a special sort of value that consists in the affect produced in those who perceive it. The implicit endorsement, I have claimed, ought not to interfere with this engagement, but I have not claimed it positively enhances it or that it ought to. These benefits, however, are largely unintended and unsought. It is hard to imagine how one could justify such a moral stance. It was not even assumed that their capacity to do this is a good thing. I. This analysis leads to a very precise way of raising the question whether there really are aesthetic properties: do objects have or not have a steady disposition to produce the relevant reactions in ideally situated observers? In the history of western thought about art and beauty (a concept closely related to aesthetic value), there is much that precedes the eighteenth century. This sort of pictorial representation usually depends on depictionthe depictions of a dog, scales, and laurel leaves, respectivelybut is not itself depiction. One might greatly admire the way Henry James realizes this aim in the novel: the characters he creates, the choices he gives them, the society they inhabit. taste, and with the creation and appreciation of beauty. Since it may not be true that all evaluations that pertain to a works artistic value are aesthetic evaluations, how do we choose the ones that are? There is not an animal to be seen (nonexistence).7 The fact that we engage in seeing-in when there are no representations shows that seeing-in is not equivalent to seeing a representation. . The classic eighteenth-century source of subjectivism about the aesthetic. Academia.edu uses cookies to personalize content, tailor ads and improve the user experience. However, we have also noted that the aesthetic conception of art has come under strong criticism, and this applies to its theory of artistic value. Nor does it make us think the work is less worthy of it. To establish that there is something that is F that was photographed and that we are perhaps seeing, more needs to be established than that we are seeing-in the photograph something that is F. The above examples show that seeing-in can occur in photographs and it has the nonexistence property. What is needed is a distinction, and, unfortunately, there are no words that standardly make it. Oxford: Oxford University Press. The Logical Status of Fictional Discourse. New Literary History, 6: 31932. 2002. This raises a new problem in the case where we respond emotionally to fiction that arises especially for those who believe that fictional names like Anna Karenina do not refer to anything, viz. Beyond Aesthetics: Philosophical Essays. Truth, Fiction, and Literature: A Philosophical Perspective. Vermazen, Bruce. But if the environmental model is not to be ruled out from the start, the knowledge demanded neednt be large or technical. A Note on Art and Historical Concepts. British Journal of Aesthetics 40: 18690. If I post a set of rules for behavior in a given environment (e.g., a classroom), I assume that people will understand what behavior they are intended to elicit or prohibit, and that they will act accordingly without further consultation. CHAPTER THIRTEEN The Value of Architecture We begin this chapter by considering the aims of architecture and the aesthetic appreciation of buildings. 2. However, there is a different way of appealing to hypothetical intentions that poses a more serious challenge to moderate actual intentionalism.
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