Second, resemblance is a symmetrical relation. Antirealism We have already indicated the negative claim that antirealists make about aesthetic properties: there really arent any. One has to apprehend the clue in a more or less imaginative way to find the right word. For the first time, perhaps, a group of objects were classified together in virtue of their aesthetic function.1 Deservedly or not, it is from this eighteenth-century source that several alternative conceptions of the subject matter of aesthetics have emerged. What Are Aesthetic Properties. Proceedings of the Aristotelian Society. A possible way to defend the WECIA is to argue that the morally flawed works dont merely ask us to imagine being bad in some way but also to ask us to sympathize with its morally flawed or outright immoral characters, and this gives a kind of edge to our imaginative engagement with the work that we (or some of us) enjoy, making the work aesthetically better. There could be three reasons. They tell us that something is good or ought to be done. Misdescriptions satisfy this condition without being imaginary Representation: Fiction 167 scenes. 2003. 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. It has sometimes been argued that empirical results favor the denial of (2) over the denial of (1). Thus, the facade of a Georgian row house presents a complete vertical element consisting plinth, cornice, entablature, column, capital and molding (Scruton 1994, 18). 1996. But how to choose which views to emphasize? One is requiring that ones inference adequately takes into account everything relevant to identifying the poems expressive properties, whether it be in the text or part of the historical background. On the other hand, the expression in a work of attitudes ranging from the morally uncertain to the reprehensible may do some good. But it is also not a portrait of an actual woman. Aesthetic Experience Revisited. British Journal of Aesthetics 42: 14568. If HI is correct, the poem is such an expression if this is the best hypothesis about the poets intention. In the latter parts of this chapter, we confronted some additional issues concerning the role of knowledge in nature appreciation, the norms of such appreciation, and the features that make such appreciation aesthetic. Musical Ontology and the Argument from Creation. British Journal of Aesthetics 41:27992. But this is not the only way to gain this understanding: one can do so by bringing past experience to bear in the present situation and by exercising the imagination in ways that may or may not be empathetic but in any case fall short of undergoing an emotion or mood. So in a case where I mean to say that there is a fly in your suit, why shouldnt we say that here, too, convention and context do all the work in fixing utterance meaning? There may be some abstract, nonrepresentational paintings in which the satisfaction of these interests provides the chief aesthetic experience. For example, formalists when discussing particular paintings, often refer to the volume a group of figures fills in the represented three-dimensional space of the picture. . People do not think that birdhood comes in degrees so that sparrows are really birds, but herons are only sort of birds. 1988. What is im- Conceptions of the Aesthetic: Aesthetic Experience 41 portant is the experiencethe contemplation the object provides. So perhaps we can get away with an emendation. We can distinguish between architecture as a medium and as an art form. The first intention is constitutive: it determines the type of object we are dealing with. Notes 1. What makes them aesthetic properties (if there are such)? The experiences may be unique to the works that offer them and this may make the experiences uniquely valuable, but the type of value involved in these experiences is not unique to art. An alternative view says that e-a interaction sometimes occurs and when it does, it always does so in the same way: ethical merits always enhance and ethical demerits always detract from aesthetic merit. That is, they were considered paradigmatic objects of judgments of taste (a common eighteenth-century name for aesthetic judgments). Preface 1. 1956. There is an architectural avant-garde. Once again the aesthetic defect is not the same as the ethical one but the latter is responsible for the former. (By the way, the intentions mentioned so far are perfectly consistent with a further intention that the reader will grasp certain truths about reality by reflecting on the narrative.) The trouble is that it is admitted by all that Fountain 236 Chapter Eleven sustains little aesthetic experience. 1986. How does this proposal derive from the criticism of the first two? Part II below will argue that it is not only problematic but incorrect. 1979. Hopkins, Robert. People are intentional objects in this sense because they have intentional states (beliefs, desires, intentions), and, artworks and other objects of interpretation, are intentional objects by virtue of expressing or representing intentional states. He is the protagonist, Gabriel, and the woman is his wife, Gretta. References 301 Predelli, Stefano. Constructivist views about interpretation itself are not logically tied to the ontology we considered under the constructivist paradigm. They all refer to this works relation to others in the historical development of music, and puts those relations in a positive light. The problem with this view is that, if the type of resemblance used in classification is left unspecified, then nothing is excluded from the classification, while if the resemblance is narrowed to specific respects, we have the material for a definition of art. The determination that a passage is expressive of an emotion is not a perception, but a judgment about the music, commonly in part based on what one hears in it.9 To this it might be replied that there is still an important difference between the original persona view and the hypothetical intentionalist alternative. Art, in presupposing a concept, is a species of dependent beauty, and hence the aesthetic experience derived from the appreciation of works of art permits, even requires, a degree conceptualization and cognition that is absent in the case of free beauty. Later we will examine grounds for questioning this. Suppose you visit my house and you see, near the fireplace, a large tree stump. However, one point that emerges from our reflections is that the concept of art is a vague concept, and this means that any proposed definition either has to capture this vagueness or be considered to some extent an idealization of the actual concept. PDF | On Dec 31, 2020, Paul A. Kottman published Introduction. On this occasion, at least, the answer appears to be none. Hence, contextualists believe that a satisfactory definition of art must be relational. Consider an appreciative experience of Mondrians well-known abstract painting, Broadway Boogie Woogie. Why are classificatory principles philosophically interesting? We now know that the answer is that it cannot. Similarly, if I notice a feature to which I was previously blind that makes an important difference to my experience, that makes it more valid. The humor in A Sentimental Journey is of artistic merit and helps to make it a good novel. 2000 Is It Reasonable to Attempt to Define Art? In Theories of Art Today, ed. The consequences of a work on its audience and beyond can be good or bad (or both good and bad) and works can be ethically evaluated for having such consequences or for having the potential (the capacity) to produce them. This means that our response is independent of any advantage I or someone else could gain from the object of the judgment, whether that advantage is material, cognitive, or moral. Defenders of aesthetic definitions take two approaches to replying to this objection. You need not do so in the active, voluntary way you imagine, while looking at the poster, fishing on a Great Lake for one of the illustrated species. Allen Carlson provided very useful feedback on chapter 2. Bowsma, O. K. 1950 The Expression Theory of Art. In Philosophical Analysis, ed. Defends a pluralistic approach to the appreciation of nature. This can lead someone to deny that the artistic value of a work has any such instrumental value. A work is an expression of sadness only if it in some way conveys, communicates, makes manifest (an actual or fictional) someones sadness, and a work can be sad without doing this. Are these the conditions under which travel is valued for its own sake, or is travel simply a means to these goods? The poem is witty, too, in the way it uses language to complicate and pile on metaphors, often turning them on their heads. This passage tells us that some knowledge is required to properly appreciate nature. Finally, and fortunately, the experience in question can be imaginative. It is hard to state this condition with precision. Michael Mitias. For many constructivists, the evolving culture shapes the work at least as much as the artist does. Such items are art because their aesthetic value is essential to their function. The claim that makes the impression view problematic is that even ideal observers can have different impressions based on recognizing the same objective properties f1-fn. Cambridge: Cambridge University Press. As far as the institutions are concerned, I want to say a few words regarding their obvious existence. Usually, creators of fiction have a variety of purposes in mind in presenting events we are to imagine. 2. However, it struggles with two problems. 123 124 Chapter Six However we answer these questions about the role of original intention and subsequent reception in constituting a privileged version of a film, there are still more basic questions about the kind of entity films are. Levinson (2001, 62) makes a similar point. Rhythm and Noise: An Aesthetics of Rock Music. One of its aims is to create an imaginary world for our contemplation and enjoyment. Guiding readers through major problems, issues and debates in aesthetics, this is a bias-free introduction for students studying the philosophy of art for the first time. Consider a clear case of pretense. It is essential for a proper assessment of their artistic value. Tolhurst, William. Pictures are not the only representations that rely on perceptual recognitional abilities. Second, its not clear that the primary or initial aim of any interpretation is to enhance appreciation. Can artworks give us knowledge we did not previously possess? 10. The same goes for looking at the myriad heavenly bodies that fill the sky on a clear night in the country far away from city lights. Similar distinctions apply to what is valuable for its own sake and what is valuable simply for the sake of something else. If my interpretation of Levine is correct, her photographs have lots of extrinsic aesthetic value inherited from her subjects. Notes 1. There really is not agreement currently about how much weight we should give to common usage and common sense, or, more generally, how such controversies should be settled. When and how does knowledge enhance the appreciation of nature? Fiction and the Emotions. American Philosophical Quarterly 30:113. Hence works are things that are much more in flux than they are thought to be under contextualism, and there is a consequent difference in views about the understanding and value of art. The second claim, for which the first is purportedly a reason, is that nature is like an artwork created by human beings, except that it is a far superior one since it created by a far superior being or beings. Classic defense of formalism. Ziff, Paul. Music, Art, and Metaphysics. This, however, is a clarification rather than a denial of the seeing-in account. A highly sophisticated presentation of the resemblance view of depiction. But both of the main solutions to the paradox recognize and can accommodate this fact. What is attractive about HI, and why would anyone suppose that utterance or work meaning is identified by a hypothetical intention? Both take up the offer. 1998. Second, one can require, for a type to exist, not only that there be the associated property, but, among other possibilities, either, that there be tokens of the type in existence (Margolis 1980) or at least instructions or designs for creating such tokens. One condition they must meet is that they possess some properties of the material object that embodies them (Margolis 1980, 2122). There are some who claim that because of this, these works are fictional even if the primary purpose lies elsewhere (Walton 1990). Are there properties that a work must have to be artistically valuable? If this is correct for true colors, there is little hope for (true) aesthetic properties being ways of appearing.7 A Response-Dependency View Lets now consider one version of a response-dependency view. He believes that an artwork is a thing that has been seriously intended for regard-as-a-work-of-art, i.e., regard in any way preexisting artworks are or were correctly regarded (1989, 21). 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. If one focuses on one specific instrumental value of artworks, these works can also seem dispensable. London: Penguin Press. If the second objection is correct, that would scotch the subjectivists attempt to account for the evaluative aspect of many aesthetic judgments. 3. No motion has she now, no force; She neither hears nor sees; Rolled round in earths diurnal course, With rocks, and stones, and trees. Certain patterns of color or shape originate in the natural world (though they can be transferred to artifacts). Kant takes aesthetic judgments to be subjective and thus they do not make truth claims, but he nevertheless thinks that they claim universal assent. An influential treatment of aesthetic properties in a sophisticated subjectivist vein. Macbeth is a Scottish lord, a usurper, a king. We shall be concerned with two questions that arise from the thesis that the ethical value of an artwork can be a proper part of its artistic value and one that is distinct from the works aesthetic value. The ambitious strategy (Lind 1992, Shelley 2003) is bolder. So it may not only explain the fact that seeing-in occurs but supplements the seeing-in account by providing a more fine-grained analysis of its varieties. Central Approaches So far we have been talking about the issues central to the philosophy of art. We have, then, two paradigmatic views about interpretation and its objects: the contextualist paradigm and the constructivist paradigm. A simple way of putting the matter would be to say that it takes into account all the features of a poem. Consider two symbols that share a pattern: the Nazi swastika and the hooked cross used by the pre-Columbian Amerindian cultures. We have asserted instead that artistic value consists in a plurality of instrumental Artistic Value 233 values. Normally, when we find an attitude like residual racism expressed in a work, we attribute that attitude to the artist as well, just as we did in the case of an attitude intentionally expressed and successfully conveyed. The speakers present life is the glowing of embers kept alive by what combustible substance remains. 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