Author note: Owen Hulatt (Editor)
Whether paintings could be thoroughly self sustaining has been again and again challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a group of specialists speak about the level to which paintings could be defined simply when it comes to aesthetic categories.
Covering examples from Philosophy, track and paintings background and drawing on continental and analytic resources, this quantity clarifies the connection among works of art and extra-aesthetic concerns, together with historical, cultural or fiscal components. It provides a accomplished evaluate of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by way of heavily analyzing how the construction of works of art, and our decisions of those artistic endeavors, relate to society and historical past, Aesthetic and creative Autonomy offers an insightful and sustained dialogue of an important query in aesthetic philosophy.
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Extra info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
In fact, it is possible to indicate a logical test that allows a distinction to be made between visual conceptual art and items or configurations which merely serve to illustrate some idea or theory. The criterion is twofold. e. it must be one which can only be fully articulated through direct perceptual acquaintance with the work itself, rather than through mere discriptions of it. These points at least indicate how even the problematic Duchampian tradition might be adapted to a normative approach;14 but the vital notion here is ‘adapted’.
The objects of those experiences have aesthetic value too. I am inclined to spell out the aesthetic value of the objects of aesthetic experience in terms of the aesthetic value of a subclass of the experiences of those objects, namely experiences derived from an adequate and proper reception of the object. What 34 Aesthetic and Artistic Autonomy such a reception amounts to varies depending on the object. If the object is the momentary phenomenal appearance of a mountain range, then the most minimal criterion of adequacy requires that one recognizes that one is perceiving a mountain range and that one’s ascription of a phenomenal appearance is capable of receiving a fair degree of intersubjective agreement.
2009) Phenomenology of the Visual Arts (even the frame). Stanford, CA: Stanford University Press. de Duve, Thierry (1996) Kant After Duchamp. Cambridge, MA and London: MIT Press. Dykstra, Steven W. (1996) ‘The Artist’s Intentions and the Intentional Fallacy in Fine Arts Conservation’. Journal of the American Institute for Conservation,Vol. 3, No. 3. Iseminger, Gary (1992) edited collection Intention and Interpretation. Philadelphia, PA: Temple University Press. Lyas, Colin (1983) ‘Anything Goes; The Intentional Fallacy Revisited’.