Aesthetic and Artistic Autonomy (Bloomsbury Studies in

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.

Show description

Read or Download Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy) PDF

Similar aesthetics books

Soul and Form (Columbia Themes in Philosophy, Social Criticism, and the Arts)

György Lukacs used to be a Hungarian Marxist thinker, author, and literary critic who formed mainstream eu Communist suggestion. Soul and shape was once his first ebook, released in 1910, and it proven his acceptance, treating questions of linguistic expressivity and literary type within the works of Plato, Kierkegaard, Novalis, Sterne, and others.

Art and Experience:

Lately, adventure has been some of the most ambiguous, evasive, and debatable phrases in myriad disciplines together with epistemology, faith, literary idea, and philosophical aesthetics. Its organization with the subjective cognizance has disadvantaged it of the cognitive prestige of human wisdom.

Roman Ingarden's Ontology and Aesthetics

A number one Polish thinker of the twentieth century, Roman Ingarden is mainly well known in Western tradition for his paintings in aesthetics and the speculation of literature. Jeff Mitscherling demonstrates, during this large paintings, how Ingarden's concept constitutes a huge contribution to the extra primary fields of ontology and metaphysics.

Moralizing Technology: Understanding and Designing the Morality of Things

Expertise permeates approximately each point of our day-by-day lives. autos permit us to trip lengthy distances, cellphones support us to speak, and clinical units give the chance to notice and remedy ailments. yet those aids to life usually are not easily impartial tools: they offer form to what we do and the way we event the realm.

Extra info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

Sample text

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’.

Download PDF sample

Rated 4.14 of 5 – based on 18 votes