By Dave Davies
During this richly argued and provocative booklet, David Davies elaborates and defends a vast conceptual framework for pondering the humanities that finds very important continuities and discontinuities among conventional and smooth paintings, and among varied inventive disciplines.
- Elaborates and defends a large conceptual framework for puzzling over the arts.
- Offers a provocative view concerning the sorts of issues that works of art are and the way they're to be understood.
- Reveals very important continuities and discontinuities among conventional and glossy art.
- Highlights middle issues in aesthetics and artwork idea, together with conventional theories concerning the nature of paintings, aesthetic appreciation, creative intentions, functionality, and creative meaning.
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Extra resources for Art as Performance (New Directions in Aesthetics)
The pragmatic constraint enables us to bring an account of our critical and appreciative practice to bear upon theses in the ontology of art by means of arguments having the following schematic form – let me call any argument of this kind an “epistemological argument” in the ontology of art: Introduction 23 1 an epistemological premiss. Rational reflection upon our critical and appreciative practice confirms that certain sorts of properties, actual or modal, are rightly ascribed to what are termed “works” in that practice, or that our practice rightly individuates what are termed “works” in a certain way.
As we saw, the empiricist can respond that the differences in value pertain Aesthetic Empiricism and Philosophy of Art 35 not to artistic value but only to art-historical value. Since Currie has offered no general argument against the empiricist’s appeal to the latter distinction, the basis for the difference in ascribed artistic value in P1 cannot be anything that the empiricist would regard as bearing only on the art-historical value of the two canvases. Thus we must discount any value accruing to Picasso’s work in virtue of its contribution to his oeuvre or to a broader tradition of painting.
If, for example, we hold that the only properties that bear on artistic appreciation and artistic value are those that a receiver can determine in a direct engagement with a manifest work, then the natural ontological conclusion to draw, given the pragmatic constraint, is that the work is some kind of perceptible structure given in an encounter with a concrete embodiment of the work, or perhaps a physical object in the case of arts such as painting and sculpture. Alternatively, if one believes that the only constraints on right appreciation of a work come from the consumer rather than the producer, so that an interpretive appreciation of a work is acceptable or right just in case it represents the work in a way that is interesting or relevant to the receiver, then facts about a work’s actual history of making will again have no privileged role to play in appreciation of that work, and thus no consequent bearing on the individuation and identity of works.
Art as Performance (New Directions in Aesthetics) by Dave Davies