Author note: Owen Hulatt (Editor)
Whether paintings may be utterly self reliant has been again and again challenged within the sleek historical past of aesthetics. during this choice of specially-commissioned chapters, a workforce of specialists speak about the level to which paintings will be defined in basic terms by way of aesthetic categories.
Covering examples from Philosophy, track and paintings background and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic concerns, together with historical, cultural or monetary elements. It provides a complete evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular works of art themselves. through heavily reading how the construction of works of art, and our decisions of those works of art, relate to society and historical past, Aesthetic and inventive Autonomy offers an insightful and sustained dialogue of a tremendous query in aesthetic philosophy.
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Extra resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
Depending on how broadly one interprets ‘formal’, another element could be added – the expressive per se. In Western culture at least, certain formal configurations, hinging on colour, shape and gesture (or in literature and music, narrative and developmental structures and resolutions), have specific ranges of emotional association. There may be some natural element in these associations, but substantially they are conventions of interpretation which are part of our general cultural stock. They are thus bound up with the protosymbolic level of meaning.
Obviously Sally and Bill have numerically different experiences. What kind of identity are we talking about? One possibility is type identity. However, the same thing can belong to different types. Thus Sally’s experience and Bill’s experience may belong to the same type if the type in question is picked by properties experienced. Suppose that both experience that the object in question is balanced. They both have balanced-object experiences. But the type we are interested in is the type aesthetic experience.
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. More generally, if aesthetic experience is focused on forms, qualities and meanings of objects, then the aesthetic value of an object is measured by the value of the experiences of those who correctly perceive and/or believe that the object has those forms, qualities and meanings.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)