Author note: Owen Hulatt (Editor)
Whether paintings should be completely self sufficient has been time and again challenged within the glossy heritage of aesthetics. during this choice of specially-commissioned chapters, a staff of specialists speak about the level to which paintings could be defined in basic terms when it comes to aesthetic categories.
Covering examples from Philosophy, tune and paintings heritage and drawing on continental and analytic resources, this quantity clarifies the connection among works of art and extra-aesthetic concerns, together with ancient, cultural or financial elements. It provides a complete review of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by means of heavily analyzing how the construction of artistic endeavors, and our decisions of those works of art, relate to society and background, Aesthetic and inventive Autonomy presents an insightful and sustained dialogue of a huge query in aesthetic philosophy.
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Additional resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
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. This is a quick outline of my conception of aesthetic value. The main point I want to make about it here is that this value is independent from other values and of the type of object experienced. This is what I mean by the underived character of aesthetic value.
4 For more on this issue see Chapter 1 of Defining Art, and Chapter 4 of my book The Transhistorical Image; Philosophizing Art and its History (Cambridge: Cambridge University Press, 2002). 5 See, for example, W. J. T. Mitchell’s Picture Theory (Chicago, IL: University of Chicago Press, 1994). For an example of the complexity of audience involvement in non-Western art see Susan M. Vogel’s Baule: African Art/Western Eyes (New Haven, CT and London: Yale University Press, 1997). 6 There is a sense of ‘representation’ which is too broad, namely when used in relation to any signifying practice.
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’. Conceptual works are not paradigms of art. The great problem of aesthetics in the analytical tradition is that since the late twentieth century it has often treated such works as if they were paradigmatic.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)