Download Antiaesthetics: An Appreciation of the Cow with the Subtile by Paul Ziff PDF

By Paul Ziff

Although quite a few sections of this paintings were released individually in a number of journals and volumes their separate book is utterly caused by the exigencies of lifestyles in academia: the paintings was once devised as and is meant to represent whatever of an natural team spirit. half II of 'The Cow with the Subtile nostril' used to be released below the identify 'A inventive Use of Language' in New Literary heritage (Autumn, 1972), pp. 108-18. 'The Cow at the Roof' seemed within the magazine oj Philosophy LXX, No. 19 (November eight, 1973), pp. 713-23. 'A fantastic Forehand' seemed within the magazine oj the Philosophy oj recreation, Vol. 1 (September, 1974), pp. 92-109. 'Quote: decisions from Our mind' seemed in views at the Philosophy oj Wittgenstein, ed. via I. Block (Oxford: Basil Blackwell, 1981), pp. 201-211. 'Art and Sociobiology' seemed in brain (1981), Vol. XC, pp. 505-520. 'Anything Viewed'appeared in Essays in Honour oj Jaakko Hintikka, ed. by way of Esa Saarinen, Risto Hilpinen, Illkka Niiniluoto and Merrill Provence Hintikka (Dordrecht, Holland and Boston, Massachusetts: D. Reidel Publishing Co., 1979), pp. 285-293. 'How I See Philosophy' seemed within the Owl oj Minerva, ed. by way of C. J. Bontempo and S. Jack Odell (New York: McGraw-Hill publication Co., 1975), pp. 223-5. all of the last elements also are impending in a variety of journals and volumes. i'm thankful to Bradley E. Wilson for the instruction of the index.

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Delacroix and his school thought that these painterly qualities were absolutely essential. Ingres and his school thought that contour was absolutely essential. A good critic like Baudelaire said they were both very interesting. A very sensible man. It's clear that art can evolve in either direction. German expressionists strongly emphasized the painterly qualities deemphasized Botticelli-type or Ingres-type contours. German expressionists really had no interest in draftsmanship though with Beckmann and people like that one finds very powerful lines but it is not the careful contour of Ingres but something else altogether.

Nothing. Not even that one can have a fIeld day with the fallacy of the sorites. We knew that already. A piece of music is an auditory pattern. The number and timbre of the instruments that the work is scored for is certainly sometimes an important aspect of that pattern. One can within limits tamper with the timbre of a work but one can easily go too far. Debussy's quartet arranged for kazoos and guitars would be silly. But Bach's Art of the fugue is readily performed on an organ or by a string quartet or even by a small orchestra.

THE COW WITH THE SUBTILE NOSE 41 If one enters an even more sophisticated area of human discourse namely zen question and zen answers zen koans then one realizes very quickly that what counts as an adequate answer to a zen question cannot be characterized simply in syntactic or semantic terms nonetheless there are correct and incorrect answers to the questions. Now I am inclined to think that when it comes to the character of something an event an object or what have you as a work ~f art or as a work of antiart that there really is no reason to say that my mu can't be a work of art of antiart.

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