Download Art as Performance (New Directions in Aesthetics) by Dave Davies PDF

By Dave Davies

During this richly argued and provocative ebook, David Davies elaborates and defends a huge conceptual framework for wondering the humanities that finds vital continuities and discontinuities among conventional and sleek artwork, and among various creative disciplines.

  • Elaborates and defends a large conceptual framework for pondering the arts.
  • Offers a provocative view in regards to the types of issues that artistic endeavors are and the way they're to be understood.
  • Reveals very important continuities and discontinuities among conventional and sleek art.
  • Highlights middle subject matters in aesthetics and artwork thought, together with conventional theories concerning the nature of artwork, aesthetic appreciation, creative intentions, functionality, and creative meaning.

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Extra resources for Art as Performance (New Directions in Aesthetics)

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22 As for proposed ontologies of art that seek a ground quite independent of our artistic practice, I 20 An analogy might be drawn with the Kuhnian maxim (1970) that philosophy of science without history of science is empty – that we cannot proceed in our attempts to understand what science is without holding ourselves accountable in some sense to what scientists do. 21 One might read a work like Heidegger’s “The Origin of the Work of Art”(1971) in this way, although it would be unfair to claim that such writings in the broadly “continental” tradition operate without concern for the pragmatic constraint.

P3 There is no basis for selectively dismissing either our or the Martians’ judgments of AV on the respective works. P4 So, from P1 and P3, there is a genuine difference in AV between G1 and G2. P5 So, from P2 and P4, there is a genuine difference in APs between G1 and G2. P6 But, by hypothesis, G1 and G2 share all pictorial properties and belong to the same category of art. P7 So, from P6 and the definition of supervenience, G1 and G2 share all APs that supervene on pictorial properties and category of art.

If we assume that what can be seen by merely looking at a painting are patterns of colors – what Currie terms “pictorial properties” – then the empiricist maintains that all judgments concerning the artistic value of a painting are accountable to its pictorial properties alone. 3 However, a broadly empiricist account of the appreciation of literary works might take their artistic properties to be those locatable in a text taken independently of history of writing and authorial intention. Even if modified to accommodate literary works, though, this pure form of empiricism4 is open to at least two crippling objections.

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