Aesthetic and Artistic Autonomy (Bloomsbury Studies in by PDF

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Whether paintings might be entirely self sustaining has been again and again challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a staff of specialists speak about the level to which artwork should be defined in simple terms by way of aesthetic categories.

Covering examples from Philosophy, track and paintings background and drawing on continental and analytic resources, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with old, cultural or monetary elements. It offers a complete assessment of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by way of heavily studying 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 presents an insightful and sustained dialogue of an immense query in aesthetic philosophy.

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However, is there a good reason to prefer the concept of aesthetic value endorsed here to the one he proposes? Yes, there is. e. from the eighteenth century onward), aesthetic value has been tied to a type of valuable experience but not to one particular source of experience such as art or nature. Traditionally, it has also been distinguished from ethical and cognitive value. Since we have been given no good reason to abandon this tradition, we should conclude that Gaut opts too quickly for the reductive conception of the aesthetic he ultimately proposes.

That is sufficient for potentially aesthetically valuable experience. Purity of purpose, pure disinterestedness, is not required. As far as I can see, the aesthetic value of experiences is subjective. Experiences have positive aesthetic value only if one enjoys them or finds them valuable in themselves for some other reason. That, however, is not sufficient for an experience to be aesthetically valuable. It must also be focused on an object, and in particular on some properties of the object within a specified range.

Why should we reject the claim that these experiences are aesthetic? Well, the first does not have an object outside my body and relies on tactual experience rather than visual or auditory experience. Traditionally, aesthetic experience has been thought to focus on objects outside one’s own body and, though here the tradition is less unified, on visual and auditory (or imaginative) experience. The case of the lecture is at worst an atypical example of what has traditionally counted as aesthetic experience – visual and/or auditory experience of something outside myself – because traditional examples focused on nature, art or other artefacts.

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