By David Davies
During this richly argued and provocative publication, David Davies elaborates and defends a large conceptual framework for considering the humanities that unearths vital continuities and discontinuities among conventional and smooth paintings, and among diverse creative disciplines.
* Elaborates and defends a large conceptual framework for wondering the humanities.
* bargains a provocative view in regards to the different types of issues that artistic endeavors are and the way they're to be understood.
* finds vital continuities and discontinuities among conventional and smooth paintings.
* Highlights center subject matters in aesthetics and artwork conception, together with conventional theories in regards to the nature of paintings, aesthetic appreciation, creative intentions, functionality, and creative meaning.
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Additional info for Art as Performance
For what we normally cite in justifying our judgments of artistic value on a painting are not in any obvious sense manifest properties of the design – its being a particular arrangement of pigment on canvas – but, rather, more traditional “aesthetic” qualities such as balance, symmetry, grace, and expressiveness. 8 Thus only if two paintings differ in their pictorial properties can they differ in their artistic properties. The same applies, mutatis mutandis, in the other arts. The import of sophisticated pure empiricism depends upon how we understand the posited relation of supervenience.
The question Aesthetic Empiricism and Philosophy of Art 43 to be addressed in this section is whether the weak counter-empiricist thesis, defended in the manner outlined above, can cut such ontological ice. I shall identify a number of problems with the negative arguments offered by Currie and Levinson.
An oft-cited model for all such arguments is Jorge Luis Borges’ story “Pierre Menard, Author of the Quixote,”12 where the linguistic structuretype exemplified in copies of Don Quixote is separately instantiated by Cervantes and by a (fictional) nineteenth-century French symbolist writer Pierre Menard. Here we have two distinct tokenings of the same linguistic structure-type – the same “text” – in very different contexts, such that, so it is claimed, we would treat the two generative performances as eventuating in very different artistic achievements.