Author note: Owen Hulatt (Editor)
Whether paintings should be totally independent has been time and again challenged within the glossy heritage of aesthetics. during this number of specially-commissioned chapters, a group of specialists talk about the level to which artwork may be defined in basic terms when it comes to aesthetic categories.
Covering examples from Philosophy, track and paintings heritage and drawing on continental and analytic resources, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with ancient, cultural or financial components. It provides a finished evaluate 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 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 an enormous query in aesthetic philosophy.
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Additional info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
11 Call this the trivialization strategy. There are two ways of meeting this objection. e. to give definitive criteria for deciding when a value contributes to artistic merit and when it doesn’t. Such definitions or criteria are always controversial in philosophy, and some think they are just not available. Rather, what we need are solid arguments to think there is non-aesthetic artistic value, and clear examples of such value. Both have been given above. Of course, if we can find criteria we can answer the objection in a way that is satisfactory to everyone.
But the type we are interested in is the type aesthetic experience. Does it follow from the fact that they experience the same properties in an object that both experiences belong to that type? The issue was whether the type – aesthetic experience – is marked by the property of being an experience had for its own sake. Bill’s experience has this property but Sally’s does not. Just pointing out that both Bill’s and Sally’s experiences belong to the type, Same Property Experience, does not settle the issue in a non-question-begging way.
Therefore aesthetic value of an artwork is its value as art qua art. 7. And aesthetic properties are those that give a work its value as art. Is this a good argument? To decide, I focus on 1–3. Premise 1 is by no means obvious. Many hold that not all aesthetic terms are evaluative. Consider terms that refer to expressive properties of works like the term ‘sad’. One can recognize that a work has the expressive quality of sadness, but that in itself will not lead one to evaluate it positively or negatively.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)