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

By Dave Davies

During this richly argued and provocative e-book, David Davies elaborates and defends a extensive conceptual framework for pondering the humanities that unearths vital continuities and discontinuities among conventional and smooth artwork, and among varied inventive disciplines.

  • Elaborates and defends a huge conceptual framework for wondering the arts.
  • Offers a provocative view in regards to the different 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 conception, together with conventional theories in regards to the nature of paintings, aesthetic appreciation, inventive intentions, functionality, and inventive meaning.

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

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40–1) 34 Aesthetic Empiricism and Philosophy of Art I have quoted Currie at length for a couple of reasons. First, the claim that all ascriptions of artistic properties to works rest upon assumptions concerning supra-categoreal features of provenance represents the most direct and radical challenge to any form of aesthetic empiricism. Second, however, as I shall now argue, this claim in no way follows from the considerations adduced by Currie, although it may be defensible on other grounds. We may reconstruct Currie’s argument against moderate empiricism as follows – for convenience I shall use G1 to refer to Picasso’s work: P1 By hypothesis, we ascribe a higher artistic value (AV) to G1 than the Martians ascribe to G2.

We are to imagine a culture – the Martians, as Currie describes them – whose members share our aesthetic interests and sensibilities but who possess vastly superior abilities of the sort relevant to the generation of art-objects: “What for us would be a work of consummate skill and subtle expression would be for them something unremarkable if it were the product of an average five-year-old Martian” (36). We assume, further, that the Martians share our categories of art. We suppose, then, that a Martian child generates an entity G2 that is perceptually indistinguishable from Picasso’s Guernica, and that the Martians ascribe very little value to G2, whereas we hold Guernica to be a very valuable work.

A competing explanation, however, is that there is no difference in artistic properties, but only a difference in the weight accorded to different artistic properties in arriving at an overall evaluation of a work. In this case, while we might look to more general cultural and historical differences – perhaps different conceptions of achievement – to explain the differences in weighting, the moderate empiricist’s conception of artistic properties would be unchallenged. Such properties would supervene upon manifest properties and artistic category alone.

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