Author note: Owen Hulatt (Editor)
Whether paintings might be entirely self reliant has been many times challenged within the smooth heritage of aesthetics. during this number of specially-commissioned chapters, a workforce of specialists talk about the level to which paintings will be defined merely by way of aesthetic categories.
Covering examples from Philosophy, song and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with old, cultural or monetary components. It provides a accomplished evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular works of art themselves. via heavily studying how the construction of works of art, and our decisions of those artistic endeavors, relate to society and heritage, Aesthetic and inventive Autonomy offers an insightful and sustained dialogue of a huge query in aesthetic philosophy.
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Additional resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
This includes what is said by those adherents to the more recent schools of criticism mentioned by Gaut. Though they do evaluate works using ethical, etc. criteria, they quite vociferously reject an aesthetic conception of artistic value claiming it cannot accommodate the very valuable features they find important. Against this, all that Gaut has to offer is an appeal to Sibley’s purported method of gathering aesthetic terms, but such an appeal is inadequate on several grounds. First, even if we take Sibley’s method as the definitive one, the mere fact that he collected data in the way he did tells us nothing about what he did with it, much less that he would use it as Gaut does.
What kind of identity are we talking about? One possibility is type identity. However, the same thing can belong to different types. Thus Sally’s experience and Bill’s experience may belong to the same type if the type in question is picked by properties experienced. Suppose that both experience that the object in question is balanced. They both have balanced-object experiences. 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?
Seen in this light, therefore, it is clear that in defining art institutionally so as to ratify conceptual ‘art’, the institutional theorists are using as paradigm cases items which in many cases are not artworks. This is not just a philosophical mistake, it is a cultural disaster. In this discussion, I have emphasized the autonomous dimension of art over and above the specific intentions surrounding its immediate production and reception. This critical autonomy has a cultural as well as a logical dimension.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)