By Colin Lyas

ISBN-10: 0203136829

ISBN-13: 9780203136829

The ebook comprises attractive discussions of all the parts principal to aesthetics: aesthetic adventure, illustration, expression, the definition and ontology of paintings, review, interpretation, fact, and morality. in addition to offering an exceptional grounding within the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it offers the information of up to date analytic thinkers, similar to Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic perspectives of continental theorists, comparable to Roland Barthes and Jacques Derrida. involved all through with improving the reader's reaction to artwork, Colin Lyas brings his theoretical discussions to existence with a wealth of topical examples of human creativity which are time-honored to youngsters: Bowie in addition to Beethoven, Warhol in addition to Whistler. With entire, up to date courses to additional analyzing, Aesthetics is a useful advent for college kids taking philosophy of artwork classes and crucial analyzing for somebody who needs to be told and encouraged to contemplate and adventure artwork in a brand new approach.

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Example text

Moreover, the way in which painters can control every last detail to achieve a particular effect, is part of the contemplative pleasure. Photographers do not have this control. The fly that happens, to humorous effect, to land on a nose as a photograph is taken is a grace of fate rather than art. As Croce put it, the element of nature is not subdued in photography as it is in the greatest of art. To this conclusion, generations of students, for whom the epitome of the pictorial is the photograph and the film, have objected strenuously.

And the way I attend to them is no different from the way I attend to anything else. What makes my attention aesthetic, then, is what I attend to, not how I attend to it. The account is equally feeble when applied to art rather than nature. My uncomfortable seat may interfere with my attention to music, my stiff neck may interfere with my efforts to view the architectural features of the Lloyd’s building, and my toothache with my attention to Trainspotting. But this is not because something called “distance” is lost.

For even if we know how we can see representations, and even if we have something better than imitation as our account of representation, we are still no nearer to explaining the power of art by reference to representation. For, since not all art is representational (music for example), how can representation be a general characteristic of art? Indeed, not even all visual art is representational. Consider any so-called “abstract” design with which you are familiar. Nothing seems to be represented there in the way in which God is represented on the ceiling of the Sistine Chapel.

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Aesthetics (Fundamentals of Philosophy) by Colin Lyas


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