By David Davies
During this richly argued and provocative booklet, David Davies elaborates and defends a extensive conceptual framework for considering the humanities that finds vital continuities and discontinuities among conventional and sleek artwork, and among various creative disciplines.
* Elaborates and defends a wide conceptual framework for wondering the humanities.
* bargains a provocative view concerning the forms of issues that works of art are and the way they're to be understood.
* finds vital continuities and discontinuities among conventional and glossy paintings.
* Highlights center themes in aesthetics and artwork conception, together with conventional theories concerning the nature of paintings, aesthetic appreciation, creative intentions, functionality, and creative meaning.
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Extra resources for Art as Performance
Borges very wittily compares the two “works” by ascribing different and even incompatible properties to them in virtue of the very same textual features. ” The works differ crucially in style, the “archaic” and “affected” style of Menard’s Quixote contrasting with the easy style of Cervantes. Menard’s work is “more subtle” than Cervantes’ in its manner of representing the 12 Reprinted in English in his 1970: 62–71. ” Provenance, it is claimed, affects the artistic properties possessed, and not merely the value accorded to the work in virtue of properties acontextually determined.
First, overall artistic value is a function of ascribed artistic properties only given a weighting of those properties, and, second, the empiricist can reject the sorts of hypothetical cases canvassed above on the grounds that they involve differences in art-historical value rather than differences in artistic value. We can overcome the second difficulty only if we can avail ourselves either of a principled distinction between artistic and art-historical properties, or of an independent argument against the very possibility of drawing such a distinction.
4 Drawing Ontological Conclusions from the Counter-Empiricist Arguments As we noted above, if all one wishes to do is undermine moderate aesthetic empiricism, one need only defend the weak counter-empiricist thesis. But many of the authors who argue against aesthetic empiricism – Currie, Levinson, and Danto, for example – have a larger agenda. For such authors, the attack on aesthetic empiricism is intended to furnish the epistemological premiss for an “epistemological argument” in the sense defined at the end of chapter 1.
Art as Performance by David Davies