By Gregory Currie (auth.)
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Extra info for An Ontology of Art
If this is correct then aesthetic appreciation is indissolubly linked to a very detailed understanding of the work's history of production. Should we say, then, that a work's aesthetic properties supervene on its appearance, its category, and on facts concerning its history of production? 16 that the prospects for an interesting supervenience thesis about aesthetic qualities are poor. But for now let us note that my modification of Walton's theory does not really involve adding a third clause. Rather we can subsume category considerations under the more general heading of history of production.
To say that a proposition is pOSSibly true - that it might be or might have been true - is to say that there is a world in which it is true. To say that a proposition is true simpliciter is to say that it is true in the actual world. In addition to these strict notions of possibility and necessity we Empiricism 23 have variants like nomic possibility and necessity. There are worlds that differ from the actual world in various ways but which nevertheless possess the same laws of nature as the actual world.
We may then say, truly, that GI is dynamic simpliciter, exactly because there happens to be no category to which it actually belongs and with respect to which it fails to be dynamic. These results will be applied in the next section. 8. MOVING FURTHER AWAY FROM EMPIRICISM With this correction in mind, let us return to Walton's main thesis. The thesis is that the aesthetic properties of a work supervene on its pictorial properties, together with the category of art to which it belongs. While Walton recognises that this is a refutation of empiricism in the strict sense, he turns out to have some sympathy with empiricist ideas.
An Ontology of Art by Gregory Currie (auth.)