By David Davies
During this richly argued and provocative ebook, David Davies elaborates and defends a wide conceptual framework for puzzling over the humanities that unearths very important continuities and discontinuities among conventional and sleek artwork, and among diversified creative disciplines.
* Elaborates and defends a large conceptual framework for wondering the humanities.
* deals 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 smooth artwork.
* Highlights middle issues in aesthetics and paintings thought, 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
The non-empiricist conception must also be supported by arguments that are robust in the face of possible empiricist counters. I shall critically examine two kinds of anti-empiricist strategies, one indirect and the other direct. Indirect strategies try to undermine empiricist claims about a work’s artistic properties by appealing to possible differences in the artistic values of works not explicable in empiricist terms. I shall argue that such strategies are inconclusive. Direct strategies, on the other hand, point to properties not explicable in empiricist terms that must be accepted as properly artistic given the role such properties play in our critical and appreciative discourse about artworks.
While the empiricist may object that some of the latter properties are merely “art-historical,” it would surely greatly impoverish our critical and appreciative discourse about musical works to exclude all of these kinds of properties as irrelevant to the artistic appreciation of works. Once we have admitted some of these properties as properly artistic, however, it is difficult for the empiricist to find principled reasons to exclude the others, given that all are functions of the same sorts of musico-historical variables and of the actual history of making of the work.
The artistic properties and the artistic value of a work depend not merely upon its manifest properties, but also upon which category it belongs to, and whether its manifest properties are standard or variable relative to that category. Two objects with identical manifest properties might possess different artistic properties and warrant very different judgments of artistic value if assigned to different artistic categories. Walton offers the following example. We are to imagine a culture with a category of artworks called guernicas.
Art as Performance by David Davies