By Robert Stecker
Publish yr note: First released February twenty fifth 2005
Praised in its unique version for its updated, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's re-creation of Aesthetics and the Philosophy of artwork preserves the main issues and conclusions of the unique, whereas increasing its content material, delivering new gains, and embellishing accessibility. Stecker introduces scholars to the heritage and evolution of aesthetics, and in addition makes an immense contrast among aesthetics and philosophy of paintings. whereas aesthetics is the examine of worth, philosophy of artwork offers with a much broader array of questions together with concerns in metaphysics, epistemology, the philosophy of brain, to boot price idea. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker focuses on sympathetically laying endure the play of argument that emerges as competing perspectives on an issue interact one another. This ebook doesn't easily current an argument in its present nation of play, yet as a substitute demonstrates a philosophical brain at paintings supporting to increase the problem towards an answer.
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Extra resources for Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy)
Let us conclude this chapter by addressing this issue. As we noted in chapter 1, the concept of aesthetic appreciation is complicated by at least two different factors. First, it is intimately related to a number of other “aesthetic” concepts: those of aesthetic experience, aesthetic property, and aesthetic value. What one takes aesthetic appreciation to be depends on one’s understanding of these other concepts and on which of these concepts one most emphasizes. Second, there are multiple conceptions of the aesthetic, and, among these, there is no uniquely correct one.
Third, such judgments are disinterested. This means that our response is independent of any advantage I or someone else could gain from the object of the judgment, whether that advantage is material, cognitive, or moral. The pleasure is even independent of the very existence of the object. What is im- Conceptions of the Aesthetic: Aesthetic Experience 41 portant is the experience—the contemplation the object provides. Finally, the response (or judgment) is one that does not merely engage my senses, but also my imagination and intellect.
Suppose each model claimed to provide the exclusively correct way to appreciate nature. Then they would be open to the objection that there are at least equally good alternatives provided by the other models. This objection to the models should be accepted, since these models focus our attention on different, if overlapping, aspects of nature, and there is no good reason to exclude one at the expense of another. It is not, however, obvious that the models were ever intended to tell the whole story about nature appreciation, to identify the uniquely correct way to appreciate the natural world.
Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy) by Robert Stecker