By David Davies

ISBN-10: 1405116676

ISBN-13: 9781405116671

During this richly argued and provocative publication, David Davies elaborates and defends a extensive conceptual framework for wondering the humanities that finds vital continuities and discontinuities among conventional and smooth paintings, and among varied inventive disciplines.

* Elaborates and defends a large conceptual framework for considering the humanities.
* deals a provocative view in regards to the varieties of issues that artistic endeavors are and the way they're to be understood.
* finds vital continuities and discontinuities among conventional and smooth paintings.
* Highlights middle subject matters in aesthetics and paintings thought, together with conventional theories concerning the nature of artwork, aesthetic appreciation, inventive intentions, functionality, and creative meaning.

Show description

Read Online or Download Art as Performance PDF

Best aesthetics books

's Afromodernisms: Paris, Harlem, Haiti and the Avant-garde PDF

“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its influence on modernist reviews. The chapters stretch and problem present canonical configurations of modernism in methods: via contemplating the centrality of black artists, writers and intellectuals as key actors and middle presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a cultured and political type at severe moments in the course of the 20th century.

Download e-book for iPad: Kunst (Grundthemen Philosophie) (German Edition) by Henning Tegtmeyer

Paintings and philosophy are basic modes of expression of human self-consciousness. What differentiates and what connects them? simply philosophy can resolution this query. The query is either a basic query of philosophy in addition to a question of the importance of artwork for human self-understanding.

Christopher Pinney, Nicholas Thomas's Beyond Aesthetics: Art and the Technologies of Enchantment PDF

The anthropology of paintings is at present at a crossroads. even though good versed within the that means of artwork in small-scale tribal societies, anthropologists are nonetheless wrestling with the query of ways to interpret paintings in a posh, post-colonial setting. Alfred Gell lately faced this challenge in his posthumous publication paintings and corporation.

Fóti, Véronique Marion; Holderlin, Friedrich's Epochal discordance : Hölderlin's philosophy of tragedy PDF

Examines the German poet Hölderlin’s philosophical insights into tragedy.

Additional info for Art as Performance

Example text

However, as the symmetry example demonstrates, the context may be historically and culturally 11 Note that Currie cannot meet this objection by appealing to the assumption that the Martians share our aesthetic interests and sensibilities. For if this assumption is construed in such a way that it rules out any difference in the weighting of artistic properties in the evaluation of works, Currie’s argument begs the question against the moderate empiricist by simply stipulating a situation in which there is disagreement over artistic value while pictorial and categoreal properties are identical.

For analogous reasons, I shall characterize judgments as to the quality of works, qua objects of artistic appreciation, as artistic judgments (where Currie talks of “aesthetic judgments”), and the value ascribed in such judgments as artistic value (where Currie talks of “aesthetic value”). Artistic value is one kind of value ascribable to artworks – economic value being a second, and art-historical value being perhaps a third. As we shall see, whether there is a principled distinction between artistic value (in my sense) and art-historical value is one of the main questions posed by aesthetic empiricism.

As we saw, the empiricist can respond that the differences in value pertain Aesthetic Empiricism and Philosophy of Art 35 not to artistic value but only to art-historical value. Since Currie has offered no general argument against the empiricist’s appeal to the latter distinction, the basis for the difference in ascribed artistic value in P1 cannot be anything that the empiricist would regard as bearing only on the art-historical value of the two canvases. Thus we must discount any value accruing to Picasso’s work in virtue of its contribution to his oeuvre or to a broader tradition of painting.

Download PDF sample

Art as Performance by David Davies


by Daniel
4.1

Rated 4.67 of 5 – based on 14 votes