By David Davies
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.
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Additional info for Art as Performance
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.
Art as Performance by David Davies