Aesthetic and Artistic Autonomy (Bloomsbury Studies in

Author note: Owen Hulatt (Editor)
------------------

Whether artwork may be completely self reliant has been again and again challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a crew of specialists speak about the level to which paintings will be defined only by way of aesthetic categories.

Covering examples from Philosophy, song and artwork background and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with ancient, cultural or fiscal components. It provides a complete evaluate of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by means of heavily interpreting how the construction of artistic endeavors, and our decisions of those works of art, relate to society and historical past, Aesthetic and creative Autonomy offers an insightful and sustained dialogue of an incredible query in aesthetic philosophy.

Show description

Read Online or Download Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy) PDF

Best aesthetics books

Aesthetics: Lectures on Fine Art, Volume 1

This is often the 1st of 2 volumes of the one English variation of Hegel's Aesthetics, the paintings within which he provides complete expression to his seminal thought of artwork. The giant creation is his top exposition of his common philosophy of paintings. partially I he considers the overall nature of artwork as a non secular adventure, distinguishes the great thing about artwork and the great thing about nature, and examines inventive genius and originality.

The Art of Cruelty: A Reckoning

“This is feedback at its top. ”―Carolyn Kellogg, la Times

Writing within the culture of Susan Sontag and Elaine Scarry, Maggie Nelson has emerged as one in all our most popular cultural critics with this landmark paintings approximately representations of cruelty and violence in paintings. From Sylvia Plath’s poetry to Francis Bacon’s work, from the observed franchise to Yoko Ono’s functionality artwork, Nelson’s nuanced exploration around the creative panorama eventually bargains a version of ways one may well stability robust moral convictions with an both robust appreciation for paintings that assessments the boundaries of style, taboo, and permissibility.

Architecture and Philosophy: New Perspectives on the Work of Arakawa & Madeline Gins. (Architecture Technology Culture)

Structure and Philosophy: New views at the paintings of Arakawa and Madeline Gins is a suite of essays at the paintings of architect Arakawa and poet Madeline Gins and specifically their booklet Architectural physique (2000). The essays technique their innovative and bold undertaking to layout 'an structure opposed to loss of life' from quite a few angles and disciplines together with aesthetics, structure, linguistics, philosophy.

Hard Feelings: The Moral Psychology of Contempt

At a time while admire is largely touted as an angle of relevant ethical significance, contempt is frequently derided as a completely nasty emotion inimical to the glory we owe all people. yet whereas contempt is frequently disregarded as thoroughly disvaluable, ethicists have had little or no to assert approximately what contempt is or even if it merits its grotesque recognition.

Additional resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

Example text

Dykstra, Steven W. (1996) ‘The Artist’s Intentions and the Intentional Fallacy in Fine Arts Conservation’. Journal of the American Institute for Conservation,Vol. 3, No. 3. Iseminger, Gary (1992) edited collection Intention and Interpretation. Philadelphia, PA: Temple University Press. Lyas, Colin (1983) ‘Anything Goes; The Intentional Fallacy Revisited’. British Journal of Aesthetics, Vol. 23. Margolis, Joseph (1980) Art and Philosophy; Conceptual Issues in Aesthetics. Brighton: Harvester Press.

In a way they do have aesthetic value since they inherit the aesthetic value of the object photographed. But that can hardly explain their value as art. I have argued elsewhere that the value of the photographs is primarily cognitive. 5 Levine’s photographs also have art-historical value in marking an important stage in the development of appropriated art, which also contributes to its value as art. From the premises that some artworks lack aesthetic value or lack sufficient aesthetic value to explain their value as art, and that they have significant value as art, it follows that there is non-aesthetic artistic value.

Human beings do not exist in states of personal or cultural solipsism. As embodied subjects, they share similar structural possibilities vis-à-vis the scope and limits of experience. From stone age to postmodern, there are similar existential strategies – such as plot and deceit; similar modes of feeling – such as love and jealousy; and similar needs – such as the demand for recognition from others. All this, of course, is in addition to common factors based on physical embodiment and the human form.

Download PDF sample

Rated 4.51 of 5 – based on 19 votes