There is another, equally important question about the objectivity of this value. And if it is not fictional that I pity the character, all the more reason to think that what I feel for the character is the real thing (Davies 2009). Appreciation and Literary Interpretation. In Is There a Single Right Interpretation? The following examples might be used to challenge such a claim. Yet it is not something that exists simply in someones mind, since no mind, not even the composers, has a privileged possession of it. Cameron, Ross. 1993. Hence, it is not so clear that the second version of HI can handle this example any better than did the first version. Allison, Henry. (For a detailed extrapolation of conceptions in Anna and other novels, which respects their richness, see Jones 1975.) Are the tastes and textures of the dishes aesthetic properties of the meal? The claim here is that the aim of art interpretation is to achieve a certain sort of payoff: an appreciative experience, enhanced aesthetic appreciation, making the work the best (object of appreciation) it can be (see S. Davies 1991, 281286, 2006; Dworkin 1986, 4586; and Lamarque 2002). What is the range of the (purported) properties? First, peoples emotional reactions to expressive works are highly variable. The two defects are not identical, but the ethical defect is responsible for the aesthetic defect. If moral insight is part of the value of the experience of a work, then ethical and cognitive value is not excluded from artistic value. Context (e.g., some bag struggling) will help to choose among these hypotheses. Thorough critical overview of the literature on depiction and a defense of the recognitional ability view. These properties play a causal role in perceiving the colors and shapes of objects, and my perceiving the color and shapes of objects is causally implicated in my perceiving the elegance and gracefulness of an object. Malcolm Budd seems to be expressing a similar point when he says, The most basic way in which we experience music when we hear it as being expressive of an emotion is that we hear the emotion the music is expressive of as characterizing the music itself . Defends the immersion model. A particular fine cigar, such as the Julieta no. The nonessentialist conception denies that each of these essentialist claims need be true of artistic value. Oxford: Oxford University Press. However it wont help us with the classificatory project of the last chapter. It is true that a prototype is not a definition, nor can a definition be derived from it. John, Eileen. Many would dissent from this conclusion. A second defines it in terms of a special type of reference. This is because he understands an aesthetic property as any property that is relevant to the artistic evaluation of works. Being normal does not suffice. They are not dispositions, he claims, because he thinks that we directly perceive ways of appearing, while we can only infer the existence of a disposition. On the other hand, it is not plausible to suppose that artistic value can simply be identified with a works cognitive value. Proper appreciation on this view consists in getting a precise take on the visual appearance of the moment. Which statement is more likely true? Seeing-in: A perception-like activity characteristic of the cognition of depictions. Musical Expressiveness as Hearability-as-Expression. In Contemporary Debates in Aesthetics, ed. So the sculpture is not the same physical object as the piece of clay, since it has its shape essentially. It is to these that I now turn. (University of Washington Press, 2005). Are their aesthetic experiences of nonaesthetic properties? Matthews, Patricia. Copyright 2022 SILO.PUB. For Bell, aesthetic experience, or emotion as he prefers to call it, occurs when we discover and contemplate significant form, that is, formal features of artworks that are somehow uniquely capable of inducing the special experience just mentioned. But I will try to show that neither argument is convincing. In earlier publications (1994, 2001), Levinson asserts that the descriptive content of terms referring to aesthetic properties identifies a unitary impression. Its unclear whether this is a different view from his present official view or the same view differently expressed. The final three chapters deal with more general themes -- the 'modernist' break with tradition, the aesthetics of nature, and marxist and structuralist theories of art. However, Henrys journey in this new world does not look like a success. They are merely agreeable or disagreeable. In fact, the chapter will argue for something stronger, namely, that some artistically valuable properties are found only in some art forms but not in others, that none of these values are unique to art, that art is always extrinsically or instrumentally valuable, and there is no one kind of value that a work has as art. This is just to say that work is the unique means to the experience. If not, is there some way of choosing among the three main options (subjectivism, expressivism, relativism)? This talk often appears to be metaphorical. For example, although Collingwoods theory of art (1938) is usually classified as an expression of emotion theory, his understanding of expression makes it look like cognition. Whether a building is an artwork depends on the aims with which it is made and the functions it actually fulfills, as the historical functionalist definition of art would predict. There is another problem that should be mentioned here. Philosophers are not the only people to develop theories of art. Then when the monster appears to turn toward the audience, it would be easy to imagine it is threatening me, a member of that audience. It cropped up in our discussion of the definition of art when we claimed that art needs to be defined disjunctively in terms of two or more sufficient conditions, none of which are necessary. It is an experience in which not only the sense of hearing, but the imagination and intellect, are engaged. Wiggins, David. If this is correct, it is certainly distorting since nature is none of the above: not static, not two dimensional, not a representation. On Interpretation. Someone may simply want a better understanding of a work, or, more narrowly still, be curious about what an artist intended to do in it. The poem is witty, too, in the way it uses language to complicate and pile on metaphors, often turning them on their heads. The Task of Defining a Work of Art. Philosophical Review 62:46680. This is both a plausible construal of what integral or essential might mean, and it seems to jibe with what proponents of this argument have in mind. Consider a property such as gracefulness. However, there are others who hold that some sort of reference to fictional things really occurs. Empathizing involves feeling what another feels, this other being the one with whom I empathize. (However, most works will offer rewards beyond the social good they achieve, so that it would be absurd to judge them simply on the basis of such impact.) A fiction, on this view, is a work that is intended or has the function of being a prop in a game of make-believe. The main chapter is divided into five concise sections, which elucidate a topic by representing and assessing popular philosophical theories about the matter. It exhibits or makes manifest the property. This controversy is the subject of the present chapter. On the other hand, if I say that Middlemarch is a fiction, I am not saying that the novel does not exist. Sally believes this, but it is not so clear that this belief suffices to explain Sallys feeling. a means of inducing certain more or less constant habits of feeling, . The basic thought underlying this approach is that there are certain features of the human mind and bodyits evolution, its cognitive or perceptual structurethat shed light on art, our concept of it, its value for us, its ability to represent or express that is independent of context of origin of particular artworks or the changing cultural context in which they are received. Is it really true that a different faculty comes into play in discerning visual grace or elegance than those used to distinguish, say, fine shades of red? When you listen to instrumental music, can you hear a persona whose emotion the music expresses? Noel Carroll. They can point to objective features f1-fn. Guided by Wittgensteins philosophy of language, they claim that 106 Chapter Five it was atypical for ordinary language empirical concepts to operate on the basis of such conditions. This view has problems of its own. Seeing-in does occur when we look at photographs, and photographic seeing-in has the property of nonexistence. For example, some illusions are visual experiences that possess the nonexistence property in that one has the visual experience of something that is F without this entailing that there is something one is seeing that is F. When one seems to see a puddle further along a road on which one is driving, one is having an illusion of this type. Because Dickies definitions simply gesture toward the art world without marking it off from similar systems, it is incomplete because of its lack of informativeness. A vivid portrayal in one work might be the result Conceptions of the Aesthetic: Aesthetic Properties 77 of descriptions of characters that allows one to see them in ones imagination acting and suffering in their fictional world; in another, it might be a consequence of dialogue written with a perfect ear; in a third, it is produced by the powerful emotions the characters express; in a fourth, by the intimate voice of a first-person narrator. Stecker, Robert. Amsterdam and Atlanta: Editions Rodopi. By doing so, we become clearer about our individual conceptions of art, can examine them against various desiderata for adequately defining art, and perhaps extend the common ground in our various individual conceptions. Thus one sees anxiety in a painting, hears the music as sad, and reasons about what is said in a poem as if one is confronted with someones psychological state. Hence there can be some artistic values that are never found in some art forms. Some people report that when they look at this plant after learning what purple loosestrife does to the environment their aesthetic experience changes. Earlier we discussed two different bases for knowledge being relevant to the aesthetic appreciation of nature. Levinson, Jerrold. For a critique of Goehr and further discussion, see Stephen Davies (2001). Ethical-artistic value: The ethical value of a work that contributes to its artistic value. Ridleys claims about musical expressiveness runs parallel to a view he accepts about what it is to apprehend expressiveness in human behavior. I doubt that concepts are prototypes, while admitting we might have prototypes. A woman stands before a balance beneath a picture of the Last Judgment. There are exceptions, the best known of which are video games, which generate fictions that require audience intervention. The former is likely to create a richer impression. However, is this capacity to provide valuable experience the only feature of the painting that makes it valuable? 1990. These features of lyric poetry make it a clearer testing ground of the persona conception of expressiveness than the musical case. The specific treatment depends on the art institutions of the day and the culture. Among these are artworks and natural objects, but also many everyday objects such as our clothes and other adornments, the decoration of our living spaces, and artifacts from toasters to automobiles, packaging, the appearance of our own faces and bodies, the artificial environments we create, the food we eat, and so on indefinitely. As might be guessed from his changing understanding of the institution of art, Dickie has proposed two distinct institutional definitions of art, the second being based on his own rejection of the first. Because of these layers of intentions, The Value of Architecture 279 the looks become expressive of these intentions. Even if objects lack a steady disposition to cause common aesthetic experiences in everyone, we can maximize common ground among different people by doing things like flagging bias as a defect and agreeing that appreciation that takes in more features is more adequate than one that notices fewer. may change its nature without producing incoherence or self-contradiction and without jeopardizing . It may allow the audience to decide what ethical judgments are appropriate to the material. The effect of this line is to transform a somewhat wry tone into one that is very poignant. Kivy, Peter. But this experience is one that is focussed on an object, the music, rather than one that launches from the music to whatever thoughts or images it brings to mind. . The problem here is that we were initially looking, or believed ourselves to be looking, for an account of the latter. This Almaty hotel offers an indoor swimming pool, an la carte restaurant and a snack bar. This book does not simply present a controversy in its current state of play, but instead demonstrates a philosophical mind at work helping to advance the issue toward a solution. Some among these see our emotional Representation: Fiction 175 responses to fiction as largely continuous with emotions we feel in other contexts, at least in the case of certain types of emotions. The End of an Institutional Definition of Art. British Journal of Aesthetics 26:12432. Artistic value is constituted by a set of different kinds of value. Such a view might go as follows: An utterance means x if: 1. the utterer intends x, 2. the utterer intends that her audience will grasp this in virtue of the conventional meaning of her words or a contextually supported extension of this meaning permitted by conventions, and 3. the first intention is graspable in virtue of those conventions or permissible extensions of them. . However, many others, the majority of such structures in fact, are not. This is precisely what prompted the revisions in the subjectivist view that led to Conceptions of the Aesthetic: Aesthetic Properties 87 the more sophisticated variety. A second objection to the analogy with poetic expression claims that it is not apt because the two kinds of artistic expression are so different. Constructivism: A general approach to the philosophy of art that denies that artworks have essences and claims that important artistic properties of works derive as much from contexts of reception as origin. If so, isnt the idea of seeing-in vacuous? According to him, some are, some arent. Whatever-works intentionalism: A version of moderate actual intentionalism that claims that an intention fixes the meaning of an utterance whenever the utterance conveys that meaning to its target audience. Internal versus External Representation. Journal of Aesthetics and Art Criticism, 62:2336. Do they belong to a common kind, or to several different kinds? Thus, the work is artistically better for achieving its social goal. It is very hard to respond as prescribed by the chapters tone of voice and it is harder to believe one ought to so respond. The more complex view allows for different valid experiences, but if I say that your experience is not valid and you say that it is, we are disagreeing, and one of us may be wrong. One might suppose that one is a direct witness to the events in a fictional story. By clicking accept or continuing to use the site, you agree to the terms outlined in our. Isnt the case of pitying a fictional character much the same: again one has no inclination to help but this is because there is nothing one can do (Moran 1994). The problem with this move is that it just changes the subject from an attempt to figure out why we classify objects as art to a mere stipulation that something is art if it is an aesthetic object. Making Sense. However, instances of this sort are the exception rather than the rule. If your tastebuds or sense of smell are damaged, your discriminatory disability disqualifies you. We see an animal in the cloud (or we see the cloud as an animal). An exhaustive overview on expression and a defense of expression as phenomenal appearance. M., 1067, 122 Margolis, J., 125, 12931, 136, 137, 138, 141n1, 143 Martin, E., 199n9 Matravers, D., 90n7, 116, 219n2 Matheson, C., 139 Matthews, P., 27, 37 Mauss, F., 219n6 McFee, G., 125 meaning, 10, 11, 27n10, 11112, 125, 12930, 14546, 148, 14961, 212, 21617, 220n10, 29091 medium, 100, 28486 Melville, H., 264; The Confidence Man, 172 Mew, P., 219n2 Michaels, W., 149, 162 Middlemarch, 164, 252 Index minimal view, 5253, 6061, 69, 28990 Mondrian, P., 43; Broadway Boogie Woogie, 42 Moran, R, 173, 175 Mr. Brooks, 267 music, 2049, 212218 Nathan, D., 158, 162 nature, ix, 23, 1537, 43, 45, 4748, 49, 51, 86 Neill, A., 173, 179, 183n3 Newcombe, J., 219n6 Nolt, J., 219n2 nonartistic value, 7, 240 nonexhibited relations, 107 norms, 26, 2931, 3435 Norris, M., 156 Novitz, D., 116 object-directed sensuous pleasure, 4851, 52, 59, 70 object model, 1617, 18, 20, 22, 34 objectivity, 6, 42, 7278, 80, 82, 195, 199n12, 279, 287, 290 O Brother, Where Art Thou?, 268, 269 ontology of art, 8, 130, 13140, 291 order appreciation, 2526, 32, 45 Peacocke, C., 195 persona, 2079, 21214, 217, 218, 219n1, 219n6, 219n7 photographs, 187, 19092, 199n5, 23335, 284 Plato, 2, 98, 272n9 pluralism, ix, x, 291; about artistic value, 8, 225, 228, 232, 248, 287, 291; critical, 8, 146 poetry, 12, 78, 97, 98, 111, 165, 203, 208, 20912, 214, 215, 218, 227 Porter, J., 12n1 Predelli, S., 133 Pride and Prejudice, 252 313 proper aim issue, 14649 prototype theory, 11718, 120 Proust, M.: In Search of Lost Time, 115 publicity paradox, 15354 purple loosestrife, 3031, 37n7 Railton, P., 91n13 Raphael: School of Athens, 250 readymades, 8, 107, 23536 realism, 85, 87 recognitional ability, 192, 19697 relativism, 79, 8486, 89 replaceability, 22931, 232, 238, 239, 245n8 representation, 2, 9, 22, 44, 98100, 103, 120, 263, 265, 270; fictional, 16384; iconographic, 185200; pictorial, 9, 152 resemblance, 192, 19496, 199n12, 206 response-dependency, 5960, 65, 7279, 87, 89, 90n6, 90n8 Ridley, A., 2067, 219n1, 219n2, 220 Robinson, J., 173, 215, 219n6, 220, 239, 271n1 Sartwell, C., 113 Schier, F., 196 Schlesinger, G., 104 Schopenhauer, A., 46, 47, 64 Schwarz, D., 155 Scruton, R., 83, 192, 199n5, 272, 27980, 288 seeing-in, 18698; nonexistence, 187, 18992, 194, 197, 198n3, 202; twofoldness, 18791, 197, 199n3, 199n4 selfless absorption, 4548, 51, 52, 53, 59, 60 sentimental value, 7, 223, 24041 Shakespeare, W., 100, 171; Macbeth, 125, 266; Othello, 266; Richard III, 266; Sonnet 73, 6667 314 Index Shelley, J., 235 Shiner, L., 97 Shusterman, R., 125 Sibley, F., 37n7, 76, 90n3, 92 simple functionalism, 105, 117, 120 Sinclair, Upton: The Jungle, 250, 254, 262 Stecker, R., 61n3, 62n6, 110, 111, 114, 116, 122, 125, 140, 143, 148, 158, 162, 184, 137, 271, 288n4 Stock, K., 115 structures, 13236, 140, 291; abstract, 132, 134, 136; context sensitive, 132; indicated, 13334, 141n1, 141n2, 141n3, 142n5; in-use, 13536 subjective universality, 40, 4142, 45, 76 subjectivism, 7982, 84, 85, 8687 sunsets, 3031, 45 Tale of Heike, 251 taste, 2, 5, 6, 32, 36n9, 44, 45, 4849, 54, 61n1, 61n2, 6869, 85, 86, 90n4, 91n9 Thom, P., 125, 12728, 143 Thomasson, A., 136, 170 Thomson, J., 173 Tilghman, B., 116 Tolstoy, L., 219n1, 249; Anna Karenina, 238, 252; War and Peace, 25859 Trivedi, S., 15456 trompe loeil, 187, 189, 199n5 two-level view, 5152, 70 types, 9, 124, 131, 132, 13639, 140, 141n2, 142n6 Uncle Toms Cabin, 250 universality. To understand why people enjoy bullying others, ditto. Iseminger, Gary. 2006. However, one characterizes what I feel in this case, it is independent of my relation to the world of the fiction. Printed in the United States of America To Naseem Contents Chapter 1 Preface ix Introduction 1 PART I: AESTHETICS Chapter 2 Environmental Aesthetics: Natural Beauty 15 Chapter 3 Conceptions of the Aesthetic: Aesthetic Experience 39 Chapter 4 Conceptions of the Aesthetic: Aesthetic Properties 65 PART II: PHILOSOPHY OF ART Chapter 5 What Is Art? Second, there is even less reason to think that cognitive value is the exclusive artistic value. (For a contrary view see Shiner 2001.) In fact, Hyman denies that depiction can depend on such a resemblance for reasons similar to those set out below. Nor are they the only things that are beautiful or give us aesthetic experiences. Whether we do or do not seems be contingent on individual preferences. Is aesthetic experience necessarily among these? Version of 10/10/2001 Art and the problem of modernity 2. Further they are not claiming that there is any such person as Sherlock Holmes. First, the relation between art and beauty is rather tenuous, because there is plenty of nonbeautiful art, either because its aim requires that it be other than beautiful or because it is just bad art. The columns support a portico, under which is a swimming pool surrounded by a garden. Noel Carroll. He does acknowledge that one aspect of the complex experience might be emphasized at the expense of the other (Wollheim1987, 47) so that one is much more focused on the surface rather than the representational content or vice versa. Levinson, Jerrold, ed. The topic of intention is plausibly the one that was at the center of attention when interpretation first became an important issue in the philosophy of art and in literary and art theory. Belief in these situations suffices to explain what we feel. Though he fails as a painter and a lover, he is a success in perhaps the most important task life gives him. For example, the invigoration of ones consciousness, or a refined awareness of human psychology . Here is a stab: the weakened experienced-based cognitive insight argument (WECIA). We reserve this discussion until the end because many, though by no means all, of these buildings Introduction 7 are artworks, and to understand our appreciation of them, it will be useful to have the resources provided by the chapters on the philosophy of art. 1996. It should be easier to reach a answer to the question as to whether a poetic passage expresses an emotion if it is readily read as someones expression of that state (either the utterers, or the implied or actual authors) by a properly backgrounded reader who understands the passage in the context of the whole work and its historical setting. Conceptions of the Aesthetic: Aesthetic Properties 91 9. Given Margoliss idea that artworks are tokens-of-types we can see why we re-identify them by appealing to structural and historical properties, but at the same time this reinforces the claim that some such properties are essential to the works being re-identified. The second claim is that music Expressiveness in Music and Poetry 213 is expressive of an emotion when this is the hearing of someone properly backgrounded, and the hearing is spontaneous. However, one neednt accept Dodds view. Oxford: Oxford University Press. It concerns whether a work must be intended by its maker to be a prop (Currie 1990, Levinson 1996, 287303) or whether it is enough that it functions as a prop (Walton 1990). They posit such things more to explain the things we say about fiction than to explain fiction itself. with the picture itselfboth are two dimensional, both are made of textile (Wollheim 1980, 225). Rhythm and Noise: An Aesthetics of Rock Music. It might seem more plausible that the landscape model really does distort. 9. Nathan, Daniel. Now suppose we are following the story of a character in such a game, and we imagine hearing or witnessing that things work out very badly and the character suffers terribly. Consider the following list: painting, poetry, architecture, movies, rap music, furniture, jewelry, food, cigars. Three (the first Kantian conception, selfless absorption, and object-directed sensuous pleasure) have been fairly widely accepted among different groups of thinkers, but none of these seem to cover the whole extension of the aesthetic. . I have attempted to answer two such subquestions here. The simplest is to point out that the second premise begs the question. One is not forced to this view. This textbook is oriented around the question 'What is the value of art?" As far as the institutions are concerned, I want to say a few words regarding their obvious existence. What he means is that one is aware of two things: a two-dimensional surface and a three-dimensional scene in the surface. If I am a habitual liar, and lie about where I spent my vacation, claiming it was on a golden mountain, I referred to a nonexistent object and did so intentionally (according to those who believe such reference occurs), but I did not create a fiction in the relevant sense. Robert Yanal. Eileen John answers yes to both. Sharp observation is often an excellent substitute for simulation. Right here, we have countless ebook aesthetics a reader in philosophy of the arts 3rd edition pdf book and collections to check out. Prototypes at best pick out prototypical members of the kind in question. This is acknowledged by the proponents of the environmental model who admit that common sense knowledge of the environment is an acceptable substitute for scientific knowledge (Carlson 1995). Perhaps you have a handmade piece of furniture passed down from generation to generation. 2003. Second, in cases where the sympathy is really unmerited by qualities possessed by a character, one can question whether a work that manipulates its audience into feeling sympathy is really aesthetically better for doing so. Is there just one Gold Rush, having several different versions or many similar but numerically different films bearing the same title? Perhaps we can define a fictional picture as one that depicts nothing that actually exists. Allen Carlsons post-1979 discussions of the distortion objection emphasize the two ways of developing the objection proposed here. Representation: Depiction 197 An improvement over the initial recognitional ability account of depiction appeals to our ability to recognize a variety of aspects of objects. One issue is whether both ordinary seeing and seeing-in are in play when we look at photographs. While these are good consequences, a work is not necessarily deserving of praise for producing them. What Is Art? For example, if one takes away an assumed communicative intention in the example given above, even where that intention goes awry by reference to a suit rather than soup, there is no saying whether the utterance is pointing out that your suit has a mundane zipper, an idiosyncratic artificial trout fly, or an unfortunately embedded insect, among other possibilities. If one stops thinking that art is all about representation, a natural further thought is that what art is all about is form rather than representational content. Is one way the correct way to approach a fiction? Ethicist Arguments Let us begin by looking at one type of argument in favor of e-a interaction that has been popular, but hardly unchallenged, in the recent literature on this subject, which we will call the affective response argument.6 The basic idea behind this type of argument consists of three claims. Criticism of the second proposal leads us to substitute evaluation for the exercise of taste. Second, we should note that different art forms are expressive in different ways. I think this is the most common reason for rereading a poem. . Further Reading Davies, Stephen, 1995. . CHAPTER SEVEN Interpretation and the Problem of the Relevant Intention A Brief Introduction to the Philosophy of Art Interpretation Have you ever read a book or watched a movie and felt that you did not understand what it was all about or that you couldnt see its point? 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