By Dave Davies
During this richly argued and provocative e-book, David Davies elaborates and defends a extensive conceptual framework for brooding about the humanities that unearths vital continuities and discontinuities among conventional and sleek paintings, and among diversified inventive disciplines.
- Elaborates and defends a extensive conceptual framework for wondering the arts.
- Offers a provocative view concerning the forms of issues that works of art are and the way they're to be understood.
- Reveals vital continuities and discontinuities among conventional and smooth art.
- Highlights middle issues in aesthetics and artwork conception, together with conventional theories concerning the nature of artwork, aesthetic appreciation, inventive intentions, functionality, and creative meaning.
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Extra info for Art as Performance (New Directions in Aesthetics)
Robert Stecker, addressing the issue of definition rather than ontology in his book Artworks, argues that a definition of “artwork” must be assessed in terms of the sense it makes of Introduction 19 our overall artistic practice, while acknowledging that features of that practice are themselves open to critical assessment (1997: 26). Stephen Davies, also in a work on defining “artwork,” offers an explicit defense of something like the pragmatic constraint (1991: 74). Implicit endorsements of the pragmatic constraint can be found in Wollheim’s Art and its Objects (1980) – where competing ontological proposals are held accountable to our artistic practice – and in Danto’s Transfiguration of the Commonplace (1981).
In such a case, type-A properties may be said to admit of different realizations by type-B properties. A standard example of supervenience is the relation between mental-state properties and brain-state properties, on so-called “token-identity” theories of the mental. 9 For a discussion of these issues, see Currie 1989: 22–7. Aesthetic Empiricism and Philosophy of Art 31 “ideal receiver” whose knowledge – perhaps of aspects of provenance – would undermine the fundamental empiricist requirement that artistic properties be distinct from properties non-manifestly dependent on a history of origin.
We can overcome the second difficulty only if we can avail ourselves either of a principled distinction between artistic and art-historical properties, or of an independent argument against the very possibility of drawing such a distinction. But, if we have such resources, it is not apparent why we need the indirect strategy. The conclusion we should draw, then, is that the argument against empiricism must focus on purported artistic properties ascribed to works in our critical and appreciative practice, rather than on the overall evaluations of works predicated upon the ascriptions of such properties.