By Graham McFee
"Artistic Judgement" sketches a framework for an account of artwork appropriate to philosophical aesthetics. It stresses changes among artistic endeavors and different issues; and locates the certainty of artistic endeavors either in a story of the heritage of artwork and within the institutional practices of the paintings global. consequently its strong point lies in its robust account of the adaptation among, at the one hand, the judgement and appreciation of paintings and, at the different, the judgement and appreciation of all of the different issues within which we take a classy curiosity. for under by way of acknowledging this distinction can. Read more...
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Extra resources for Artistic judgement : a framework for philosophical aesthetics
The contrast between kinds of art that are particular and kinds that are multiple is dismissed as merely a “practical limitation” in Strawson (1974: 183–184). Borges’ literary fantasy “Pierre Menard, author of Don Quixote” (Borges, 1962: 42–51) instantiates the relevant case. As Borges imagined the case, difference in authorship (in ‘history of production’) between two artworks makes them distinguishable for artistic purposes: for instance, the later work is mannered in a way the earlier could not be.
To begin, as Gaut (2000b: 25) does, from those (like Weitz, 1977: 26) who argue that the concept art lacks such a definition seems just to dispute ‘the facts of the matter’ of the public deployment of the concept: are there in fact conditions constraining (or ‘closing’) the concept art? With just what justification is Weitz (say) operating? This remains unclear. Then others (such as Kamber, 1998) can be forgiven for hoping to explore the topic empirically. If Weitz offers a thesis about how the concept functions (like Waismann’s talk of the open texture of some concepts17 ), one might still wonder how this is determined.
Although the fourth edition of PI (Wittgenstein, 2009) differs from some others in its translation of remarks, it has not been used here: however, its treatment of (the former) Part Two as a separate work is respected when relevant. Chapter 2 Art, Meaning and Occasion-Sensitivity In Chapter 1, the contrast between the artistic and the aesthetic was assumed, while trying to motivate it. But could that contrast plausibly be denied? To be clear, my argument (repeated in various forms throughout this work) is that denying the contrast must involve denying the concept art (at least, on more than a sociological understanding of that concept), because the artistic/aesthetic contrast brings out the distinctiveness of the concept art.