Can This Be Art?

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Formal Definition ◽  
Surface Form ◽  
Work Of Art ◽  
Socially Constructed ◽  
Works Of Art ◽  
Aesthetic Attitude ◽  
The Difference ◽  
The Aesthetic ◽  
Necessary And Sufficient ◽  
Open Concept

While philosophers have tried to define art by necessary and sufficient features, this effort has failed. Art is a socially constructed, open concept that eludes formal definition. While art cannot be tightly defined, we can loosely define art by listing possible characteristics of works of art—recognizing that this list must remain an open one. We may not be able define art, but philosophers and psychologists together have revealed the difference between observing something with or without an aesthetic attitude. While any artifact may be used as a work of art, we respond differently to that artifact when we believe it is was created intentionally as a work of art rather than a non-art artifact. We adopt an aesthetic attitude, paying attention to the surface form and the expressive properties of the object. This conclusion is consistent with Kant’s idea of the aesthetic attitude being a form of disinterested contemplation.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

Aesthetic attitude

2018 ◽  
Author(s):  
Malcolm Budd
Keyword(s):  
Good Reason ◽  
Aesthetic Attitude ◽  
Uniform Manner ◽  
The Aesthetic ◽  
Definition Of ◽  
Necessary And Sufficient ◽  
Identical Fashion

It is undeniable that there are aesthetic and non-aesthetic attitudes. But is there such a thing as the aesthetic attitude? What is meant by the aesthetic attitude is the particular way in which we regard something when and only when we take an aesthetic interest in it. This assumes that on all occasions of aesthetic interest the object attended to is regarded in an identical fashion, unique to such occasions; and this assumption is problematic. If an attitude’s identity is determined by the features it is directed towards; if an aesthetic interest in an object is (by definition) an interest in its aesthetic qualities; and if the notion of aesthetic qualities can be explained in a uniform manner; then there is a unitary aesthetic attitude, namely an interest in an item’s aesthetic qualities. But this conception of the aesthetic attitude would be unsuitable for achieving the main aim of those who have posited the aesthetic attitude. This aim is to provide a definition of the aesthetic, but the aesthetic attitude, understood as any attitude focused upon an object’s aesthetic qualities, presupposes the idea of the aesthetic, and cannot be used to analyse it. So the question is whether there is a characterization of the aesthetic attitude that describes its nature without explicitly or implicitly relying on the concept of the aesthetic. There is no good reason to suppose so. Accordingly, there is no such thing as the aesthetic attitude, if this is an attitude that is both necessary and sufficient for aesthetic interest and that can be characterized independently of the aesthetic.

scholarly journals Vantržišna motivacija tržišta umetničkih dela

2019 ◽  
pp. 66-85
Author(s):  
Rastko Močnik
Keyword(s):  
Contemporary Art ◽  
No Value ◽  
Art Criticism ◽  
Art Markets ◽  
Works Of Art ◽  
Economic Mechanisms ◽  
The Difference ◽  
The Aesthetic ◽  
Monopoly Rent

Art markets are not homogeneous, the difference being especially between the art products that can be technically reproduced and the unique products. As for the former, regulations of the copyright type introduce certain specificities (the author retains some rights over the object in circulation— for example, she or he can withdraw it). In case of unique goods, the demand is determined by the buyers’ tastes and does not result from some generally valid presupposition: thus, these goods have a price, but they have no value. Since the aesthetic nature of the reproducible works of art is subject to the same laws as the unique artworks, the economy of unique artworks can serve as a paradigm for the economy of artworks in general. According to a theory developed by Rade Pantić, the price of unique artworks is a monopoly rent. As any other rent, it is determined by non-economic mechanisms. These mechanisms should allow for the freedom of individual tastes and at the same time provide a unique field within which these idiosyncratic attitudes can interact. The mechanisms determining the rent (price) of artworks are therefore ideological apparatuses that present themselves and their elements (individual taste judgments) as non-ideological, and moreover formulate the judgments as individual receptions open to “interpretation,” i.e. as cognitive-affective material to be processed in specific symbolic formations (in curatorial practices, art criticism, philosophical interventions, and alike). In contemporary art, the structure of ideological apparatuses reproduces domination-through-fragmentation, typical of contemporary capitalism.

Chibcha Aesthetics

1951 ◽  
Vol 17 (2) ◽  
pp. 145-147 ◽  
Author(s):  
C. A. Burland
Keyword(s):  
National Culture ◽  
Work Of Art ◽  
Aesthetic Taste ◽  
Works Of Art ◽  
The Aesthetic ◽  
The Individual

When we look at modern works of art we too often talk of the aesthetic taste of the individual artist without taking into consideration his place in a national culture, or an economic group. Towards “primitive” art we take a completely opposite viewpoint. Even when considering such a highly sophisticated art as that of pre-Columbian America, we are prone to give it an archaeological label and call a work of art an “interesting specimen.”

scholarly journals A Bigger Splash to the Narrative

2018 ◽  
Vol 9 (1) ◽  
pp. 90-107
Author(s):  
Vinicius Oliveira Sanfelice
Keyword(s):  
Philosophy Of Language ◽  
Paul Ricoeur ◽  
Language Game ◽  
Work Of Art ◽  
Works Of Art ◽  
Semantic Link ◽  
Figurative Art ◽  
Aesthetic Aspect ◽  
David Hockney ◽  
The Aesthetic

The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration. 

Factors of Price Formation for Art Objects With the Application of Text Analysis of Twitter News

2020 ◽  
pp. 114-131
Author(s):  
Elena A. Fedorova ◽  
Diana V. Zaripova ◽  
Igor S. Demin
Keyword(s):  
Text Analysis ◽  
Price Formation ◽  
Works Of Art ◽  
Art Objects ◽  
Online Resource ◽  
The Difference

This work confirmed the hypotheses about the influence of the mood index on Twitter on the pricing of art objects and the difference between the experts' estimations and the final price of the auction. The hypotheses were tested with the use of a sample of 83 paintings selected on the basis of ratings of ARTNET's online resource about the most expensive works of art ever sold in the last 10–15 years. The sample consisted of 25 artists, for each of them was made an index of moods on Twitter. This index was created by a sentimental analysis of each tweet about the artist on the hashtag for a period of 2 to 4 months between the announcements of sales in the open sources and the direct sale of the work with the use of the two dictionaries AFINN and NRC.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

A Direct Rotatability Criterion for Spherical Four-Bar Linkages

1995 ◽  
Vol 117 (4) ◽  
pp. 597-600 ◽  
Author(s):  
K. C. Gupta ◽  
R. Ma
Keyword(s):  
Sufficient Conditions ◽  
Necessary And Sufficient Conditions ◽  
Absolute Value ◽  
The Difference ◽  
Necessary And Sufficient ◽  
Four Bar Linkage

The necessary and sufficient conditions for the full input rotatability in a spherical four-bar linkage are proved. The direct criterion is: for all twist angles α in the range [0, π], the excess (deficit) of the sum of the frame and input twist angles over (from) π should, in absolute value, be greater than that for the coupler and follower twist angles; the difference between the follower and input twist angles, in absolute value, should be greater than that for the coupler and follower twist angles. Application of the direct criterion to full rotatability of other links are discussed and some variations in the form of the criterion are developed.

II.—A Plea for the Study of Literature from the æsthetic Standpoint

PMLA ◽  
1891 ◽  
Vol 6 (1) ◽  
pp. 29-40
Author(s):  
John P. Fruit
Keyword(s):  
Divine Attributes ◽  
External Quality ◽  
Work Of Art ◽  
Divine Justice ◽  
The Aesthetic

That teacher of literature who has not comprehended the significance of a work of Art, has never been endued with the spirit and power of his high calling. He stands unwittingly in the place of an apostle of “that external quality of bodies which may be shown to be in some sort typical of the Divine attributes.”“Those qualities, or types,” according to Ruskin, “on whose combination is dependent the power of mere material loveliness” are:“Infinity, or the type of Divine Incomprehensibility; Unity, or the type of the Divine Comprehensibility; Repose, or the type of the Divine Permanence; Symmetry, or the type of the Divine Justice; Purity, or the type of the Divine Energy; Moderation, or the type of Government by Law.”

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