By David Davies
During this richly argued and provocative publication, David Davies elaborates and defends a large conceptual framework for puzzling over the humanities that finds very important continuities and discontinuities among conventional and sleek paintings, and among various creative disciplines.
* Elaborates and defends a extensive conceptual framework for considering the humanities.
* bargains a provocative view in regards to the types of issues that artistic endeavors are and the way they're to be understood.
* finds vital continuities and discontinuities among conventional and sleek artwork.
* Highlights middle subject matters in aesthetics and artwork thought, together with conventional theories concerning the nature of artwork, aesthetic appreciation, creative intentions, functionality, and inventive meaning.
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Extra resources for Art as Performance
Once we have admitted some of these properties as properly artistic, however, it is difficult for the empiricist to find principled reasons to exclude the others, given that all are functions of the same sorts of musico-historical variables and of the actual history of making of the work. As a further example, we might consider Arthur Danto’s reasoning in The Transfiguration of the Commonplace (1981). Danto focuses on works like Duchamp’s Readymades and Warhol’s Brillo Boxes, where the artobject seems to be indistinguishable, in its manifest properties, from “real things” which are not classified as artworks.
The artistic properties and the artistic value of a work depend not merely upon its manifest properties, but also upon which category it belongs to, and whether its manifest properties are standard or variable relative to that category. Two objects with identical manifest properties might possess different artistic properties and warrant very different judgments of artistic value if assigned to different artistic categories. Walton offers the following example. We are to imagine a culture with a category of artworks called guernicas.
I shall identify a number of problems with the negative arguments offered by Currie and Levinson.
Art as Performance by David Davies