Author note: Owen Hulatt (Editor)
Whether paintings may be entirely self sufficient has been many times challenged within the smooth historical past of aesthetics. during this selection of specially-commissioned chapters, a group of specialists speak about the level to which paintings should be defined simply by way of aesthetic categories.
Covering examples from Philosophy, song and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with historical, cultural or fiscal components. It offers a entire evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular works of art themselves. via heavily studying how the production of artistic endeavors, and our decisions of those works of art, relate to society and background, Aesthetic and inventive Autonomy offers an insightful and sustained dialogue of an important query in aesthetic philosophy.
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Additional resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
We are, rather, identifying objectively new ways in which representation can change human experience of the world. If such potential is realized, we have the basis of a claim to autonomous artistic meaning. And even if a culture does not perform such a separation – and has no concept of ‘art’– this still leaves the possibility that its established representational practices open up avenues of experience which other idioms do not. Its practices have a potentially autonomous significance whether or not the culture in question chooses to make something of this potential.
So far I have argued that aesthetic value is autonomous in the sense of being underived from other values and uncentred in a special kind of object. I have also argued that, in contrast, artistic value is derived from other values. I now turn to two ways of challenging these conclusions. One argues that aesthetic Aesthetic Autonomy and Artistic Heteronomy 37 value is heteronomous; it has just the derived character I have attributed to artistic value. The second is to argue that artistic value is autonomous because it is identical to aesthetic value conceived autonomously.
But, second, why take this one method, being used at one moment in the long tradition of aesthetic inquiry as the definitive one? Thus I conclude that Gaut has not given us a persuasive positive argument in favour of his conception of the aesthetic. Aesthetic Autonomy and Artistic Heteronomy 39 Gaut’s other argument for his approach is negative. It looks at some attempt to explicate the concept of the aesthetic in terms of a special attitude, a special kind of value, or a special feature shared by all aesthetic properties.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)