Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)

Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)

Robert Stecker

Language: English

Pages: 328

ISBN: 0742564118

Format: PDF / Kindle (mobi) / ePub


Praised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker's new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Stecker introduces students to the history and evolution of aesthetics, and also makes an important distinction between aesthetics and philosophy of art. While aesthetics is the study of value, philosophy of art deals with a much wider array of questions including issues in metaphysics, epistemology, the philosophy of mind, as well value theory. Described as a 'remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art,' Stecker specializes in sympathetically laying bear the play of argument that emerges as competing views on a topic engage each other. This book does not simply present a controversy in its current state of play, but instead demonstrates a philosophical mind at work helping to advance the issue toward a solution.

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appearance,” as Stephen Davies calls it.4 Call this the phenomenal appearance view. Just as hearing motion or dynamic qualities in music is hearing a phenomenal quality or presented appearance of music, so is hearing emotion, on this view. Further, the hearing of the former is intimately related to the hearing of the latter. To a considerable extent we hear emotion in music because we hear motion and dynamic qualities in it. The “because” here is most often explicated in terms of a perceptible

sensory qualities. Various shades of pink, gold, and gray stretch out before me. This is what I see, ignoring that what is responsible for these colors is a winter field covered with snow reflecting the sunset. Again the temptation to call this distortion should be resisted. These colors are really on view, accurately pinned down like a carefully displayed moth. This way of pursuing the impressionist model raises a different question: does the aesthetic appreciation of nature require

benefits it brings. Finally, since taking satisfaction in something is itself a valuable state of affairs, when an experience is valued in this way, it is valuable, indeed, valuable for itself. 6. The source of this criticism is Carroll (2002a). Also see Carroll (2000c), and the 2001 exchange between Carroll and Stecker. 7. Carroll (2001a) has offered three replies to the above argument. First, he claims that Charles may have enjoyed the experience of the Picasso because of the

second being based on his own rejection of the first. Both, however, have received a great deal of attention and exercised considerable influence, so each deserves some discussion here. The first definition goes as follows: Something is a work of art if and only if (1) it is an artifact, and (2) a set of aspects of which has had conferred upon it the status of candidate for appreciation by some person or persons acting on behalf of the art world (1974). Notice that the status conferred that

counterexample. The hypothetical artist, being a flawless user of the language, must have meant to give Watson’s wound two locations if his words imply as much. The trouble is that this hypothetical author can’t be both a flawless user of the language and, at the same time, a flawless purveyor of the realistic style. Hence, it is not so clear that the second version of HI can handle this example any better than did the first version. Furthermore, this version of HI attributes the right meaning to

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