Author note: Owen Hulatt (Editor)
Whether artwork may be fully self sufficient has been many times challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a workforce of specialists talk about the level to which paintings may be defined in basic terms by way of aesthetic categories.
Covering examples from Philosophy, tune and paintings heritage and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic concerns, together with ancient, cultural or financial elements. It provides a entire evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. via heavily studying how the production of works of art, and our decisions of those works of art, relate to society and heritage, Aesthetic and inventive Autonomy offers an insightful and sustained dialogue of an incredible query in aesthetic philosophy.
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Additional info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
However, there is another way. On this other conception, a value is autonomous if it is not defined by, derived from, or is a function of, other values or by its possession by a special kind of object. Thus, for example, pluralists about non-moral value make this kind of value heteronomous by deriving it from other more basic goods such as hedonic value, cognitive value, aesthetic value and so on, even if all of these values that collectively constitute non-moral value are intrinsic. The value of various artefacts is derived from the function of the kind of artefact in question – being a good carving knife is derived from the function of carving knives.
The object or text is significant not in terms of its phenomenal or imaginatively intended particularity, but rather in terms of the more general idea about art to which it points. This means that iconography and iconology is paramount. Art is not made, it is designated on the basis of a specific intention or attitude (or sets thereof) on the artist or art world’s part. In my preceding analyses I have argued that intentions of this sort – bound up with the specific historical circumstances surrounding a work’s production – are, in logical terms, irrelevant to its status as art.
But the values such practices support are capable of evolving or even radically changing. That there is such a thing as artistic value thus conceived has become a widely held view. Such a view is motivated by the rejection of the simple identification of artistic value with aesthetic value. There are two main reasons for rejecting this identification. The first and simplest derives from the appearance of anti-aesthetic art (originally simply called ‘anti-art’), beginning with Dada, developing further in conceptual art, performance art and other avant-garde movements.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)