By Graham McFee
"Artistic Judgement" sketches a framework for an account of artwork appropriate to philosophical aesthetics. It stresses variations among works of art and different issues; and locates the certainty of works of art either in a story of the heritage of paintings and within the institutional practices of the artwork international. as a result its forte lies in its robust account of the variation among, at the one hand, the judgement and appreciation of paintings and, at the different, the judgement and appreciation of all of the different issues within which we take a classy curiosity. for less than by means of acknowledging this distinction can. Read more...
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Certainly, they cannot be intended or meant: hence, cannot be involved in what I earlier called “genuine communication”. Treating the meteorite as an artwork mis-ascribes artistic concepts to it, thereby saying what is necessarily false of it: such concepts cannot possibly have application in this case. Even were the features designed (as in a polished rock), that they are the features of this particular rock, and that the designing was by this particular individual (or group), operates differently from the features of our sculpture.
Travis, 2008: 301) As a result, no formula covers all cases: as we have seen (and said before), there is no all, no finite totality of cases to master. So our model must involve our mastery in the situation—often our learned mastery, no doubt—allowing us to dealt with the new context if we can, bearing in mind the warning that “even the most adroit of languages may fail to ‘work’ in an abnormal situation” (Austin, 1970: 130). Here, three points are important. First, although utterances may mislead, they are not in general misleading: the hearer may not know how to take an utterance, although it is in fact clear once the context is taken into account.
P. 111). The contrast between kinds of art that are particular and kinds that are multiple is dismissed as merely a “practical limitation” in Strawson (1974: 183–184). Borges’ literary fantasy “Pierre Menard, author of Don Quixote” (Borges, 1962: 42–51) instantiates the relevant case. As Borges imagined the case, difference in authorship (in ‘history of production’) between two artworks makes them distinguishable for artistic purposes: for instance, the later work is mannered in a way the earlier could not be.