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ISBN-10: 1441126074

ISBN-13: 9781441126078

Author note: Owen Hulatt (Editor)
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Whether artwork should be thoroughly self reliant has been many times challenged within the smooth background of aesthetics. during this selection of specially-commissioned chapters, a group of specialists speak about the level to which paintings may be defined merely by way of aesthetic categories.

Covering examples from Philosophy, track and paintings background and drawing on continental and analytic resources, this quantity clarifies the connection among artistic endeavors and extra-aesthetic concerns, together with ancient, cultural or financial elements. It offers a complete evaluate of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by means of heavily studying how the construction of artistic endeavors, and our decisions of those artistic endeavors, relate to society and heritage, Aesthetic and creative Autonomy presents an insightful and sustained dialogue of a big query in aesthetic philosophy.

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Example text

Mixed media works of art are not uncommon today in both visual and performing arts. When Johann Sebastian Bach (1685–1750) rescored a harpsichord piece, his Prelude and Fugue in A Minor (BWV 894), into the Concerto in A Minor for Flute, Violin and Clavier (BWV 1044), he was changing the medium, and therefore the range of techniques to be employed in realizing the content of his music; musicologists sometimes call this Bach’s “parody technique,” employed increasingly in the last two decades of his life.

Not all societies will have or need the complete range of specialized skills, but as the Inuit example illustrates, in all cases at least a minimum of surplus time and material is needed to support any of them. It’s important to keep this fundamental truth in view despite the many examples of aesthetic culture arising in conditions of comparative privation—for all require some surplus of time or material. Aesthetic culture consists of the meanings created in objects or by actions that are made possible and in some cases necessary by the surplus resulting from material and physical culture.

Social-political culture became far more advanced after the advent of agriculture, especially along those river valleys where monocultures began to be planted and harvested, creating great surplus storage of food and the need to control access to it. The meanings of the social distinctions in these societies—ancient Egypt, Mesopotamia, and China, especially—had to be clearly communicated and rigorously enforced. Politics and economics remain central to this type of culture today, explaining the meanings inherent in capitalist, socialist, or other relationships that determine access to the surplus our global society is capable of producing.

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