By Graham McFee
"Artistic Judgement" sketches a framework for an account of paintings 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 historical past of paintings and within the institutional practices of the paintings international. as a result its forte lies in its powerful account of the variation among, at the one hand, the judgement and appreciation of paintings and, at the different, the judgement and appreciation of the entire different issues during which we take a classy curiosity. for less than by means of acknowledging this distinction can. Read more...
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Extra resources for Artistic judgement : a framework for philosophical aesthetics
Hirsch, 1966: 8 [quoted Levinson, 1990: 189]) 32 2 Art, Meaning and Occasion-Sensitivity Whatever one makes of the detail of Hirsch’s account (in particular, its equation of work-meaning with author-meaning), the contrast with significance seems right. Roughly, the meaning is the fixed content of, say, the poem. Thus Blake’s use of the expression “dark Satanic Mills” means something in the context of the poem (something about the condition of religion) but may acquire a significance about textile factories of a century later “from the triangulation of the poem’s meaning and economic developments a century down the road” (Levinson, 1990: 191).
Such exception-inducing cases may not be likely in practice: their logical possibility alone precludes (say) all-encompassing determinacy, or exceptionlessness, of the kind sometimes assumed (see SRV: 102–105). 4 An Occasion-Sensitive View of Meaning and Understanding Although this occasion-sensitivity (or “speaking-sensitive view of words”: Travis, 2008: 70) draws on considerations in the philosophy of language, the primary point here has nothing to do with words as such. For when we both truly say the world to be such-and-such, we both speak the truth—independent of the words we use!
So any ‘counter-possibilities’ are considered only insofar as they apply in this case, rather than simply as abstract possibilities. When sceptics require that all counter-possibilities be ruled out (Stroud, 2000: 43), we cannot know precisely what things were to be considered. In contrast, someone wishing to object to a contract (or the application of any other defeasible notion) knows fairly precisely what considerations are relevant, for these considerations are the “recognized heads of exception” (UD: 62).
Artistic judgement : a framework for philosophical aesthetics by Graham McFee