Search Results for aesthetic value

...Nick Riggle A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic...

... Aesthetics,” lays out Zuckert's interpretation of Herder's naturalism in general and in aesthetics in particular, and addresses the main issues that it raises, above all the tension between relativist and universalist tendencies in Herder's conception of aesthetic value and taste. Part 2, “Explorations...

... of that people have offered against the claim that tastes and smells are suited to be bearers of aesthetic value, and (in my opinion) effectively disposes of them all. His positive agenda here is to show that even single tastes and smells meet a minimal threshold of aesthetic inter- est, which is the sort...

.... But that doesn't imply—or doesn't obviously imply—that a deed's being good would not count, from a moral point of view, in favor of its being performed. And what about aesthetic value? Does beauty have no value if it serves no purpose? I think I can imagine beauty possessing value even in a world where people...

... that of truth or correctness and instead tied to the notion of the purpose or aim of the interpretation. Thus, an interpretation of a work can be acceptable given, for example, the purpose of maximizing the aesthetic value of a work, though it may be untrue of that work. Or such an interpretation can simply...

... . Joint Commitment: How We Make the Social World . Oxford : Oxford University Press . Goldman Alan H. 2006 . “ The Experiential Account of Aesthetic Value .” Journal of Aesthetics and Art Criticism 64 , no. 3 : 333 – 42 . Hieronymi Pamela 2006 . “ Controlling attitudes...

..., transparently argued monograph is about aesthetic and artistic value. It wears its central theses on its sleeve. They are: 1. The function of the artworld and the practice of art is to promote aesthetic communication. 2. A work of art is a good work of art to the extent that it can afford apprecia- tion...

... to the demonstration, and supply examples essential to the clarifi cation of these concepts. The theses may sound like throwbacks to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism...

... to the demonstration, and supply examples essential to the clarifi cation of these concepts. The theses may sound like throwbacks to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism...

.... This elegant, terse, transparently argued monograph is about aesthetic and artistic value. It wears its central theses on its sleeve. They are: 1. The function of the artworld and the practice of art is to promote aesthetic communication. 2. A work of art is a good work of art to the extent that it can...

... to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism that prevailed then (introduction). However, the argument is grounded in a sophisticated under- standing of the objections to this aestheticism...

... throwbacks to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism that prevailed then (introduction). However, the argument is grounded in a sophisticated under- standing of the objections...

... argued monograph is about aesthetic and artistic value. It wears its central theses on its sleeve. They are: 1. The function of the artworld and the practice of art is to promote aesthetic communication. 2. A work of art is a good work of art to the extent that it can afford apprecia- tion (23...

... like throwbacks to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism that prevailed then (introduction). However, the argument is grounded in a sophisticated under- standing...

... of these concepts. The theses may sound like throwbacks to aesthetics circa 1970. The impression is understandable since Iseminger’s purpose is to defend a con- ception of the value of art derived from the aestheticism that prevailed then (introduction). However, the argument is grounded...

... + 147 pp. This elegant, terse, transparently argued monograph is about aesthetic and artistic value. It wears its central theses on its sleeve. They are: 1. The function of the artworld and the practice of art is to promote aesthetic communication. 2. A work of art is a good work of art...

... that persons and artwork are objects of aesthetic value and appreciation, in contrast to the Kantian notion that rejects any spectator-driven valuation of persons. Insofar as Williams’s project offers an interpretation of Hume, one has to ask, ‘With whom he is arguing? Which critics insist...

... Levinson argues, against Elster, that creativity in art is not maximization of aesthetic value within constraints, and urges us to see violation of constraint as, on occa- sions, more creative than Elster’s system allows. Another approach is through the audience’s reaction to and understanding...

... Elster, that creativity in art is not maximization of aesthetic value within constraints, and urges us to see violation of constraint as, on occa- sions, more creative than Elster’s system allows. Another approach is through the audience’s reaction to and understanding of the creative process...

..., without ignorance, and without accepting any relevant irrational beliefs, claims that our most important moral obligation is to produce and preserve objects of great aesthetic value. Many of us would say his view is irrational, quite apart from any possible self-contra- diction P la Hare...