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All rights reserved. Powered by: Safari Books Online. Theodore Gracyk - - Philosophy Compass 2 3 — Conclusion Iii - unknown. Artworld Metaphysics. Robert Kraut - - Oxford University Press. Adorno on Jazz and Society. Joseph D. Lewandowski - - Philosophy and Social Criticism 22 5 Theodore Gracyk - - Philosophy and Literature 26 1 The Contradictions of Jazz.
Paul E. Rinzler - - Scarecrow Press. Toward a Sociology of Jazz. Neil P. Hurley - - Thought: Fordham University Quarterly 44 2 Making Sense of Affective Property. Once you grasp that, the ideas and values that inform the painting can interfere with our aesthetic response.
At the same time, given its complexity, other ideas that are in play may guide and thus enhance our aesthetic response, as with the array of flowers that are shown, and the figure of Mercury on the far left. Could you say what you take to be the interesting claims of contextualism in the context of art and aesthetics, what are the rival positions and why you take it to be superior to those?
TG: I just gave an example—the Botticelli—that illustrates this. Granted, many responses to great art are superficial. But most artworks are culturally significant as well as aesthetically interesting: the superficial or immediate aesthetic response is a crumb of what much art has to offer. But that is because the context of production enters into the properties that are embodied in the art, and that context ought to be taken into account by appreciative observers.
That much is probably obvious to most readers of this interview. The thing that is less obvious, and which I emphasize in a lot of my work, is that our aesthetic response is to art is guided by all of that cultural freight. Within our own culture, and especially with popular art, we acquire the relevant background knowledge without effort, and so the contextual dependency of our aesthetic response is largely invisible. Nor with most of nature, either!
Its positive aesthetic dimension requires some sense of where it falls in the history of Western music, and hearing it in relation to an appropriate comparison class. About the same time, environmental degradation led to more attention to environmental aesthetics, and so we got a second divergence of aesthetic theory from philosophy of art, but coming at it from another direction. We also have the relevance of a long tradition of aesthetics and mathematics, and a growing interest in the aesthetics of sports.
But neither a football match nor a mathematical theorem nor my own example in a forthcoming paper a view of a stretch of the Mississippi river are works of art. Why, I have to ask, did my parents want to live with avocado green appliances? Aesthetic judgment permeates our human world, and we have an endless number of types of things that invite philosophical reflection without ever talking about art.
In short, we might do a better job of understanding the nature of aesthetic value and the complexity of our aesthetic vocabulary by ignoring art, because the topic of art brings in all the cultural complications that I talked about in response to your last question.
I only started to study Kant and the 20th century Anglo-American tradition during my first year of graduate work.
But I quickly gravitated to the study of Kant and analytic philosophy as my primary focus. To the extent that my work stresses conceptual analysis and examines nuances of language use as a reflection of concepts, judgments, and logical connections, my work reflects the analytic tradition. But to confine ourselves to that tradition is to ignore a lot of interesting work in aesthetics and philosophy of music, including Nietzsche, Adorno, Roman Ingarden, Roland Barthes, and Jacques Attali.
University of California Press, Oxford University Press, Ellen Dissanayake, What is Art For? University of Washington Press, Revised edition, Lexington Books, Cambridge University Press, Richard Marshall is biding his time.
Buy his second book here or his first book here to keep him biding! End Time series: the themes. Huw Price's Flickering Shadows series. Steven DeLay's Finding meaning series. Philosophy of art aesthetics philosophy of jazz improvisation Theodore Gracyk Adorno identity and appropriation philosophy of music. One can search for an essence of jazzfeatures necessary and sufficient for a musical Robin George Collingwood event to qualify as jazz.
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