There is one final note that needs to be made about the philosophical technique exhibited in this book. This is not to say that it is better or worse than social science.
The history of pure visual decoration is as longstanding as the history of figuration. If we really want to learn what comprises our concept of art, they ask, why not hand out questionnaires, run some tests, or launch a survey? Traditional approaches to pictorial representation T wo traditional theories of pictorial representation are the resemblance theory and the illusion theory.
Because the analytic philosopher of art is concerned with a different direction of research from the empirical social scientist, her methods are different. That is, the theory of Plato and Aristotle had a pretty good fit with the data; it did a reasonable job of at least picking out what was important—or, perhaps, most important—in Greek artistic practices.
In order to deal with this problem, and others, the friend of the PlatonicAristotelian theory may leave off talking in terms of imitation in favor of representation.
The aims of this book This book has several aims. The blank is often filled in by the name of some other field—as in the philosophy of science, or of logic, or of art, law, history and so forth. They, of course, are not responsible for the errors herein.
It is said to be a real definition of the concept because unlike so many dictionary definitions it does not simply track how people commonly use the concept, but allegedly discovers the real conditions of application of the concept.
Is this really what it is about? In times gone by, when music served primarily the function of accompanying words—in opera and religious chant, for example— one might have been tempted to assimilate music to the i m i t a t i v e a r t s.
As we have already seen, Plato thought painting to be strictly analogous to holding a mirror toward an object. The concept of a number is fundamental to mathematics, while the concept of knowledge is indispensable throughout the widest gamut of human activities.
This book is designed in such a way that the selected package of information it contains should be enough to get you started. So the question before us is whether the preceding premises are true. And postmodern dance, with its emphasis on the perception of movement for its own sake, reminds us that much dance, including ballet divertissements, does not imitate, but rather explores the possibilities of human performance.
Neorepresentationalism is more comprehensive than the imitation theory and the representational theory of art, but it is still nowhere near comprehensiveenough. Some abstract paintings are essentially formal exercises representing nothing, and there are even songs and poems like this.
But determining the correct application of our classificatory categories—analysing the concept of art— is not an empirical question.
Such questions, needless to say, are not idle. They are about something— namely the nature of artworks—about which they have something to say:is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her.
is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her. Ernst Bloch's The principle of Hope, Third Part by nikhil_raghuram in Browse > Personal Growth > Happiness.
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