Philosophy Of Art Final Exam Review

Front 1

What are the three definitions available on aesthetics of Art?

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Classificatory, which defines art as an artifact made by a human for aesthetic appreciation by some person or persons acting on behalf of a social institution (the art world), Honorific, which is defined as seeking to identify art by naming honorable qualities of a work of art such as "art is something beautiful made with skill", and open definition, which argues for an open concept of art, as it is believed to be an ever evolving activity that will always outrun all of our efforts to specify exactly what it is, and if we try to to only take these traits as the only sufficient and necessary conditions, we run the risk of closing our minds to new forms of Art.

Front 2

What does good art criticism entail?

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Good art criticism entails a rich description, and insightful interpretation, and a well-argued judgment of the value of the work based on a certain theory.

Front 3

What is philosophy?

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Philosophy is the activity of asking and attempting to give imaginative and well-argued answers to general and fundamental questions in order to gain wisdom.

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What does it mean that a question is general?

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When we ask What is the meaning of life, what is knowledge, what is friendship, what is time, what is beauty, what is art, what is the self, what is truth, these are general questions. We are not asking about the meaning of a particular thing but about the meaning of life in general. We are not asking about someone's friend, but friendship in general. Very often, philosophical inquiry will start with something specific, then go into asking general questions as a focus.

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What does it mean when a question is fundamental?

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A question like what is the meaning of life, what is beauty, what is friendship, what is truth; besides being general questions, these are fundamental questions which means the answers we give to them will provide a foundation which many of our other beliefs will rest.

Front 6

What is an argument?

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An argument is not a disagreement, rather, it is a.set of premises from which a conclusion is derived.

Front 7

What is imagination?

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Imagination can be defined as the activity of generating ideas that give us insight into the unrealized possibilities of a situation. To imagine is to mentally see old things in new ways for new purposes. It is to envision plans that can give direction to our investigations; to formulate criticisms and alternatives. Philosophers love to imagine possibilities that challenge the way we see things. William James once said philosophy is more about imaginative vision than logic.

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What is the purpose of Philosophy?

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To gain wisdom through the activity of asking nd attempting to Gove imaginative answers to general and fundamental questions.

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How does philosophy differ from science and religion?

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Religion gives a sense of purpose through faith and an ordinate set of rules based on morality and life goals through worship of a divine power. Science offers knowledge of nature and the universe through systematic theoritical and empirical evidence. Philosophy aims to gain wisdom by asking and attempting to give imaginative and well argued answers to general and fundamental questions.

Front 10

What are the two main questions in philosophy of art that we deal with?

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What is art, and the question of evaluation, meaning, how can we make rationally defensible aesthetic judgments

Front 11

What are the three ways philosophical theories of Art differ from art historical movements?

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1) Philosophical accounts of Art are usually about art in general and tend to be more comprehensive in their scope than historical movements marked by particular styles, people, fashion etc.

2) Philosophical theories claim to be fundamental, that is, they try to provide accounts on which our understanding of Art in general and it's various relationships will rest.

3) Philosophical theories provide us with the necessary principles to argue in defense of our claims about art. They seek to help use, evaluate and argue as well as identify and describe, whereas Art History is more about descriving than evaluating.

Front 12

What other traits do aesthetics address other than general and fundamental concepts?

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Aesthetics also address general and fundamental concepts like beauty, the uncanny, the sublime,taste, imagination, creativity, genius, inspiration, tragedy, and comedy.

Front 13

Where and when was the word aesthetics first introduced?

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The word aesthetics was introduced in The work of Alexander Baumbarten in 1735.

The kind of science that Baumgarten was after, was to claim that sense perception can have a standard of perfection all its own. This standard should be one that emphasizes what individuality and Singularity Sensations have. The standard of perception should be richness and vividness of detail in the perception.

Baumgarten believe we could develop a science of sensory cognition; that way enable us to figure out which kinds of things, simply by the arrangement of their parts and their qualities, would please the Mind regardless of whether these Arrangements were true, moral, or useful.

In 1750 he coined the term Aesthetics as a label for this effort to discover a signs of sensory cognition.

Front 14

Define the Imitation theory and raise an objection to It.

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The Imitation theory says that art is an imitation of something like nature or human action. This theory takes issues of resemblance, depiction, representation and interpretation to be central. The process of identifying art will obviously involve reference to an original and the imitation.

One way to object to the imitation theory is to point out that plenty of art doesn't seem to resemble or depict any object. Thus well some art does, like landscape painting and realistic sculpture, plenty does not, such as abstract painting, instrumental music, lyric poetry, and avant-garde expressive dance.

This then would not work for any theory seeking to define all or most of Art rather than exclude it.

A second main objection to theory rises when we realize that imitation typically does not, and probably should not mean exact duplication of something. We typically assess the worth of an imitation by how, on one hand, it resembles the object it depicts and, on the other hand, how it adds to this depiction something imaginative from the artist perspective; something new and non-realistic. We simply do not praise art for copying. We want to see how a certain imitation, say a portrait of a face, brings out the character of the person by both depicting clearly certain things and emphasizing, exaggerating, and highlighting others. Imitation implies interpretation, and often interpretation can be expressive, which then opens up the other theories of art formalism, expressionism, and instrumental and in doing so reveal that the imitation theory is not sufficient as a general and fundamental theory of Art.

Front 15

Define the Expression Theory of Art and raise an objection to It.

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The expression Theory usually says art occurs when someone feels something and then creates a work that expresses that feeling to an observer who, in turn, experiences the feeling is well. Some expressive models include ideas as well as feelings, and some focus on the works expressive properties rather than the artist's experience. This theory will usually identify works of art by their power to move people, and will evaluate works by the degree, range, and value of emotion expressed in felt.

Leo Tolstoy's definition of Art a an expression is defined as: "art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them" . Tolstoy was convinced that art should convey these feelings directly in a way accessible to common people.

An objection to this is that we might argue that the artistic process is one where an artist feelings are only understood by working with the materials. This view was championed by the English philosopher R.G. Collingwood, who argued feelings don't exist in a fully-formed state before artistic creation and then get expressed in a medium. Rather, working with a medium enables feelings to come to fruition and be articulated and focus.

Collingwood claims this notion of working through one's feelings in relation to material in order to discover something is what fine art is all about.

Other forms of making like crafts and industrial production know the outcome of the process at the start and simply apply a prefixed form to material this may take skill and time but it is not art. This perspective would challenge Tolstoy's notion that the artist first has a feeling that he then hands onto someone else.

Another objection one could argue, is that we shouldn't limit expression to human beings. For instance, in Plato's dialogue ion, we encountered a thesis that poets don't have knowledge of what the express because they are blessed by the gods and out of their minds when they act. Inspiration, on this account, is about something Divine working through the poet.

We could also argue that natural or social causes partially or completely determine an artists work, in that the author is a social construct and therefore the authors expression is an expression of largest sociological and historical conditions. Taking into consideration of Sigmund Freud and Nietzsche's theories, we should also make room for unconscious factors in the artist mind as well. If we do, then we would have some trouble reducing art to the expression of the artist conscious decisions and feelings.

We can argue that besides are only expressing feelings or emotions we can argue that art can include abstract relationships and ideas, which then doesn't fit into the common definition of the expression theory.

We could argue against Tolstoy that artistic expression Nina have an external embodiment at all.

Collingwood also maintained a similar view that one can express something in one's Consciousness and still be an artist without ever communicating it. This perspective would later be integral to the movement known as conceptualism.

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Define the Instrumental theory and raise an objection to It.

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Instrumentalism claims at art shows in external function of some sort. This is not art for arts sake.

Typical functions include expanding and sharpening our perceptions, offering us new models for interacting with the world, stimulating nationalism, pushing some ideology, generating a catharsis for psychological Health, generating certain feelings appropriate for a certain ritual or event, and obtaining profound religious insight. The process of identifying aren't will entail Discerning the function of the work. The evaluation will be concerned with whether the work properly functioned, whether it met its goal, and whether it's and whether it's end is desirable, moral and true.

An objection to the instrumental Theory could be to argue that some art is not created for a functional purpose and rather just to serve as an expression purpose, where that some art is created simply for the individual alone and not for others to take appreciation there for not being instrumental.

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Define the Institutional theory and raise an objection to It.

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The institutional Theory focuses on the role institutions such as the art World, art critics, art Theory, art history, Academia, the media, religious organizations, the government play in determining what is or is not art.

Rather than discussing Athletics within the confines of the artist, the artist work, and the viewer, this Theory tries to embed our discourse in the large rural cultural environment in which these three aspects take place. This Theory focuses less on the evaluation and justification of Art, and more on trying to explain how it is institutions that enable us to identify art in the first place.

George Dickie wrote that a work of art in the classificatory sense, is an artifact an object made by human of which a set of the aspects of which has conferred upon in the status of candidate for appreciation by some person or persons acting on behalf of a certain social institution (the art world)

Dickie argues that Justice two people can acquire the status of being mad within the legal system, an artifact can acquire the status of a work of art within those cultural system of the art world.

An objection to this would be to argue what is the art world. If it is a fixed set of practices then it is hard to see how new types of art can emerge and be integrated.

And if it is an open system and practices it is difficult to see how we can delineate what is and isn't part of the art world.

Then we could argue it seems like we need an account of art that is independent of art institutions in order to explain why something is or is not part of an art world system, but then this would lead us away from the identification of art to the evaluation of Art. This line of reasoning would ask us to inquire into what makes art good and bad in order to define the art world in the first place and in turn would lead us to return to some of the other theories of evaluation of Art.

Front 18

Define the Formalist theory and raise an objection to It.

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Formalism asserts that art is essentially a matter of forms, structures, and relationships. In general, the way the parts of a work are related to each other and to the whole is fundamental. The identification of art will usually entail the discovery of certain forms in a work when these forms are not present there is not art.

Mini formulas argue that the content of the word, as well as the historical and cultural context of the work, doesn't really matter the form and internal relations of the work should be the sole Focus. This Theory works well with modern art and was championed by many critics during that period.

In objection to this would be how post modern art theorists, who think art is inescapably linked to, for example, economic social political sexual and racial factors would not fit into the definition of formalism theory.

Front 19

Who were two influential formalists?

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Clive Bell and Clement Greenberg

Front 20

What is an ideology?

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An ideology is a distorted view of the world, consciously or unconsciously adopted, that serves the interest of some class in power.

So much art in history has been an instrument to ideologically based control of people. We explored these ideas to John Berger Ways of Seeing documentary.

Through ideology, art is often used to sell Commodities which, of course, is also closely connected to ideology. All of this fits nicely with an instrumental theory of Art.

Front 21

What is the George Dickie's definition of art according to the institutional Theory?

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A work of art in the Classificatory sense, is an artifact an object made by human a set of the aspects of which has had conferred upon it the status of candidate for appreciation by some person or persons acting on behalf of a certain social institution, aka the art world.

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How can George Dickie's definition of Art according to the Institutional theory, help us make sense of Andy Warhol's Brillo Box as a work of art?

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Dickie argues that just as two people can acquire the status of being married within the legal system, an artifact can acquire the status of a work of art within the cultural system of the art world. Dickie is only trying to explain how it is that works become identified as works of art at all.

Andy Warhols Brillo boxes then we're an example of art simply because it was defined as such due to the fact that it was in an Art Institution.

Front 23

What does it mean when they say beauty is in the eye of the beholder?

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Beauty is in the eye of the beholder means beauty is completely relative to The observer, and therefore there would be no objective dimension to Beauty

Front 24

What was Plato's account of beauty?

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Plato gave us an account of a totally objective, perfect form of beauty, the beautiful itself, which all imperfectly beautiful things participate in.

This form of Beauty exists independently of the us, and the physical world and can be glimpsed with the eye of our soul. Doing so can have a transformative effect on the soul as it can make us more unified and virtuous.

Front 25

Discuss the thesis that objective beauty may have some sort of ratio

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In the history of philosophy we have a small number of thinkers you argue that beauty is totally objective. To be sure, and encounter with UT may have effects on us for better or worse. But such effects wouldn't be defined of the beautiful. It would go on being beautiful weather we felt anything or not. Plato's vision of a timer subjective form of beauty outside of space and time is a case in point. The beautiful itself exists independent of us and doesn't receive any of its properties by being related to anything. Platanus First shows that if beauty is only a relationship or pattern then it will need to be made up of non beautiful Parts which, in turn, leads to the Absurd conclusion that the pattern can't be beautiful after all.

If beauty is a relationship of some sort than simple things in other words the parts of the relationship that are not themselves relations, cannot be beautiful.

If a relationship apart is beautiful than the parts out of which the whole relationship is made must be beautiful as well. It is absurd to say that a beautiful system of relationships is made of non beautiful or ugly parts.

But parts can't be beautiful, therefore, if one says beauty is only a relationship of parts, then no relationship of Parts can ever be beautiful.

If we think that beauty is only a relationship of parts then we would have to exclude simple things that are not made of Parts. Platanus notes that simple things like color, lightning, gold, and the Stars would be excluded. But aren't these simple things beautiful? It seems so.

If we maintain that beauty is just symmetry or pattern, then we must exclude things from being beautiful that we don't want to exclude like noble kinda, excellent laws, rational thought, I just sold, the forms, and the one. He asked where is the Symmetry in these things? None will be found.

Leslie platanus ass where does form come from? If beauty is symmetry than a philosophical account of form is required. But, when we try to track down for him, he thinks we will be led to positive something immaterial, simple, and therefore not a pattern at all. This all would have serve to object to the golden ratio principle

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What are the four aspects of judgments of the beautiful?

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Disinterestedness, Universality,

Necessity, and purposiveness without purpose in some detail..

Front 27

How does Kant's approach enable him to maintain both a subjective and objective Dimension to our understanding of beauty?

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He argued rigorously that Aesthetics is not a matter of conceptual knowledge. Rather, it is about feelings. When we make judgments of taste, which are judgments of beauty, we are really expressing something subjective, something about its, our feelings. Does this mean that Aesthetics is totally subjective and therefore relative? No. This is what makes hysteria so interesting. He tries, on one hand, to remove Aesthetics from some kind of science that could discover the necessary and sufficient conditions for beauty and conceptualize and categorize them. But, on the other hand, he tries to avoid relativism. In short, he wants to make judgments of the beautiful subjective and yet Universal. How can you do this? The sea, we need to consider the four things, thanks go into every Judgment of the beautiful.

Front 28

What is Kant's view on disinterest?

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Judgments of the beautiful must be disinterested. This means that, while we do experience pleasurable feelings and making the Judgment, we make the Judgment without concern with whether or not the object exists or not as in the case in scientific judgment for example. Without concern with satisfying our desires or appetites by using the object as in the case with pornographer example, and without concern with the moral goodness of the object, as in the case with moral objections to a Nazi propaganda film.

Even interested judgment, we are concerned with whether the thing exists or not, whether we can realize our desires for it or not, and whether the thing is good or not. But in a disinterested judgment we are interested in the beautiful object for its own sake. Kant sees the self-sufficient experience of disinterested contemplation as a means to the development of our moral life, that is, a life that seeks to treat others never as means only but always as ends in themselves.

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What are the four accounts of Kants theory on beauty

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1. If judgements of the beautiful are disinterested, then we are free from licking our reason and Imagination to practical judgments, factual judgments, and moral judgments.

2. If Jasmine said the beautiful or disinterested, then we are not seeing from our own idiosyncratic ego-based perspective, we are seeing from that Universal operating system of active cognitive functions that con thinks we all share. This enables us to experience objects from the point of view of the humanity in us as it were, we can access something Universal and potentially shareable. Thus, in experiencing Beauty we are free from our own private interests and relative perspectives.

3. When we encounter Beauty we experienced a free play of these cognitive faculties in which alternatives are played with, ideas are explored, lines and shapes are followed with curiosity and surprise. We dwell on that what fits or doesn't fit, what works, what is interesting, and so on. We look for meeting and find it, we interpret, debate, and learn. In short, we are free to consider alternatives.

4. When we encounter Beauty encounter a sense of being connected to the world, we feel as if our operating system, in being stirred by formal properties in the environment, is somehow in harmony with them. We feel at home in the world. The world is made for us and we are made for the world. Kant thinks they serve an important function, they become regular tip ideas for our efforts to understand these harmonies more and more. Beauty frees us from The View that we are not at home and that nothing makes sense, we are free from homelessness. And, in doing so, it frees us to look for ways in which week and more and more be at home.

This gives us freedom because according to Kant it helps us understand his fundamental visions of morals, treating people as free subject worthy of respect and never as a means to an end only. The experience of beauty can help Foster Universal human bonds based on our common capacity to freely see things and people as having inherent worth.

Front 30

Briefly describe Kants view on inherent worth in seeing beautiful things.

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The idea of seeing beautiful things with inherent worth can help develop a moral sensibility that sees other people with inherent worth as well.

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Why can't modern evolutionary psychological views of beauty work according to Kant's formalist perspective?

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This human world is a moral World, fraught with violations, commitments, duties, valis, and deception. Science, however, is in the business of describing facts not prescribing moral courses of action. So the human world that opens up to us in the wake of beauty is not something science can completely explain with its descriptive methods.

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How are the beautiful and the sublime similar and different?

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Kant states that the beautiful nature concerns a form of the object, which consists in the object being bounded. But the sublime can also be found in a formis object, insofar as we present unboundedness, either in the object or because he object prompts us to present it, while yet we add to this unboundedness the thought of its totality. This unbounded reformers aspect of the sublime differentiate it from the beautiful that exemplifies limits and order.

Another difference is that, when it comes to Beauty, there is something beautiful in the object, a form of unity or purpose Miss without purpose, that triggers are common sense. But judgments of the sublime are completely about our inner experience. There is nothing Sublime about the objects that trigger us to have an experience of the sublime.

The last and most important distinction between the beautiful and the sublime is when we make a judgement of beauty we experience something, a landscape, a work of art, a face, or a flower for example as a harmonious whole with internal purpose and being gauge in a free play of the imagination that is also internally purposeful.

In doing so we feel that our imagination fits the beautiful thing like a key. We seem to be made for the beautiful thing. This has an important consequence for our understanding of nature. This feeling inspires our scientific efforts to understand nature.

Front 33

What is, according to Kant, the mathematical Sublime? What is the dynamic Sublime?

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In an experience of the mathematical Sublime there is something in the environment perceived to be boundless in numerical extent or spatial extension, say the starry Heavens with its seemingly infinite number of stars, which triggers are reason, or ability to seek and find unity and completing this among concepts and principles themselves, to demand that our imagination represent, in a bounded image, the boundless expanse. The imagination struggles to meet the demand of reason but can only create bounded images it can never represent boundlessness.

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Thus, we experience displeasure when we realize that our imagination fails to bound the boundless into an image. This failure makes us feel, much to our dismay, that we are not at home and nature. That our minds can't grasp nature like we can in beautiful forms with limits, and that we are diminished in the face of its vastness. But then this ability brings to Consciousness and unlimited ability of our region which allows us to experience pleasure. What is its ability? That we can think, not imagine, the actual infinite or a totality to which nothing else can be added. This idea of actual Infinity is what cant refers to when he calls a Sublime absolutely large or that in comparison with which everything else is small. Cant Insight is this, the condition for the possibility of feeling to bounce something boundless is that we have an idea of absolute boundlessness to fall short of.In an experience of the dynamic Sublime we experience, from a safe distance which allows us to retain a disinterested view removed from any survival imperative, something not boundless in numerical quality quantity as in the mathematical Sublime but boundless in mind that threatens to crush us. This experience triggers our reason to demand of our imagination and image of successful resistance to this might. In effect, we wage a virtual war against the might outside us.We experience disinterested fearfulness not actual fear which would be an interested judgement, when we realize how, as human bodies, we cannot resist at all in the face of Nature's might but then we discovered something else with the help of the imagination that is not an image of the imagination, we realize we are independent of these Mighty forces as free persons rather than determine physical bodies. We realize that we have the capacity to stand our ground no matter what. And this virtual heroism gives us self-esteem.

In an experience of the dynamic Sublime we experience, from a safe distance which allows us to retain a disinterested view removed from any survival imperative, something not boundless in numerical quality quantity as in the mathematical Sublime but boundless in mind that threatens to crush us. This experience triggers our reason to demand of our imagination and image of successful resistance to this might. In effect, we wage a virtual war against the might outside us.

of.In an experience of the dynamic Sublime we experience, from a safe distance which allows us to retain a disinterested view removed from any survival imperative, something not boundless in numerical quality quantity as in the mathematical Sublime but boundless in mind that threatens to crush us. This experience triggers our reason to demand of our imagination and image of successful resistance to this might. In effect, we wage a virtual war against the might outside us.We experience disinterested fearfulness not actual fear which would be an interested judgement, when we realize how, as human bodies, we cannot resist at all in the face of Nature's might but then we discovered something else with the help of the imagination that is not an image of the imagination, we realize we are independent of these Mighty forces as free persons rather than determine physical bodies. We realize that we have the capacity to stand our ground no matter what. And this virtual heroism gives us self-esteem.

We experience disinterested fearfulness not actual fear which would be an interested judgement, when we realize how, as human bodies, we cannot resist at all in the face of Nature's might but then we discovered something else with the help of the imagination that is not an image of the imagination, we realize we are independent of these Mighty forces as free persons rather than determine physical bodies. We realize that we have the capacity to stand our ground no matter what. And this virtual heroism gives us self-esteem.

Front 34

What are some examples of the kinds of things in nature that can trigger the mathematical would Dynamics Sublime.

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Volcanoes, hurricanes, tidal waves, tsunamis, thunderclouds.

Front 35

What does a dynamic Sublime reveal to us?

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That we can be moral in the sense that our will is capable of doing our duty to our moral law in an unwavering fashion. The two forms of the sublime can offer us a religious awareness of God outside the confines of organized religion. A Sublime culture is one in which the two forms of the sublime are made readily accessible so that people can develop their moral and religious sensibilities in ways that cultivate human dignity, that is, so that people can become Sublime characters.

Cant thinks an aesthetic sensitivity to the sublime is harder to developing a sensitivity to the beautiful. Experiences of the beautiful have no struggle at all, we feel that the categories of our understanding are in immediate harmony with a form of inherent purpose. There is no resolution of Prior resistance and failure. The threats and displeasure is involved in Sublime experiences, on the other hand, make such experiences harder to fully experience. Maybe we'll fail to get the pleasurable face and react merely to the pain in ways that terminate the aesthetic experience. Another way to put it, they become interested rather than this interested, and therefore think about the survival of their lives.

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What is the uncanny?

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The Uncanny is an unsettling, even terrifying, experience of the familiar suddenly becoming unfamiliar at the same time we're the unfamiliar suddenly becoming familiar at the same time. The experience is usually associated with something dangerous, powerful, mysterious or secret being revealed. It is typically not an overwhelming experience in terms of sound, Forest, movement, Etc in fact it may seem that, despite the bizarre psychological effects involve, very little has changed in the environment at all.

Front 37

Give three examples of the uncanny

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Inanimate object suddenly being perceived as animated or vice versa, dolls, mannequins, robots Etc can be uncanny if perceived to have life.

The experience of seeing something bubbled can be uncanny. A doppelganger, a Sinister double self, is the best example, if you were in a room and you saw yourself into the room then you would have an uncanny experience.

Certain repetitions can be uncanny. Having Deja Vu is a good example as well as having an experience where something is repeated almost exactly without any planning. Chance becomes Destiny. Getting lost and finding that one keeps returning to the same spot can be on uncanny

Ghost in haunted houses are on Candy. The ghost is familiar very much like the deceased yet unfamiliar. The house is a symbol of that which is intimate and familiar. So when suddenly becomes unfamiliar it is terrifying and may reveal certain things difficult to face, for example the truth of familial relationships grounded in violence, sex, fear, lies etc

Severed body are obviously familiar yet unfamiliar at the same time and can be considered uncanny.

Corpse can be uncanny.

Art itself can be uncanny art too, is suspended between life and death. The work of art seems full of vital energy, but it is more than an inanimate object. The mystery of art is how black marks on a page, or picnic on a canvas or the scraping of a bow on catgut, can be so richly evocative of life.

Front 38

What is Freud's explanation of the uncanny?

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The subject of Ian Kami is a province of this kind it is undoubtedly related to what is frightening, to what arouses dread and horror, equally certain, too, the word is not always used in a clearly definable sense, so that it tends to coincide with what excites fear in General. Yet we may expect at a special Corps feeling is present which justifies the use of a special conceptual term. When is curious to know what this Common Core is which allows us to distinguish as uncanny certain things which lie within the field of what is frightening.