Pjil Exam 2 (ontology, ect)

Question 1

1. Describe what aesthetic properties and formal/non-aesthetic properties.

Answer 1

Aesthetic: are judgements are based on sensory experience, relied on pleasure/displeasure

Non aesthetic: the form of the object (color, shape, ect)

Question 2

What is an internal sense and how does it account for disagreement in whether something
is beautiful?

Answer 2

An internal sense is similar to the idea of genius in that people are naturally gifted with it. internal sense is geting sense data from the world like an inward eye.

Question 3

What are the views of the relativist and the realist in regard to aesthetic properties?

Answer 3

realivist: beauty subjective, it is REALATIVE
realist: beauty is objective

Question 4

What is a sentiment and what is a judgement?

what does Hume think beauty comes from (sentement or judmenemt) ?

Answer 4

sentenment: cannot be labeled wring/right bc its an INTERNAL statement/ feeling

judgement: a determination fo understanding that can be wrong bc it is a claim about something external

Hume thinks beauty is a sentiment
HUHUHUHU IM SO SAAAD THIS IS SO SENTIMENTAL BAHAHAH

Question 5

For Hume, what makes someone an ideal judge?

Answer 5

someone with a strong sense of taste and strong internal sense

Question 6

What is disinterestedness? When is it called for?

Answer 6

disintreness is a principlal by kank and it is basically removing any outside asethetic experience, a type of uniasesnesss to make judgement universal

Question 7

What is supervenience?

a. How was the relationship used to understand aesthetic and non-aesthetic
properties?

Answer 7

supervienceis the relationship ebtween aesetheric and non aestheric properties:

non-aesthetic change aesthetic
aesthetic not change non aesthetic

Question 8

Who’s ides is suprvience?
wht system is art acrding to him?

Answer 8

Bank silsby
art is a closed system

Question 9

0. What is Sibley’s metaphysical claim? His epistemological claim?

Answer 9

1. Metaphococalclaims: relationship is concerning supervenience

Epistemological: concerns what we can know about the awsthetic properties of a work

Question 10

. What are standard, contra-standard, and variable properties?
a. Give an example of each for a category of art.
b. How does this affect how we view works?

Answer 10

contrastandard are works that dont fit in their catagory
ex: an oil patinting on canvas but it glows in the dark adn the canvas is wood

varible aret hings that fit in the catagory of the painting
a regular oil painting on canvas

Question 11

2. What is the difference between intrinsic and instrumental value?

Answer 11

intrinsic: the value it has in itself

instrumental value is the calie it has from gaining something, for the experience

Question 12

3. What are artistic practices?
   a. Why should an ontology of art be grounded in them?

Answer 12

Artistic practice is how we treat, judge, and evaluate artwork.

Ontology is branch of metaphysics that take into concern with that there is and of the features and relations of those things that are taken to exist and they must be grounded in artistic practices because to refer to a single work you must undeerstand ts onlogogical background

Question 13

What is the physical object hypothesis?
a. Why did the theory have trouble accounting for both works with multiple instances
and certain singular works?

Answer 13

The physical object hypothesis states that it is reasonable to view art as a physical object unless it obviously isn’t.
* Ex: Michelangelo’s David, the artwork is tied to the material object.

issues due to repairing works
(the repair makes it a different work) or accounting for fils w/out a physical art object

Question 14

5. What is an autographic work? What is an allographic work?
   a. What is a notation/notational system and how is it used for Goodman’s theory?
   b. What is an example of a notational system?

Answer 14

Autographic: : singular in nature, there is only one OG and cant be copies, if tiere are copies, there are just copies, no complete notations

allographic: ALLOws for copies and complete notations

System has a set of characters and rules for use, like the English language or musical notation.
* This gives us something to check against to see if a copy is a genuine instance of the work.

Question 15

. What is the type/token distinction?
a. How do we gain knowledge of a type?
b. What is an example of the type/token distinction?

BRIE CHEESE EXTINCTION

Answer 15

tokens: Instances of the abstract object
types are the abstract object.

gain knowledge of a type by experiencing tokens of that type. Types cant exist w/out tokens

For example, a word for word copy of a piece of literature is a token of the type.

Question 16

7. What are norm-kinds?
   a. How does this approach differ from identifying instances of a work solely by
   notation?

Answer 16

Artists select ‘criteria for correctness’ for what is required for an instance of the work.
* Any instance of a song or novel with a slight error are still instances of that song, but they are flawed instances. We can judge tokens in degrees of correctness.

Question 17

18. What are heuristic paths and how are they used to differentiate works with the same
    structure?

Answer 17

we appreciate a work of art, we are appreciating the artist’s achievement in creating the product.
* The discovery of the structure is integral to the work, so if artists create the same work via a different heuristic path, the works are different.

Question 18

9. What is an indicated type and what is an eternal type? How do they differ?

Answer 18

indicated: Works differ based on time periods and the outside context of the work contributes to the work

eternal: something that isnt bond by time
IDK I DONT HAVE THE ANSWER FOR THIS

Question 19

What are the consequences of holding the belief that abstract objects cannot be created and
that artworks are created things?
IDK I DONT HAVE THE ANSWER FOR THIS