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Paper 4 - Aesthetics and Philosophy of Art > Values of Art > Flashcards

Values of Art Flashcards

1
Q

What are the arguments in regards to whether authorial intention should impact our criticism of art? (Against, Objections, For, Objections)

A
  • Wimsatt & Beardsley
  • Do we really prioritise aesthetic pleasure?
  • Wollheim
  • Is it possible?
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2
Q

What is your line of argument in regards to whether authorial intention should impact our criticism of art? (Two points)

A
  • W&B provide a strong argument as to why we shouldn’t, and if we simply modify slightly what we mean by aesthetic pleasure.
  • Wollheim provides a comparatively weaker claim that we should.
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3
Q

What is W&B’s anti-intentionalism? (Three points)

A
  • Arguing against the Romanti idea of self-expression.
  • Argue that external evidence should not be taken into account as it is either unavailable, unnecessary, or misleading.
  • Beardsley appeals to the aesthetic argument.
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4
Q

Whilst arguing against the Romantic ideal, what else are W&B trying to do?

A

Distinguish between criticism proper and author psychology.

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5
Q

What are the three kinds of evidence for meaning according to W&B?

A
  • Internal (words, syntax)
  • External (diary entries)
  • Immediate (author’s private idiolect)
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6
Q

Why is external evidence either unavailable, unnecessary, or misleading according to W&B? (Three points)

A
  • It is unavailable as we may not know or have any external evidence.
  • Unnecessary as it has nothing to do with the poem itself or its success.
  • misleading as it may change the way we view the poem which it shouldn’t.
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7
Q

Why do we view ordinary language differently than literary works according to Beardsley? (Two points)

A
  • In ordinary language we do take in speaker intention (Grice)
  • Beardsley states that literary texts are different due to the aesthetic argument.
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8
Q

What is Beardsley’s aesthetic argument?

A

The primary purpose of art is to maximise aesthetic pleasure.

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9
Q

How does Beardsley’s aesthetic argument impact our view on authorial intention?

A

It limits the power of our interpretation to make the work maximise aesthetic pleasure.

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10
Q

How do W&B categorise criticism?

A

As an evaluative activity.

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11
Q

What are the objections to W&B’s anti-intentionalism?

A

What is aesthetic pleasure and do we really prioritise it?

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12
Q

What is Wollheim’s criticism as retrieval theory? (Three points)

A
  • Argues that criticism is about retrieval of the creative process.
  • The work itself places limits this retrieval.
  • Not only intention should be used, but also psychology and history.
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13
Q

What does Wollheim state about change in intention?

A

It is necessary for better understanding the creative process.

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14
Q

Objections to Wollheim’s criticism as retrieval?

A
  • Is it even possible to properly reconstruct the creative process?
  • Why should we? Shouldn’t we simply enjoy the work and shouldnt the critic be evaluating the piece itself rather than the author?
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15
Q

What are the arguments in regards to autonomism vs. moralism? (For, Objections, Rebuttal, Against)

A
  • Autonomism
  • Religious art?
  • Moderate autonomism
  • Carrol
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16
Q

What is your line of argument in regards to autonomism vs. moralism?

A

Carrol provides a good compamise between autonomism and moralism.

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17
Q

What is the autonomism view? (Two points)

A
  • Art should only be regarded in terms of their aesthetic value.
  • Radical autonomism argues that criticising art in terms of morals is a categorical mistake.
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18
Q

Why does autonomism argue that we shouldn’t consider art morally?

A

Some art has no moral features, so whatever we are criticising in these, we should criticise in all.

19
Q

What are the objections to autonomism? (Two points)

A
  • Some artwork seem to have to be evaluated morally, such as religious art.
  • What is this pure aesthetic value?
20
Q

What is a possible response for autonomism against the objection from religious art?

A

Moderate autonomism states that art can be evaluated morally but this is a seperate activity to evaluating it aesthetically.

21
Q

What is Carroll’s argument in regards to autonomism vs. moralism? (Three points)

A
  • Sometime an aesthetic defect can be a moral defect.
  • This is because art prescribe certain responses.
  • An aesthetic goal of getting the audience’s attention can be aided by morally virtuous aspects.
22
Q

What example does Carroll use to show how a aesthetic defect can be an moral defect. (Two points)

A
  • If a tragic hero is not sympathetic then the audience will fail to gain the right response to the character’s arch.
  • American Psycho
23
Q

What are the arguments in regards to forgery? (For, Against)

A
  • Lessing
  • Dutton
24
Q

What is your line of argument in regards to forgery?

A

Dutton provides a more compelling account of why forgery is bad due to his emphasis on human performance.

25
Q

What is Lessing’s argument in regards to forgery? (Three points)

A
  • There is no aesthetic difference.
  • There are no moral or legal difference.
  • It is the lack of orginality that makes forgeries bad, only in creative arts.
26
Q

What example does Lessing use to show there is not an aesthetic difference in forgeries?

A

The Van Meegeren and his fake Vermeers.

27
Q

What does Lessing argue about deceptiveness in regards to forgeries.

A

That is not the deceiptiveness that is bad, but rather that something inferior is beinf passed off as superior.

28
Q

What is Lessing’s distinction between creative and performative arts?

A

Performative arts cannot be forged.

29
Q

What is the underlying issue with forgeries?

A

There is no originality, it has been done before, in regards to a body of work.

30
Q

What are the benefits of Lessing’s argument?

A

It seems to capture the intuitive point of originality.

31
Q

What is Dutton’s argument in regards to forgeries? (Three points)

A
  • Forgeries do make an aesthetic difference.
  • We do not simply evaluate the finished product but the history of the product too.
  • Forgeries misrepresent performance.
32
Q

How does Dutton disagree with Lessing’s distinction?

A

He claims that all art is a matter of performance.

33
Q

How does the performance of a peice contribute to the aesthetics, and what example does Dutton use?

A
  • The origins of the peice has an impact on how we view the peice aesthetically.
  • A 5-hour opera which is normally recorded in segments due to its difficulty is now performed live and non-stop.
34
Q

What does a forgery do in regards to performance according to Dutton?

A

It misrepresents performance, which misrepresents achievement.

35
Q

What are the arguments in regards to what is creativity? (For, Objections, Against, Objections)

A
  • Boden
  • Too inclusive
  • Novitz
  • Contingent.
36
Q

What is your line of argumentv in regards to the argument of what is creativity?

A

If we rid Novitz’s argument of the good intentions condition or value then it seems to work better.

37
Q

What is Boden’s argument for what creativity is? (Two points)

A
  • It is a response to a previous paradigm.
  • A conceptual space is transformed.
38
Q

What example of a conceptual space being transformed for Boden’s theory can we have?

A

Moving from Aritotelian assumption of the physical world to Newtonian.

39
Q

What are the objections to Boden’s claim about creativity?

A
  • Whilst it is a good account for radical creativity, it is not necessary for other forms of creativity.
  • Seem to include cases of trial and error.
40
Q

What is Novitz’s account of creativity? (Two points)

A
  • Argues for three individually necessary and jointly sufficient conditions.
  • Has more of an emphasis on value and surprise.
41
Q

What are the three conditions Novitz proposes for creativity?

A
  1. The intentional or chance recombination of ideas… where this recombination is subsequently deployed.
  2. In ways that result in something that is surprising.
  3. in ways that are intended to be of real value to some people.
42
Q

What are the benefits of Novitz’s account of creativity? (Two points)

A
  • Less severe than Boden.
  • Seems to encompass something intuitive, value.
43
Q

What are the objections to Novitz’s account of creativity?

A
  • It is contingent on good intentions and good effects, what about Oppenheimer?
  • There seems to be a positive corrolation between value and creativity which is unintuitive.

Paper 4 - Aesthetics and Philosophy of Art (4 decks)

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