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

Nature of Art Flashcards

1
Q

What are the arguments in regards to how we should define art? (For, Objections, Rebuttal, Alternative, Objections, Alternative, Objections)

A
  • Beardsley
  • Too narrow/broad
  • Primary intention
  • Levinson
  • Circular
  • Gaut
  • Answer the question
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2
Q

What is your line of argument in regards to how we should define art? (Three points)

A
  • All the theories have valid downsides when considered alone.
  • However, Gaut provides us with the framework to construct a culmination definition.
  • Combining all three account of art would result in a much stronger definition.
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3
Q

What is Beardsley’s definition of art? (Three points)

A
  • A functionalist definition.
  • Art is something that causes a detatched exhilirating experience.
  • It explains why we value art, because we value the aesthetic experience.
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4
Q

What are the benefits of Beardsley’s definition of art? (Two benefits)

A
  • It appeals to the aesthetic experience which is normally neglected.
  • Explains why we value art.
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5
Q

What are the objections to Beardsley’s definition of art? (Three points)

A
  • Does it capture all the experiences we get from art?
  • It doesn’t capture much of what we consider art.
  • It captures things that we wouldnt consider art.
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6
Q

What things does Beardsley’s definition not capture that we would consider as art?

A

Certain avant-garde works

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7
Q

What does Beardsley’s definition capture that we wouldn’t normally consider as art?

A

Clothes or cars.

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8
Q

What is a potential response to the objections for Beardsley in regards to the definition of art?

A

Perhaps aesthetic experinece is not all the definition but a primary intention of the work.

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9
Q

What is the issue with making aesthetic experience the primary intention of a work?

A

What about overly political art?

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10
Q

What is Levinson’s defintion of art? (Two points)

A
  • A relational account of art.
  • An object is art if its intention is to be regarded as art.
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11
Q

How do revelutionary works fit into Levinson’s definition of art?

A

They are made to be in contrast with previous works.

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12
Q

What are the benefits of Levinson’s definition of art?

A

It makes sense of why we seem to view art in the art-historical context.

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13
Q

What is the objection to Levinson’s defintion? (Two points)

A
  • It seems circular to define art in terms of art.
  • What about the first pieces of art?
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14
Q

What is Gaut’s definition of art? (Three points)

A
  • He does not provide a definitive defintion, but rather a formula to do so.
  • He provides the cluster concept.
  • It does justice to the varieties of art.
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15
Q

What is the cluster concept? (Three points)

A
  • A set of criteria which are jointly sufficient.
  • A certain subset would fulfilled would be considered art.
  • They are disjunctively necessary, you cannot lack all conditions.
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16
Q

What is the benefit of the cluster concept? (Two points)

A
  • It is able to account for the variety of art.
  • It allows us to combine the other theories.
17
Q

What are the objections to the cluster concept? (Two points)

A
  • What set of criteria and which subset is sufficient?
  • Doesn’t answer the question.
18
Q

What are the arguments regarding how we should understand non-representational forms of art? (For, Objections, Alternative, Objections)

A
  • Robinson
  • Limited
  • Robison
  • Were the Romantics right?
19
Q

What is you line of argument in regards to how non-representational forms of art should be understood? (Two points)

A
  • The resemblance theory is clearly flawed.
  • The persona theory is more convincing especially is we personify the peice of music into being the one expressing the emotion.
20
Q

What is Robinson’s resemblance theory? (Two points)

A
  • We tend to attribute expressive qualities to things that are not expressive.
  • Music can mimic tones of voice that we associate with certiain expressions.
21
Q

What are the objections to Robinson’s resemblance theory? (Two points)

A
  • Emotions like hope would not be able to be expressed through music.
  • Sometimes music doesn’t mimic voice.
22
Q

What is Robinson’s persona theory? (Three points)

A
  • It expresses the artist’s state of mind.
  • Originated from the Romantics.
  • It could also be the state of mind of a persona that the artist created.
23
Q

How is instrumental music expressive according to Robinson’s persona theory? (Two points)

A
  • It could be hinted at by the title of the music.
  • By how the composer thought of the composition
24
Q

What are the objections to Robinson’s persona theory? (Three points)

A
  • Were the Romantics right to think this way?
  • Seems reasonable that music expresses without it being an individual’s emotions.
  • Personas are metaphysically dubious.
25
Q

What are the arguments regarding imagination and fiction? (For, Against)

A
  • Walton
  • Friend
26
Q

What is your line of argument in regards to imagination and fiction? (Two points)

A
  • Walton’s theory is shown to be flawed by Friend.
  • Perhaps we should focus on intention rather than imagination.
27
Q

What is Walton’s argument in regards to imagination and fiction? (Three points)

A
  • Fictional works are props for a particular imaginative activity.
  • Not all imagining is deliberative, occupant, and solitary.
  • From this use of imagination we can distinguish between fictions and non-fictions.
28
Q

What do the imagining props do? (Two points)

A
  • Prescribe imaginings
  • Generate fictional truths
29
Q

What is the difference between deliberative and spontanious imagining according to Walton? (Two points)

A
  • Deliberative imagining is when I am in control, whereas spontainous is not.
  • Spontainous seems more vivid and lifelike.
30
Q

In what way are imaginings not solitary?

A

We can share imaginations, like children playing imaginary games.

31
Q

What does Friend do in response to Walton’s use of imagination to distinguish between fiction and non-fiction?

A
  • Tries to distinguish fiction and non-fiction from what Walton said in order to show that it does not work.
32
Q

In what way can fictions and non-fictions not be distinguished with imagination according to Friend? (Three points)

A
  • Both can prompt particularly vivid imagery.
  • They both prompt beliefs and imagination.
  • Both have ‘mere-make-belief’ and straightforward assertions.
33
Q

In what way does non-fiction constitute of ‘mere-make-belief’?

A

Take accounts of historical battles which did not happen or philosophical dialogues.

34
Q

In what way does fiction contitute of straightforward assertions?

A

There are times in which fictional writers simply asserts something which is meant to be believed truly.

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

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