1. Aesthetics Dialogue Education Update 4
Next Slide: Kahoot
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2. Kahoot- Aesthetics
Next Slide: Contents

3. Aesthetics
Philosophers have always been interested in art and aesthetic value. But what is art anyway? How should we define the notion of art? And what is it that distinguishes art from non-art? How about aesthetic value… Is aesthetic value something that resides in the object itself? Or does it have more to do with a kind of feeling, judgment, or sense of satisfaction had by an observer? Do the intentions of the artist play a role here? Should art have a purpose, such as evoking pleasure or conveying truth? 

4. What is Art
These questions apply to all forms of artistry…..music, photography, drama, dance, graffiti, films anything which we might ascribe the term beautiful or aesthetically pleasing.

5. Please rate the following images of beautiful women in terms of how aesthetically pleasing you find each.

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18. Plato indicated that the fact that we can rank things/people and scenery in terms of degrees of beauty indicates an ideal form of beauty that these things/people simply reflect.
Like justice and courage the ideal form of ‘beauty’ is to be found beyond the senses.
For Plato art, drama, sculpture etc was simply a distraction from reasoning

19. Aesthetics
Philosophers have always been interested in art and aesthetic value. But what is art anyway?
Philosophers have always been interested in art and aesthetic value. But what is art anyway?
How should we define the notion of art? And what is it that distinguishes art from non-art? How about aesthetic value… Is aesthetic value something that resides in the object itself? Or does it have more to do with a kind of feeling, judgment, or sense of satisfaction had by an observer? Do the intentions of the artist play a role here? Should art have a purpose, such as evoking pleasure or conveying truth? 
Next Slide: Click on the photo for Video (you must be on the internet to watch the video)

20. Aesthetics
Click on the photo for Video (you must be on the internet to watch the video)
Next Slide: What is Art? -How is it different from ‘design’ or ‘craft’?

21. Aesthetics
What is Art?
How is it different from ‘design’ or ‘craft’?
The main recent sense of the word “art” is roughly as an abbreviation for “creative art” or “fine art.”
What is Art? How is it different from ‘design’ or ‘craft’?The main recent sense of the word “art” is roughly as an abbreviation for “creative art” or “fine art.” Here we mean that skill is being used to express the artist’s creativity, or to engage the audience’s aesthetic sensibilities, or to draw the audience towards consideration of the “finer” things. Often, if the skill is being used in a functional object, people will consider it a craft instead of art, a suggestion which is highly disputed by many contemporary craft thinkers. Likewise, if the skill is being used in a commercial or industrial way it may be considered design instead of art, or contrariwise these may be defended as art forms, perhaps called applied art. Some thinkers, for instance, have argued that the difference between fine art and applied art has more to do with the actual function of the object than any clear definitional difference. Art usually implies no function other than to convey or communicate an idea.
Next Slide: Greeks-If you look at a statue It is good art if it resembles an ideal form.

22. Aesthetics Greeks-If you look at a statue
It is good art if it resembles an
ideal form.
Plato viewed art as a waste of time, as it distracted people from the search for the forms.
Next Slide: Early Christian and Byzantine Art saw in

23. Early Christian and Byzantine Art saw in
Aesthetics
Early Christian and
Byzantine Art saw in
iconography more than just a depiction but rather the image stood in place of the person.
Early Christian and Byzantine Art saw in iconography more than just a depiction butrather the image stood in place of the person.Iconography was one of the main points ofdisagreement between the Roman Catholic andOrthodox Churches. In the 16th century art was one of the points of disagreement between the reformers and the Roman Catholic Church. The reformers considered depictions of the saints or Jesus as a form of idol worship and therefore forbidden by the 10 Commandments . Byzantine art's crowning achievement were the monumental frescos and mosaics inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to mosques.
Next Slide: 17th and 18th Century - Theory of Taste was concernedwith how we react.

24. 17th and 18th Century - Theory of Taste was concerned
Aesthetics
17th and 18th
Century - Theory
of Taste was concerned
with how we react.
Immanuel Kant
17th and 18th Century - Theory of Taste - was concerned with how we react.Immanuel Kant, writing in 1790, observes of a man "If he says that canary wine is agreeable he is quite content if someone else corrects his terms and reminds him to say instead: It is agreeable to me," because"Everyone has his own (sense of) taste". The case of "beauty" is different from mere "agreeableness" because, "If he proclaims something to be beautiful, then he requires the same liking from others; he then judges not just for himself but for everyone, and speaks of beauty as if it were a property of things."
Next Slide: Does good art have intrinsic qualities?

25. Does good art have intrinsic qualities?
Aesthetics
Does good art have intrinsic qualities?
Does good art have intrinsic qualities? Even as late as 1912 it was normal to assume that all art aims at “beauty”, and thus that anything that wasn't trying to be beautiful couldn't count as art.
A perfect specimen of something = beauty
Next Slide: What are the criteria for beauty: Can criteria for ‘beauty’ be universalised? Kant thought ‘yes’.

26. Aesthetics Disinterest Universal Subjectivity Necessary
What are the criteria for beauty:
Can criteria for ‘beauty’ be
universalised? Kant thought ‘yes’.
Four principals of ‘beauty’ in art according to Kant;
Disinterest
Universal
Subjectivity
Necessary
Immanuel Kant
Four principals of ‘beauty’ in art according to Kant;
Disinterest- it is a disinterested pleasure
Universal- lays claim to universal validity
Subjectivity- subjective insofar as it refers to the emotional response of the subject and is based upon nothing but esteem for an object itself:
Necessary- In the dynamical sublime there is the sense of annihilation of the sensible self as the imagination tries to comprehend a vast might.
Next Slide: Aesthetics 19th & 20th Century

27. Aesthetics 19th & 20th Century
Leo Tolstoy claimed that what makes something art or not is how it is experienced by its audience, not by the intention of its creator.
Leo Tolstoy
Leo Tolstoy claimed that what makes something art or not is how it is experienced by its audience, not by the intention of its creator.
It is about one’s attitude or experience which one needs to have in order to appreciate art.
Next Slide: 20th Century Philosophers were concerned ...

28. Philosophers were concerned with the question ‘What is Art?’
Aesthetics
20th Century
Philosophers were concerned with the question ‘What is Art?’
Next Slide: Woody Allen “Someone will walk
Henri Matisse

29. Aesthetics
Woody Allen
“Someone will walk on the stage at Carnegie Hall and vomit and someone will call it art!”
Next Slide: All theories provide “Necessary and sufficient ….

30. Aesthetics All theories provide “Necessary and sufficient
conditions” for good art across culture and history.
Next Slide: Definition of Art-‘Significant Forms’

31. ‘Significant Forms’ was promoted as the
Aesthetics
Definition of Art
‘Significant Forms’ was
promoted as the
criteria for answering the question “What is art?
Gary Mitnik
Definition of Art
‘Significant Forms’ was promoted as the criteria for answering the question “What is art? For something to be art it has to emit an ‘Emotional response’.Are there any universals?
Next Slide: The philosopher Denis Dutton identified seven universal signatures in human aesthetics:- Expertise or virtuosity.

32. Aesthetics
The philosopher Denis Dutton identified seven universal signatures in human aesthetics:
Expertise or virtuosity.
Non-utilitarian pleasure.
Style.
Criticism.
Imitation.
Special focus.
Imagination.
The philosopher Denis Dutton identified seven universal signatures in human aesthetics:
Expertise or virtuosity. Technical artistic skills are cultivated, recognized, and admired.
Non-utilitarian pleasure. People enjoy art for art's sake, and don't demand that it keep them warm or put food on the table.
Style. Artistic objects and performances satisfy rules of composition that place them in a recognizable style.
Criticism. People make a point of judging, appreciating, and interpreting works of art.
Imitation. With a few important exceptions like music and abstract painting, works of art simulate experiences of the world.
Special focus. Art is set aside from ordinary life and made a dramatic focus of experience.
Imagination. Artists and their audiences entertain hypothetical worlds in the theatre of the imagination
Next Slide: Ludwig Wittgenstein
Family resemblance concept-

33. Aesthetics Ludwig Wittgenstein Family resemblance concept-
instead of necessary and essential conditions beauty/art falls within families in which there are some common features within that family.
Some kind of ‘unity” is involved in the art piece.
Ludwig Wittgenstein
Family resemblance concept- instead of necessary and essential conditions beauty/art falls within families in which there are some common features within that family.
Next Slide: The cubists, Dadaists,
Stravinsky, and
many later...

34. Aesthetics The cubists, Dadaists, Stravinsky, and
many later art movements struggled against the conception that beauty was central to the definition of art.
Dado- ‘The fountain
The cubists, Dadaists, Stravinsky, and many later art movements struggled against the conception that beauty was central to the definition of art, with such success that, according to Arthur Danto; "Beauty had disappeared not only from the advanced art of the 1960’s but from the advanced philosophy of art of that decade as well early 20th century.” These people attempted to subvert the necessary and essential conditions for art. Therefore random objects, Brillo Boxes and even urinals were considered art.
Next Slide: Arthur Danto suggested that something is art if

35. Aesthetics
Arthur Danto suggested that something is art if it is presented to the art world.
Some people wanted to say that the social context was important. Arthur Danto suggested that something is art if it is presented to the art world.
Next Slide: Discussion about Bill Hensen’s Images on the ABC 7.30 report

36. Discussion about Bill Hensen’s Images on the ABC 7.30 report.
Click on the image and open to full page. (Note you will have to be connected to the internet to view the video)
Next Slide: “Art” is basically a sociological category

37. Aesthetics Conventionlism
“Art” is basically a sociological category, that whatever art schools and museums and artists define as conventional art is considered art regardless of formal definitions.
Next Slide: Values theory questions–What makes a work of art good?

38. Aesthetics Values theory questions– What makes a work of art good?
What is the role of intention?
How do we evaluate a piece of art?
Do good works of art have moral value?
What relevance should we place on the intention of the creator?
Next Slide: Actual Intentialism- the artist’s intention....

39. Aesthetics
Actual Intentialism- the artist’s intentions indicate the content of the art.
Anti-Intentialism- The author’s intentions are completely irrelevant to the aesthetic value.
Actual Intentialism- the artist’s intentions indicate the content of the art.
Anti-Intentialism- The author’s intentions are completely irrelevant to the aesthetic value.
Postmodernism lends itself to the latter.
Next Slide: Hypothetical intentialism- One is concerned to evaluate

40. Aesthetics Hypothetical intentialism- One is concerned to evaluate
art on the basis of a
hypothesis about what the
intentions of the author might
mean in the context of their social environment.
Pablo Picasso
Next Slide: Conventionalist view How does a painting represent something?

41. How does a painting represent something?
Aesthetics
Conventionalist view
How does a painting represent something?
Conventionalist view
Pictorial representations use ‘conventions’ to convey beauty/meaning.
How does a painting represent something?
Next Slide: Realist – perspective matters- The art piece depicting a landscape

42. Aesthetics
Realist – perspective matters- The art piece depicting a landscape appears as it would look to a person looking at the actual landscape. It has the same psychological impact as the experience.
Next Slide: Another concept, as important to the philosophy of art as "beauty

43. Aesthetics
Another concept, as important to the philosophy of art as "beauty," is that of the "sublime," elaborated upon in the twentieth century by the post-modern philosopher Jean-Francois Lyotard.
Another concept, as important to the philosophy of art as "beauty," is that of the "sublime," elaborated upon in the twentieth century by the post-modern philosopher Jean-Francois Lyotard. Postmodernism in art is opposed to the idea that there is a common theory of beauty that applies to all art.
Next Slide: Proceduralists often suggest that it is the process by which a work of art

44. Aesthetics
Proceduralists often suggest that it is the process by which a work of art is created or viewed that makes it art,
not any inherent feature of an
object, or how well received it
is by the institutions of the art
world after its introduction to
society at large.
Proceduralists often suggest that it is the process by which a work of art is created or viewed that makes it art, not any inherent feature of an object, or how well received it is by the institutions of the art world after its introduction to society at large.
Next Slide: Functionalists like Monroe Beardsley argue
Gary Mitnik

45. Aesthetics
Functionalists like Monroe Beardsley argue that whether or not a piece counts as art depends on what function it plays in a particular context.
Functionalists like Monroe Beardsley argue that whether or not a piece counts as art depends on what function it plays in a particular context; the same Greek vase may play a non-artistic function in one context (carrying wine), and an artistic function in another context (helping us to appreciate the beauty of the human figure).
Next Slide: What is Beauty? -Community of Inquiry-Discussion Material

46. What is Beauty? -Community of Inquiry-Discussion Material
Watch the video and use it as a stimulus for a community of Inquiry discussion- See online resources for guidelines for a Community of Inquiry.
Next Slide: The End
You need to be connected to the internet for the video to load. Click on the above photo and enlarge the video to full screen.

47. Aesthetics
The End
Next Slide: Bibliography

48. Bibliography
Augros, Robert M., Stanciu, George N., The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, c1984. ISBN (has significant material on Art, Science and their philosophies)
Feagin and Maynard, Aesthetics; Oxford readers1997.
Thomas Wartenberg, The Nature of Art
John Bender and Gene Blocker Contemporary Philosophy of Art: Readings in Analytic Aesthetics 1993.
Noel Carroll, Theories of Art Today
Benedetto Croce, Aesthetic as Science of Expression and General Linguistic, 1902
E. S. Dallas, The Gay Science - in 2 volumes, on the aesthetics of poetry, published in 1866.
Alain de Botton, The Architecture of Happiness. Pantheon, 2006.
Christine Buci-Glucksmann Esthetique De L'ephemere, Galilee, ISBN
Terry Eagleton, The Ideology of the Aesthetic. Blackwell, ISBN
Penny Florence and Nicola Foster (eds.), Differential Aesthetics. London: Ashgate, ISBN X
Hans Hofmann and Sara T Weeks; Bartlett H Hayes; Addison Gallery of American Art; Search for the real, and other essays (Cambridge, Mass., M.I.T. Press, 1967) OCLC
Berys Gaut and Dominic McIver Lopes (eds.), "Routledge Companion to Aesthetics". London: Routledge, ISBN
David Goldblatt and Lee Brown, ed. Aesthetics: A Reader in the Philosophy of the Arts
Evelyn Hatcher (ed.), Art as Culture: An Introduction to the Anthropology of Art. 1999
Michael Ann Holly and Keith Moxey (eds.), Art History and Visual Studies. Yale University Press, ISBN
Next Slide: Bibliography

49. Bibliography
Alexander J. Kent, "Aesthetics: A Lost Cause in Cartographic Theory?" The Cartographic Journal, 42(2) 182-8, 2005.
Peter Kivy (ed.), The Blackwell Guide to Aesthetics. 2004
Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. 1998
Martinus Nijhoff, A History of Six Ideas: an Essay in Aesthetics, The Hague, 1980.
Griselda Pollock, "Does Art Think?" In: Dana Arnold and Margaret Iverson (eds.) Art and Thought. Oxford: Basil Blackwell, ISBN
Griselda Pollock, Encounters in the Virtual Feminist Museum: Time, Space and the Archive. Routledge, ISBN
George Santayana, The Sense of Beauty. Being the Outlines of Aesthetic Theory. (1896) New York, Modern Library, 1955.
Elaine Scarry, On Beauty and Being Just. Princeton, ISBN
Friedrich Schiller, (1795), On the Aesthetic Education of Man. Dover Publications, 2004.
Alan Singer & Allen Dunn (eds.), Literary Aesthetics: A Reader. Blackwell Publishing Limited, ISBN
Władysław Tatarkiewicz, History of Aesthetics, 3 vols. (1–2, 1970; 3, 1974), The Hague, Mouton.
Leo Tolstoy, What Is Art?
John M. Valentine, Beginning Aesthetics: An Introduction To The Philosophy of Art. McGraw-Hill, ISBN
John Whitehead, Grasping for the Wind
Richard Wollheim, Art and its objects, 2nd edn, 1980, Cambridge University Press, ISBN
Robert Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry into Values, 1974, paperpack, or hardback first edition ISBN
Wikipedia- Aesthetics-