An Introduction to the Philosophy of Art by Richard Eldridge

By Richard Eldridge

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Richard Eldridge's compact survey of philosophical theories of the character and importance of artwork attracts on fabrics from classical and modern philosophy in addition to literary concept and paintings feedback. Eldridge explores the representational, expressive, and formal dimensions of artwork, and argues that artworks current their subject material as creations of putting up with cognitive, ethical, and social curiosity. His obtainable examine can be of curiosity to scholars and a person drawn to the connection among notion and art.

"...a lucid, nuanced, and lively account of artwork theory..." Philosophy in overview

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Representation, imitation, and resemblance Representation, that is to say, arises out of our normal interactions with others and with our environment; it is natural to us. Our representations are more flexible and aspect-oriented than are those of other animals. We are aware of our thoughts and beliefs as our products. They are not simply and only the results of sensory-motor processes; they express points of view and manners of interest in things and their aspects. We delight in them in that by means of them we learn about things and their aspects -- we learn which aspects of things may matter to us in different contexts -- and we delight in the communicative achievement that is involved in a successful medium-specific representation in a medium itself.

Mere matching between two things to the point of perfect resemblance is neither necessary nor sufficient for representation. e. ”55 Even such perhaps prima facie mechanical a means of representation as photography involves the intention on the part of the maker to make a representation of a certain subject matter. The camera must be aimed and the shutter switch pushed. The subject matter may be immediately fictional, particularly in verbal representation, in that nonexistent persons and incidents are described (or painted).

3 Beauty and form Beauty, absorption, and pleasure It has long been recognized that human beings find various visual and auditory appearances to be deeply absorbing. Certain sunsets, flowers, birdsongs, and beautiful bodies, among natural things, and certain pots, carvings, vocalizations, and marked surfaces, among humanly made things, seem to engage eye or ear together with attentive mind. In experiencing such things, we feel we want the experience to continue for ‘‘its own sake,” at least for some further time.

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