Philosophic sound,
that is the bay.Con to a Method of Mankind once Humanity for the grains Tum,
in ton to rule of Mind in Scene,
that is only a key to what??.
The wire cage in at cinch,
no that is a series of saddle, thorn, higher for 'til at the chord of string,
hence a combine of what is a driver on bit piece to bale.
Say that a preen gauged only the sluff,
the shaft of feather to ink Well,
depth of quick to draw of tip that rust of bled to blood of sawn.
Jetti with flight,
soar to a lathe,
shingle the beak.kin and egg is fawn,
letters at nest,
dial the sky,
rein in balance but what of the bee??,
above that is stick to branch of a sort.
Files on wrappers to thought on the line,
gauge touches Sir.Coal with Embers??
That clock on a Fire with float just Air??
Cross the enter.section of stripes to balance what??,
The Whip?? or the Whip.per.Well??
Men.Its on a waltz while the band does message,
does not that bowl.lah mark the flight of done,
from to sit a skeet,
than dust is begun before the shelf of grub.
Jest.tour at the Rate of mirrorly pen to Pt.,
seawater Taft with a choice to Pole.lee luft,
ceiling trial brave the loc. at Nestle chalk Lets chip,
yet free.Way to Hi.way why divide the Trip??
Get Even??,
each equal.lean to Squab??,
bottles with soak.kin bogs and Marshes full to Brim??,
browse that sigh.coal??,
from this to sat to sit the from as to Meteor of Occam's theory on Thesis fade.
Brake the pads on Wheel.lean to shed the Car of sigh.Ole,
does not that represent the rain in inch of lane??,
is nigh the sight of less.syn Inn??,
than 'Y' the E!.Quills Stone??
PHIL 4403: Philosophy of Art
Prof. Funkhouser
2/7/05
Weitz, “The Role of Theory in Aesthetics”
http://comp.uark.edu/~efunkho/09ArtNotes.pdf
*The chief concern of aesthetic theory has been to come up with necessary and sufficient
conditions for something to count as a work of art—this is an inquiry into the nature,
essence, or Form of art.
--Weitz contends that this is not a productive line of inquiry, as there are no such
necessary and sufficient conditions to be found.
*Weitz then turns to considering various, failed definitions of ‘art’: e.g., Formalism (art
as significant form), Emotionalism (art as the expression of emotion through a public,
sensuous medium), Intuitionism (art as “an awareness, non-conceptual in character, of the
unique individuality of things”), Organicism (art as a complex of interrelated parts), and
Voluntarism (art as the unique combination of imagination, language, and harmony).
*Following Wittegenstein, Weitz says that, instead of looking for the Form of art (or at
least before doing so), we should examine how the word or concept ‘art’ is used in our
language.
--Wittgenstein’s example: What is a game?
There are no necessary and sufficient conditions—only family resemblances.
“Knowing what a game is is not knowing some real definition or theory but being
able to recognize and explain games and to decide which among imaginary and
new examples would or would not be called “games”.” (15)
--There are paradigm cases of both games and works of art.
Open concept: “A concept is open if its conditions of application are emendable and
corrigible; i.e., if a situation or case can be imagined or secured which would call for
some sort of decision on our part to extend the use of the concept to cover this, or to close
the concept and invent a new one to deal with the new case and its new property.” (15)
--Because no necessary and sufficient conditions exist for being a work of art, art
is an open concept.
--Weitz claims that only logical and mathematical concepts are closed. (15)
Q: Is Weitz correct in this claim?
--We do not discover the appropriate applications for open concepts, we decide on
them.
1.
_________________________________________________________________________
*Weitz claims that the novelty and adventurousness of art makes it incapable of
definition. (16)
Q: But, given that Weitz thinks most concepts are open, are these properties of
art even relevant to its openness? Would the existence of necessary and sufficient
conditions for art limit the creativity and adventurousness of the art world?
*Instead of searching for a definition, we should investigate how the concept of art is
actually used and in what circumstances it is correctly employed.
--It is both descriptive and evaluative.
--Weitz’s “criteria of recognition”, for the descriptive use of ‘art’: “some sort of
artifact, made by human skill, ingenuity, and imagination, which embodies in its
sensuous, public medium—stone, wood, sounds, words, etc.—certain
distinguishable elements and relations.” (16)
--No individual criterion provides a necessary condition, but each work of art
necessarily meets one (some) of these criteria.
--Weitz’s “criteria of evaluation”, for the evaluative use of ‘art’: Is all art, by
definition, successful art?
*Weitz concludes by suggesting that we view the traditional definitions of ‘art’ as
offering points of emphasis—recommendations as to where artists should return their
focus.
2.
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Note to Self: This post was written on my google blog 'The Secret of the Universe is Choice; Know Decision by I, Karen Anastasia Placek and held in draft until 'Published June 26th, 2016'. At and for my reference to the many more posts in 'the hold' google time stamp on my acer laptop computer running Windows to say the time is
11:05 AM to date and state Published Now. Original and free write done by I on June 11th, 2016.
