Expressionists, challenged the way of handling the plastic elements. The representational image was no longer considered the only method of painting. The theory which surrounded each of the modern movements provoked discussion of the secondary conventions and these conventions were broadened to include the new artworks. Along with the acceptance of the new movements and the subsequent expansion of the secondary conventions, new objects, new media and new tec~~ology further expanded the secondary conventions. As a result, the conventional distinctions between media were blurred: painting could encompass threedimensional shapes or photography could be sculptural. Thus, while not changing the primary convention -the work of art remained autonomous -the secondary conventions changed as artists explored new paths of creation. 117 However, there were challenges to the primary convention in the form of Dada, Anti-art and Conceptual movements, the latter two occurring within the last fifteen years. These attacked the primary convention in two ways: by denying the autonomy of the artwork and by denying the artifactuality of the artwork. Both Dada and Anti-art removed the object which was created and original and replaced it with common, everyday objects that were usually mass produced. The conceptual movement removed the artifact and replaces it with a concept or an act which represents the concept. In both cases, the primary convention has been challenged. The evaluation of the work of art seems to be as much in a state of flux today as other convention within the Artworld. Traditional theories of the aesthetic seem inadequate to deal with the barrage of contemporary movements and their challenges to the conventions of the Artworld. However, one must remember that these challenges appear within the context of the Artworld -they appear in museums and galleries, on the pages of art books and critical reviews. It would seem that a theory could be constructed which took into account the current state of the Artworld as well as past conditions in its formation. The institutional analysis of George Dickie seems to provide a starting place for a discussion which can encompass the medieval illuminated page, the masters of the Renaissance and wrapped buildings. Dickie's theor1 will be examined in the next chapter, as will certain modifications which will render it a more complete analytical tool. What should be noted at this point is that the Artword is a formal institution with conventions governing its participants. These conventions, both primary and secondary, have

The Artistic and The Aesthetic In Interesting Times

A Theory of the Artworld and Implications for Art Education

The 1790s witnessed a notable transformation in the discourses of disinterest that had developed in Britain since the mid-seventeenth century. To be disinterested was to recognize a public interest...

/pdf/romanticism-and-the-spectres-of-disinterest-46c10lhmhx.pdf

Romanticism and the Spectres of Disinterest

........................................................................................................................................................ ii Acknowledgements ...................................................................................................................................... iii Chapter

The Aesthetic Attitude in the Everyday

This paper is in part inspired by the comments of the participants in the WAAS February 2012 electronic seminar on individuality. In the paper prepared for that seminar, I suggested the possibility that there may be an aspect of aesthetics that is vested with fundamental human rights importance. I was challenged to develop this idea, and this paper is an initiation of this discourse, which I suspect will be continued. The paper introduces the reader to provisions in the Universal Declaration of Human Rights and the International Covenant on Economic, Social, and Cultural Rights. The articles in these instruments stress more generally the basic importance of cultural life as well as of the arts and sciences. The texts do not mention aesthetics. This is the challenge that we explore. The paper starts with an effort to better understand the process of aesthetic experience. It provides a threshold clarification of two important views about the nature of artistic creativity itself. One view focuses almost exclusively on the individual, and it seeks to suggest that the value and meaning of art is to be found in the isolation of the artist. An alternative view suggests that art only captures meaning in the context of social life and therefore it can only be meaningfully understood contextually. The paper explores these themes in terms of a suggested dynamism between individuated subjectivity of the artist and the context within which art is created and communicated. It suggests that the outlines of modern communications theory provide us with a method of better understanding the inter-determination of personality and culture in the process of creating art of aesthetic value. The paper then looks at aesthetics as a social process involving artists, aesthetic interpretation, and community. In this context, an effort is made to develop the boundaries of aesthetics by examining the work of an Oxford Don, Walter Pater, who was a famous aesthete and who died in the late 19th century. Pater’s view of creativity anticipates the Freudian tradition insights into creativity and the role of the unconscious and conscious ego inter-determined behavior. The paper then illustrates one of the complexities of the interpreter having the skills of artistic creativity, using the Mona Lisa and the interpretation by Pater of that painting, which represents almost a distinct work of art. The paper goes on to examine philosophical insights into aesthetics as a way of patching aesthetic insights into philosophical understanding. The paper then provides representative illustrations of conventional art and high art film, and how these forms of expression are loaded with value implications relevant to an aesthetic value implicated in human rights. The last part of the paper examines the development of human rights law and the protection of art and aesthetic values. It draws attention in particular to the work of UNESCO in seeking to clarify the human rights aspects of culture in terms of areas such as the intangible cultural heritage, the protection of living human treasures, and the recognition that participation and enjoyment in culture should not be confined to elites but to broadest level of democratic participation. And finally, UNESCO’s development of the Masterpieces Project is another step in the direction of the protection of aesthetic values. The paper then explores the way in which cultural rights are protected by the Committee, seeking to give importance to Article 27 of the ICCPR. The paper examines the classifications of culture and suggests that aesthetics as a human right be focused on classical highbrow, elitist art. The paper explores the development of these ideas in the context of the Committee on CESCR and UNESCO. It also references a number of other international agencies implicated in these developments. The last part of the paper examines human rights values in the context of the art/aesthetic process. In this part of the paper, we show that human rights aspects of aesthetics are implicated in one way or another in all the basic values behind the human rights principles in international law.

https://works.bepress.com/winston_nagan/12/download/

Aesthetics and Human Rights

It is generally agreed upon that philosophers of art rely on their intuitions to justify or criticize proposed definitions of art. Experimental philosophers, however, have questioned the role of intuition in philosophy, since empirical research shows that philosophers’ intuitions are neither widely shared nor reliable sources of justification. This article aims to apply these experimental challenges to the project of defining art. It will be demonstrated that while experimentalists are right in claiming that philosophers' intuitions cannot be used as epistemic grounds for the definition of art, experimental research itself cannot contribute much to the project of defining art.

https://dialnet.unirioja.es/descarga/articulo/5238279.pdf

The Artistic and The Aesthetic In Interesting Times

Citations

A Theory of the Artworld and Implications for Art Education

Romanticism and the Spectres of Disinterest

The Aesthetic Attitude in the Everyday

Aesthetics and Human Rights

Experimental Philosophy and Intuitions on What Is Art and What is Not

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