By Jerrold Levinson
Jerrold Levinson, essentially the most sought after philosophers of artwork this present day, provides a brand new selection of essays, following on from his 4 prior collections, Music, artwork and Metaphysics (1990), The Pleasures of Aesthetics (1996), Contemplating Art (2006), and Musical Concerns (2015).
Aesthetic Pursuits particularly enhances Levinson's final quantity, Musical Concerns, through gathering fresh essays now not serious about track, yet as an alternative concentrating on literature, movie, and visible paintings, whereas addressing problems with humour, attractiveness, and the feelings. The essays in Aesthetic Pursuits, that are wide-ranging, will charm strongly to aestheticians, artwork enthusiasts, and philosophers alike.
The quantity includes seven formerly unpublished essays via Levinson, during which the writer seriously engages with impressive modern contributions to aesthetic theory.
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Extra info for Aesthetic Pursuits: Essays in Philosophy of Art
I conclude that the prospect of characterizing aesthetic TOWARD AN ADEQUATE CONCEPTION OF AESTHETIC EXPERIENCE experience as the sort of perceptual-imaginative experience that typically ensues upon adoption of an aesthetic attitude may be a viable one. However, in the rest of this essay I will not rely on that way of characterizing aesthetic experience—that is, by relation to an identiﬁable aesthetic attitude—but will seek a characterization of a more direct sort, one that will gradually emerge from an examination of a competing, minimalist conception of such experience.
Let me address ﬁnally the question of the degree of intellectuality of response appropriate to art. ” in Levinson (1996). AESTHETIC CONTEXTUALISM cognitive orientation requisite for experiencing a work correctly; that is, as the historically situated utterance or offering it is; he or she simply needs to possess it. But by and large one acquires what’s needed by osmosis from the culture and wide experience in the artform in question. What Richard Wollheim calls “cognitive stock,” or Leonard Meyer “internalized norms,” and what they hold essential to the adequate appreciation, respectively, of painting and music, are largely tacitly acquirable, and may also not be readily acquirable in discursive fashion.
In my view valuing, if it is to be the deﬁnitive mark of appreciating, must be an active or occurrent stance; a ﬁnding-valuable, so to speak, with some sort of phenomenology, and mere believing, which is normally non-occurrent and devoid of phenomenology, seems ill-suited to fulﬁlling such a role. Valuing in the sense Iseminger’s proposal requires must involve an active stance-taking, and have a character akin to admiring or relishing as occurrent, rather than dispositional, states. So what might valuing be, understood as an occurrent and positive stance toward something, whether object, activity, or experience?