JOURNAL OF AESTHETICS AND ART CRITICISM最新文献

{"title":"Jackson, , , Lauren Michele. White Negroes: When Cornrows Were in Vogue… and Other Thoughts on Cultural Appropriation. Boston: Beacon Press, 2019, 184 pp., $25.95 cloth.","authors":"MARIE HADLEY","doi":"10.1111/jaac.12753","DOIUrl":"10.1111/jaac.12753","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"370-373"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12753","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116365366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Learning from Aesthetic Disagreement and Flawed Artworks","authors":"EILEEN JOHN","doi":"10.1111/jaac.12748","DOIUrl":"10.1111/jaac.12748","url":null,"abstract":"<div>\u0000 \u0000 <p>Disagreements about art are considered here for their potential to pose questions about reality beyond the artwork. The project of assessing artistic value is useful for bringing complex questions to light. The ambitiousness of the cognitive stock, in Richard Wollheim's term, that can be relevant to understanding an artwork may mean that confident evaluation will elude us. Thinking about artistic value judgment in this way shifts its centrality as the point of artistic interpretation and evaluation; the goal of judging a work's meaning and value is a useful tool for prompting us to understand a work. But if we fail to reach that goal, that does not mean we have failed to engage with the work appropriately. The artistic value judgment, and achieving consensus on that value, can be secondary in importance to grasping the problems a work poses that are not immediately resolvable. Examples drawn from literary and philosophical imagining, in the work of Grace Paley and Mary Mothersill, and from Toni Morrison's literary criticism are used to illustrate and support the fruitfulness of this approach.</p>\u0000 </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"279-288"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130893692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contributors","authors":"","doi":"10.1111/jaac.12751","DOIUrl":"https://doi.org/10.1111/jaac.12751","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"389-390"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12751","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134805480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder's Share","authors":"KEN WILDER","doi":"10.1111/jaac.12735","DOIUrl":"10.1111/jaac.12735","url":null,"abstract":"<p>Intermedial art, as it emerged in the 1960s and 1970s, constituted a threat not only to the medium specificity of modernism, but also to the artwork as self-contained autonomous object. That this threat was real is evidenced by the ubiquitous presence of installation art. While only named as such toward the end of this period, installation art––a label still rejected by some of its founding artists––is exemplary of such hybrid practices. Its supporters and critics drew a contrast between, on the one hand, modernism's aesthetic engagement with a medium-specific (and self-sufficient) “object,” and, on the other hand, new so-called nonaesthetic “practices” engaging the “literal” spectator within her own space, such that the space of the gallery or situation is drawn into the encounter. So, while in 1967, Michael Fried writes disparagingly of the notion that “someone has merely to enter the room in which a literalist work has been placed to become that beholder, that audience of one” (<span>1998</span>, 193), Claire Bishop echoes such a claim when she suggests that “an insistence on the literal presence of the viewer is arguably the key characteristic of installation art” (<span>2005</span>, 6). Despite diametrically opposed critical evaluations of such situated art, a curious consensus emerges around a beholder whose “share” is characterized as a “being present.”</p><p>It is indicative because it allows us to see an interrelation “between the anti-objectivist impulse of theories of aesthetic experience and the impulses toward the dissolution of the concept of the work in artistic practice”; thus, the opposition toward objectivism in a philosopher like Rüdiger Bubner is <i>at the same time</i> a “reaction to the destruction of the traditional unity of the work in contemporary art,” exemplified, of course, by installation art (Rebentisch <span>2012</span>, 10).</p><p>The object is aesthetic not by virtue of qualities that <i>precede</i> the experience of such an object (that is, guaranteed by production), but only when the encounter with the artwork initiates a specifically aesthetic experience. This is not “a return to subjectivism that would sacrifice the art critical discourse and with it any consideration of questions of productions aesthetics” (130–131), but rather a recognition that art critical discourse necessarily <i>follows</i> aesthetic experience and is, thus, constitutive of such aesthetic objects through processes of reflective transformation.</p><p>Through such discursivity, Rebentisch seeks to avoid the pitfalls of an objectivism conceived as self-referential, and a subjectivism that posits the subject's aesthetic experience <i>as its own object</i>. She defines the aesthetic experience of installation art as a relation that does, indeed, involve aesthetic distance, in that it “brackets” the object not just as a self-referential “thing,” but through an event-like experience: a bracketing that highlights the performative role of the ","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"351-356"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132533554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Is Moruzzi's Musical Stage Theory Advantaged?","authors":"PHILIP LETTS","doi":"10.1111/jaac.12743","DOIUrl":"10.1111/jaac.12743","url":null,"abstract":"&lt;p&gt;In a recent article, Caterina Moruzzi (&lt;span&gt;2018&lt;/span&gt;) develops and defends her musical stage theory. This discussion response supposes that Moruzzi's development and defense of her stage theory are satisfactory, but it disputes her case for thinking that it has advantages over key rivals—the traditional type/token theory and musical perdurantism.&lt;/p&gt;&lt;p&gt;In Section &lt;span&gt;i&lt;/span&gt;, I contrast the three competitors by their differing explanations of musical work multiplicity. In Section &lt;span&gt;ii.a&lt;/span&gt;, I dispute Moruzzi's claim that her stage theory's putative ability to explain our &lt;i&gt;direct epistemological access&lt;/i&gt; to musical works advantages it over the type/token theory or musical perdurantism. In Section &lt;span&gt;ii.b&lt;/span&gt;, I reject Moruzzi's argument for thinking that her musical stage theory better handles &lt;i&gt;score-departing performances&lt;/i&gt; than does the normative type/token theory. In Section &lt;span&gt;ii.c&lt;/span&gt;, I reject Moruzzi's argument for claiming that her musical stage theory handles &lt;i&gt;improvisations&lt;/i&gt; better than the type/token theory. In Section &lt;span&gt;iii&lt;/span&gt;, I conclude and hint at an alternative motivation for musical stage theory.&lt;/p&gt;&lt;p&gt;Dominant explanations are &lt;i&gt;instantiablist&lt;/i&gt;. They say that multiple musical works are &lt;i&gt;instantiable&lt;/i&gt; or &lt;i&gt;generic&lt;/i&gt; entities—kinds, types, or properties—that can be &lt;i&gt;instantiated&lt;/i&gt; by several occurrences (see Wolterstorff &lt;span&gt;1980&lt;/span&gt;; Dodd &lt;span&gt;2007&lt;/span&gt;; Letts &lt;span&gt;2018&lt;/span&gt;).&lt;/p&gt;&lt;p&gt;One instantiablist view is the &lt;i&gt;traditional&lt;/i&gt; type-token theory, henceforth the “type-token” theory. This theory identifies each multiple musical work with a type, where these are construed as &lt;i&gt;abstracta&lt;/i&gt;—entities lacking spatial location—that are instantiated, or “tokened,” by concrete—spatially located—performance-events (Dodd &lt;span&gt;2007&lt;/span&gt;, 42).&lt;/p&gt;&lt;p&gt;Concerns about construing musical works as abstracta have led some to seek alternatives to the type-token theory (Caplan and Matheson 2006, 59–60; Tillman &lt;span&gt;2011&lt;/span&gt;, 14). One alternative is &lt;i&gt;performance perdurantism&lt;/i&gt;, henceforth “perdurantism.” On this view, each multiple musical work is a mereological fusion of its performances, themselves concrete events made up of momentary &lt;i&gt;stages&lt;/i&gt; united by an &lt;i&gt;I&lt;/i&gt;-&lt;i&gt;relation&lt;/i&gt; appropriate to musical works (Caplan and Matheson &lt;span&gt;2006&lt;/span&gt;, 61–62, 65; &lt;span&gt;2008&lt;/span&gt;, 80; see also Lewis &lt;span&gt;1976&lt;/span&gt;). Perdurantism explains (M) by claiming that a single musical work, &lt;i&gt;qua&lt;/i&gt; mereological fusion, has several performances as its &lt;i&gt;proper parts&lt;/i&gt; (Caplan and Matheson &lt;span&gt;2006&lt;/span&gt;, 64–65; &lt;span&gt;2008&lt;/span&gt;, 84–85).&lt;/p&gt;&lt;p&gt;Moruzzi's &lt;i&gt;performance stage theory&lt;/i&gt;, henceforth “stage theory,” is a concretist view fundamentally similar to perdurantism, but it departs in key ways. First, Moruzzi's stages—her I-related concreta—are &lt;i&gt;whole&lt;/i&gt; performances, rather than momentary performance-slices.&lt;sup&gt;1&lt;/sup&gt; Second, stage theory does &lt;","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"357-362"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12743","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129922187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The 2021 John Fisher Memorial Prize","authors":"","doi":"10.1111/jaac.12737","DOIUrl":"https://doi.org/10.1111/jaac.12737","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"277-278"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134805478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lewis, , , Eric. Intents and Purposes: Philosophy and the Aesthetics of Improvisation. University of Michigan Press, 2019, 280 pp., 3 b&w illus., $80.00 cloth.","authors":"CASEY HASKINS","doi":"10.1111/jaac.12746","DOIUrl":"10.1111/jaac.12746","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"379-383"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116834423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards a Philosophy of Installation Art","authors":"GEMMA ARGÜELLO MANRESA","doi":"10.1111/jaac.12733","DOIUrl":"10.1111/jaac.12733","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"333-338"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12733","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131111821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Experiencing Installation Art","authors":"ELISA CALDAROLA","doi":"10.1111/jaac.12734","DOIUrl":"10.1111/jaac.12734","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"339-344"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12734","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115349157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Aesthetics of Imperfection Reconceived: Improvisations, Compositions, and Mistakes","authors":"ANDY HAMILTON","doi":"10.1111/jaac.12749","DOIUrl":"10.1111/jaac.12749","url":null,"abstract":"<p>Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: (1) The aesthetics of imperfection is now argued to involve <i>open, spontaneous response to contingencies of performance or production</i>, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. (2) Imperfection is not toleration of errors and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese <i>wabi-sabi</i>. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a <i>constant striving for new contingencies to respond to</i>. (3) A subtler, more complex relation between composition and improvisation is proposed, in which both have <i>broad</i> and <i>narrow senses</i>. Composition involves (a) works, usually desk produced and notated; or more generally, (b) putting things together in an aesthetically rewarding form. Thus, <i>improvisation is a</i> (broad sense) <i>compositional method</i>. (4) Improvisation and composition are interdependent; both involve structure and spontaneity. (5) Imperfectionism is an <i>aesthetics of performance</i>—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions.</p>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 3","pages":"289-302"},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122471471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}