JOURNAL OF AESTHETICS AND ART CRITICISM最新文献

{"title":"Is Moruzzi's Musical Stage Theory Advantaged?","authors":"PHILIP LETTS","doi":"10.1111/jaac.12743","DOIUrl":"10.1111/jaac.12743","url":null,"abstract":"<p>In a recent article, Caterina Moruzzi (<span>2018</span>) 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.</p><p>In Section <span>i</span>, I contrast the three competitors by their differing explanations of musical work multiplicity. In Section <span>ii.a</span>, I dispute Moruzzi's claim that her stage theory's putative ability to explain our <i>direct epistemological access</i> to musical works advantages it over the type/token theory or musical perdurantism. In Section <span>ii.b</span>, I reject Moruzzi's argument for thinking that her musical stage theory better handles <i>score-departing performances</i> than does the normative type/token theory. In Section <span>ii.c</span>, I reject Moruzzi's argument for claiming that her musical stage theory handles <i>improvisations</i> better than the type/token theory. In Section <span>iii</span>, I conclude and hint at an alternative motivation for musical stage theory.</p><p>Dominant explanations are <i>instantiablist</i>. They say that multiple musical works are <i>instantiable</i> or <i>generic</i> entities—kinds, types, or properties—that can be <i>instantiated</i> by several occurrences (see Wolterstorff <span>1980</span>; Dodd <span>2007</span>; Letts <span>2018</span>).</p><p>One instantiablist view is the <i>traditional</i> type-token theory, henceforth the “type-token” theory. This theory identifies each multiple musical work with a type, where these are construed as <i>abstracta</i>—entities lacking spatial location—that are instantiated, or “tokened,” by concrete—spatially located—performance-events (Dodd <span>2007</span>, 42).</p><p>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 <span>2011</span>, 14). One alternative is <i>performance perdurantism</i>, henceforth “perdurantism.” On this view, each multiple musical work is a mereological fusion of its performances, themselves concrete events made up of momentary <i>stages</i> united by an <i>I</i>-<i>relation</i> appropriate to musical works (Caplan and Matheson <span>2006</span>, 61–62, 65; <span>2008</span>, 80; see also Lewis <span>1976</span>). Perdurantism explains (M) by claiming that a single musical work, <i>qua</i> mereological fusion, has several performances as its <i>proper parts</i> (Caplan and Matheson <span>2006</span>, 64–65; <span>2008</span>, 84–85).</p><p>Moruzzi's <i>performance stage theory</i>, 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 <i>whole</i> performances, rather than momentary performance-slices.¹ Second, stage theory does <","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"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":"Aumann, ,  , Antony. Art and Selfhood: A Kierkegaardian Account. Lanham, MD: Lexington Books, 2019, 252 pp., 8 b&w illus., $95.00 cloth.","authors":"SHERIDAN HOUGH","doi":"10.1111/jaac.12744","DOIUrl":"10.1111/jaac.12744","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12744","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122533560","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","authors":"GEMMA ARGÜELLO MANRESA,&nbsp;ELISA CALDAROLA","doi":"10.1111/jaac.12747","DOIUrl":"10.1111/jaac.12747","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115659723","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":null,"pages":null},"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":"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":null,"pages":null},"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":"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":null,"pages":null},"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}

{"title":"Art Forms Emerging: An Approach to Evaluative Diversity in Art","authors":"MOHAN MATTHEN","doi":"10.1111/jaac.12740","DOIUrl":"10.1111/jaac.12740","url":null,"abstract":"<div>\u0000 \u0000 <p>Artworks are rationally evaluable and comparable within their art form, but not from outside. Beethoven's string quartets cannot be evaluated against works of Hindustani music. This is the problem of evaluative diversity: local commensurability, global indeterminacy. This article sketches an approach to the problem based on novel conceptions of aesthetic pleasure and cultural learning, and on the Darwinian Principle of Divergence as applied to cultural evolution.</p>\u0000 </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12740","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133498589","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 Assumptions behind Musical Stage Theory: A Reply to Letts","authors":"CATERINA MORUZZI","doi":"10.1111/jaac.12742","DOIUrl":"10.1111/jaac.12742","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12742","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130450376","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 Exhibitions: Sharing Ground","authors":"ELEEN M. DEPREZ","doi":"10.1111/jaac.12739","DOIUrl":"10.1111/jaac.12739","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12739","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132362949","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":"JENNIFER C. LENA  Entitled: Discriminating Tastes and the Expansion of the Arts. Princeton University Press, 2019, xiv + 231 pp., $29.95 cloth.","authors":"C. THI NGUYEN","doi":"10.1111/jaac.12732","DOIUrl":"10.1111/jaac.12732","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12732","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123298463","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}