Lecture 2
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Pure value: beauty, sublimity
Formal: balance, grace
Emotion: joyful, angry
Behavioural: bounciness, sluggishness
Evocative: powerful, amusing
Representational: distortion, realism
Second-order perceptual: purity, vividness
Historically-related: originality, derivativeness
Transfiguration
Re-combination
Composition
Inspiration
• ‘A work of art in the proper sense of that phrase is not an
artifact, not a bodily or perceptible thing fabricated by the
artist, but something solely in the artist’s head, a creature of his
imagination.’ (Collingwood 1938)
• ‘The gift which you possess of speaking excellently about Homer
is not an art, but, as I was just saying, an inspiration; there is a
divinity moving you, like that contained in the stone which
Euripides calls a magnet.’ (Plato)
Representation
Expression
• ‘There is always in art a distinction between what is expressed
and that which expresses it’ (Collingwood)
• ‘… leave us the mode that would fittingly imitate the utterances
and the accents of a brave man who is engaged in warfare or
in any enforced business, and who, when he has failed, either
meeting wounds or death or having fallen into some other
mishap, in all these conditions confronts fortune with steadfast
endurance and repels her strokes. And another for such a man
engaged in works of peace.’ (Plato)
• Art expresses spirit's self-understanding not in pure concepts, or
in the images of faith, but in and through objects that have been
specifically made for this purpose (Hegel 1820s)
SharingTeaching
an imaginative experience
• ‘… the reason why men enjoy seeing a likeness is, that in
contemplating it they find themselves learning or inferring’
(Aristotle)
• ‘a total imaginative experience identical with that of the [artist]’
(Collingwood)
Aesthetic qualities
Aesthetic qualities of non-art
Creation
Creation of non-art
“transforming a given raw material
‘Taste is the faculty of judging of an
object or a method of representing Art… carrying out a preconceived
plan … realizing the means to a
it by an entirely disinterested
preconceived end” (Collingwood
satisfaction or dissatisfaction. The
1938)
object of such satisfaction is called
Content
Address
‘… the growing
vacuity and
beautiful’ (Kant
1791)
Content of non-art
Unartistic
address
banalization of light
music
‘…we did not require dirges and
‘The
frame ofexactly
mind totowhich
corresponds
the popular
lamentations in the mixed Lydian,
music
originally appealed,
on which
industralization
of production.’
… and similar modes. But again,
it(Adorno
feeds, and
which it perpetually
1932)
there are certain Ionian and also
reinforces, is simultaneously one of
Lydian modes that are called lax.’
distraction and inattention. Listeners
(Plato)
are distracted from the demands of
‘independent music’ that is mere
reality by entertainment which does
skill in compilation’ (Hegel 1820s)
not demand attention either’