What are art and artistic value?
Some contributions based on Jon Elster’s theory of creativity in the arts
DOI:
https://doi.org/10.14422/pen.v78.i297.y2022.011Keywords:
art theory, contemporary art, Postmodernism, Aesthetic emotions, Aesthetic valueAbstract
This paper, building on Jon Elster’s theory of creativity in the arts, tries to offer a draft of a definition of art as well as the basis for a theory of artistic value. It is argued that a work of art is a human creation made with the intention of inducing an aesthetic experience, as well as that the main value of a work of art consists on its capacity to produce aesthetic and non-aesthetic emotions. This conception implies some serious difficulties for some important forms of contemporary art, as conceptual art.
Downloads
References
Adajian, T. (2012): «The definition of art». E. N. Zalta (ed.): The Stanford encyclopedia of philosophy. http://plato.stanford.edu/archives/win2012/entries/art-definition/
Adorno, T. W. (1970): Ästhetische Theorie. Frankfurt am Main: Suhrkamp Verlag [(2004): Teoría estética. Madrid: Akal.]
Adorno, T. W. (1975): «Culture industry reconsidered», New German critique, VI. https://doi.org/10.2307/487650
Beardsley, M. (1982): The aesthetic point of view. Ithaca, Nueva York: Cornell University Press.
Beardsley, M. (1958): Aesthetics. Indianapolis: Hackett.
Beardsmore, R. W. (1971): Art and morality. Londres: McMillan. https://doi.org/10.1007/978-1-349-00952-7
Bell, C. (1914): Art. Londres: Chatto & Windus.
Blumstein, D. T., Bryant, G. A., Kaye, P. (2012): «The sound of arousal in music is contextdependent », Biology letters, 8: 744-747. https://doi.org/10.1098/rsbl.2012.0374
Budd, M. (1996): Values of art. Londres, NY: Penguin Books.
Carey, J. (2005): What good are the arts?: Faber. [(2007): ¿Para qué sirve el arte? Barcelona: Debate.]
Carroll, N. (1998): «Art, narrative and moral understanding». J. Levinson (ed.): Aesthetics and ethics, Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511663888.005
Carroll, N. (1997): «The intentional fallacy: defending myself», Journal of aesthetics and art criticism, 55: 305-309. https://doi.org/10.2307/431800
Carroll, N. (1993): «Historical narratives and the philosophy of art», Journal of aesthetics and art criticism, 51: 313-326.
Carroll, N. (1992): «Art, intention and conversation». G. Iseminger (ed.): Intention and interpretation. Philadelphia: Temple University Press.
Cohen, G. (2002): «Deeper into bullshit». S. Buss, L. Overton (eds.): Contours of agency. Cambridge (Mass.): The MIT Press.
Cometti, J. P. (2014): Exterior/arte. Biblos.
Danto, A. (1997): After the end of art. Princeton: Princeton University Press.
Danto, A. (1986): The philosophical disenfranchisement of art. NY: Columbia University Press. https://doi.org/10.2307/25006747
Danto, A. (1981): Transfiguration of the commonplace. Cambridge, Mass.: Harvard University Press.
Danto, A. (1964): «The artworld», The journal of philosophy, 61 (19): 571-584. https://doi.org/10.2307/2022937
Davies, S. (2001): «Definitions of art». B. Gaut, D. McIver (eds.): The Routledge companion to aesthetics. Londres: Routledge.
Dickie, G. (1998): «Evaluation: aesthetic evaluation». M. Kelly (ed.): Encyclopedia of aesthetics. Nueva York, Oxford: Oxford University Press.
Dickie, G. (1984): The art circle. New York: Haven.
Dickie, G. (1969): «Definig art», American philosophical quarterly, 6: 253-256.
Dissanayake, E. (1995): Homo aestheticus. Seattle: University of Washington Press.
Dissanayake, E. (1988): What is art for? Seattle: University of Washington Press.
Domènech, A. (1991): «Introducción» a Jon Elster, Domar la suerte. Barcelona: Paidós.
Dutton, D. (2010): Art instinct. Oxford: Oxford University Press. [(2014): El instinto del arte. Barcelona: Paidós.]
Eagleton, T. (1990): The ideology of the aesthetic. Londres: Basil Blackwell.
Elster, J. (2007): Explaining social behavior. Cambridge: Cambridge University Press [(2010): La explicación del comportamiento social. Barcelona: Gedisa.]
Elster J. (2000): Ulysses unbound. Cambridge: Cambridge University Press [(2002): Ulises desatado. Barcelona: Gedisa].
Elster J. (1993): «Fullness and parsimony». S. Kemal, I. Gaskell (eds.): Explanation and value in the arts. Cambridge: Cambridge University Press.
Elster J. (1983): Sour grapes. Cambridge: Cambridge University Press [(1988): Uvas amargas. Barcelona, Península.]. https://doi.org/10.1017/CBO9781139171694
Frankfurt, H. (2005): On bullshit. Princeton, N.J.: Princeton University Press.
Genette, G. (1994): L’oeuvre de l’art. París: Le Seuil.
Goldman, A. (2004): «Evaluating art». P. Kivy (ed.): The Blackwell guide to aesthetics. Malden: Blackwell Pub.
Goodman, N. (1968): Languages of art. Indianapolis: Hackett.
Greenberg, C. (1999): Homemade aesthetics. Nueva York: Oxford University Press.
Hempel, C.G. (1952): Fundamentals of concept formation in empirical science. Chicago: University of Chicago Press.
Kant, I. (1790): Kritik der Urteilskraft [(1977): Crítica del juicio. Madrid: Espasa-Calpe.]
Kieran, M. (2001): «Value of art». B. Gaut, D. McIver (eds.): The Routledge companion to aesthetics. Londres: Routledge.
Kostelanetz, R. (1991): John Cage. Nueva York: Da Capo.
Lessing, A. (1983): «What is wrong with a forgery», D. Dutton (comp.): The forger’s art. Berkeley: University of California.
Levinson, J. (1990): Music, art, and metaphysics. Ithaca: Cornell University Press.
Manzo G., Baldassarri D. (2015): «Heuristics, interactions, and status hierarchies», Sociological methods and research, 44 (3): 329-387. https://doi.org/10.1177%2F0049124114544225
McEvilley, T. (1998): «Contemporary art: postmodern transformation of art». M. Kelly (ed.): Encyclopedia of aesthetics. Nueva York, Oxford: Oxford University Press.
Noguera, J. A. (2013): «Clases naturales y definiciones en ciencias sociales». Comunicación presentada en el XI Congreso Español de Sociología.
Noguera, J. A. (2000): «El problema de la definición del trabajo». Comunicación presentada en el I Encuentro entre Humanidades y Ciencias Sociales. Barcelona, Universitat Pompeu Fabra.
Noguera, J. A., Tena-Sánchez, J. (2013): Jon Elster. Un teòric social analític. Barcelona: UOC. [(2014): Jon Elster. Un teórico social analítico.]
Novitz, D. (2001): «Postmodernism». B. Gaut, D. McIver (eds.): The Routledge companion to aesthetics. Londres: Routledge.
Nussbaum, M. (1990): Love’s knowledge. NY: Oxford University Press.
Osborne, H. (1968): Aesthetics and art theory. Londres: Longmans.
Osborne, T. (2011): «Rationality, choice and modernism: Notes on Jon Elster’s theory of creativity», Rationality and society, 23 (2): 175-197. https://doi.org/10.1177%2F1043463111404672
Pinker, S. (2002): The blank slate. New York: Viking. [(2003): La tabla rasa. Barcelona: Paidós.]
Poivet, R. (2006): Le réalisme esthétique. París: PUF. https://doi.org/10.3917/puf.pouiv.2006.01
Rawls, J. (1971): A theory of justice. Cambridge (MA): Harvard University Press. https://doi.org/10.4159/9780674042605
Rochlitz, R. (1998): L’Art au banc d’essai. París: Gallimard.
Rochlitz, R. (1994): Subversion et subvention. París: Gallimard.
Rowe, M. W. (1997): «Lamarque and Olsen on literature and truth», Philosophical quaterly, 47: 322-341. https://doi.org/10.1111/1467-9213.00062
Salganik, M., Dodds, P., Watts, D. (2006): «Experimental study of inequality and unpredictability in an artificial cultural market», Science, 311: 854-856. https://doi.org/10.1126/science.1121066
Schaeffer, J.M. (2015): L’expérience esthétique, Gallimard.
Talon-Hugon, C. (2014) : L’Art victime de l’esthétique. París: Hermann.
Walton, K. (1990): Mimesis and make-believe. Cambridge, Mass.: Harvard University Press.
Weitz, M. (1956): «The role of theory in aesthetics», Journal of aesthetics and art criticism, 15: 27-35.
Wolfe, T. (1975): The painted word. Farrar, Straus and Giroux [(2010): La palabra pintada. Barcelona: Anagrama.]
Wolfe, T. (1981): From Bauhaus to our house. Farrar, Straus and Giroux [(1982): ¿Quién teme al Bauhaus feroz? Barcelona: Anagrama.]
Zemach, E. (1997): Real beauty. University Park, PA: Pennsylvania State University Press.
Downloads
Published
How to Cite
Issue
Section
License
The publishing Universidad Pontificia Comillas retain the copyright of articles published in Pensamiento. Reuse of content is allowed under a Creative Commons Attribution-NonCommercial-NoDerivates 3.0 Unported. Authors are encouraged to publish their work on the Internet (for example, on institutional or personal pages, repositories, etc.) respecting the conditions of this license and quoting appropriately the original source.