Aesthetic Pursuits: Essays in Philosophy of Art by Jerrold Levinson

By Jerrold Levinson

Jerrold Levinson, the most trendy philosophers of artwork this present day, offers a brand new selection of essays, following on from his 4 earlier collections, Music, paintings 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, by way of amassing fresh essays no longer all for track, yet as a substitute targeting literature, movie, and visible paintings, whereas addressing problems with humour, good looks, and the feelings. The essays in Aesthetic Pursuits, that are wide-ranging, will allure strongly to aestheticians, paintings enthusiasts, and philosophers alike.

The quantity comprises seven formerly unpublished essays by means of Levinson, during which the writer severely engages with striking modern contributions to aesthetic theory.

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Aesthetic Experience: A Question of Content,” in M. , Contemporary Debates in Aesthetics and the Philosophy of Art (Blackwell). Dickie, George (1964). “The Myth of the Aesthetic Attitude,” American Philosophical Quarterly 1. Feagin, Susan (1995). Reading With Feeling (Cornell University Press). Iseminger, Gary (2003). “Aesthetic Experience,” in J. , Oxford Handbook of Aesthetics (Oxford University Press). Iseminger, Gary (2005). “The Aesthetic State of Mind,” in M. , Contemporary Debates in Aesthetics and the Philosophy of Art (Blackwell).

But attention might be recognizably aesthetic even when none of the properties focused on is an aesthetic property as such. ) 29. ” 30. The proposed account of aesthetic experience, which foregrounds perception, broadly speaking, may seem open to the objection that it is not adequate to conceptual art, whose content is held to be merely thoughts or ideas that are not engaged with perceptually. But even the most abstract instances of conceptual art, like certain works of Sol LeWitt, John Baldessari, Robert Barry, or On Kanawa, have a material element that calls for sensoryimaginative-perceptual engagement.

Art as Performance (Oxford: Blackwell). Davies, S. (2001). Musical Works and Performances (Oxford: Oxford University Press). Dutton, D. (1979). “Artistic Crimes: the Problem of Forgery in the Arts,” British Journal of Aesthetics Vol. 19: pp. 302–14. 5 For other works subscribing to or acknowledging the influence of aesthetic contextualism, more recent than those noted above, see the following: Currie (1991); Fisher (1991); Goehr (1992); Stecker (1997); Morizot (1999); Pouivet (1999); Davies (2001); Howell (2002a); Howell (2002b); Rohrbaugh (2003); Davies (2003).

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