Philosophy 304B: Philosophy of Art (Part 2) - Art the Process [under construction]

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Please note that this article is mostly just outline at present.

Contents

Introduction: Art the process

Section 1: Persons in the art process
Section 2: Values and disvalues in the art process
Section 3: Means (virtue and vice) in the art process
Section 4: Evaluation and meta-evaluation in the art process

Appendix A: The art - religion analogy
Appendix B: The Three Groups in this topic

Introduction: Art the process

Section 1: Persons in the art process

G1: Artist
G2: Performer
G3: Audience

Section 2: Values and disvalues in art

Ends (positive values):

G1: Aesthetically positive content (e.g., beauty)
G2: Novelty of form
G3: Sublimity of context

Disvalues:

G1: Aesthetically negative content
G2: Cliched form
G3: Irksomeness of context

Section 3: Means (virtues) in the art process

G1. Virtues of the artist

G1.1: Originative inspiration (will)
G1.2: Originative imagination
G1.3: Originative skill

G2: Virtues of the performer

G2.1: Interpretive inspiration (will)
G2.2: Interpretive imagination
G2.3: Interpretive skill

G3. Virtues of the audience / critic

G3.1: Evaluative perception
G3.2: Evaluative knowlege
G3.3: Evaluative practice

Section 4: Evaluation and meta-evaluation in the art process

Part A: Evaluation

G1: The test of expert opinion

G1.1: Expert opinion about the artwork
G1.2: Expert opiniom about the artist
G1.3: Expert opinion about the performer

G2: The test of time

G2.1: The test of time and the artwork
G2.2: The test of time and the artist
G2.3: The test of time and the performer

G3: The test of popularity

G3.1: Popularity and the artwork
G3.3: Popularity and the artist
G3.4: Popularity and the performer

Part B: Meta-evaluation

G1: Evaluating the test of expert opinion
G2: Evaluating the test of time
G3: Evaluating the test of popularity

Appendix A: The Art - Religion Analogy

Sorts of art and sorts of religion:

G1a: Autographic art

The artist is necessarily the performer. Examples: painting, sculpture.

G1r: Autoclerical religion

These are the sorts of religious behavior in which the believer necessarily self-administrates. Necessarily, because the belief and behaviour are products of the individual's own religious experience. Foundational, mystical, heretical, and clergyless religious behaviour are examples.

G2a: Formally allographic art

The artist is not necessarily the performer and the performer interprets a set of formal instructions. Examples: music, drama, architecture.

G2r: Formally alloclerical religion

This is the most common sort of religion, in which the believer's religious behaviour is administered by another, a clergyman. The clergyman's and thus the layperson's 'performance' of the religion, follows a set of formal rules derived from the scriptures and liturgical writings of the religion.

G3a: Contextually allographic art

The artist designs the instrument upon which the environment performs. Example: wind chimes.

G3r: Contextually alloclerical religion

This is the primitive sort of religion in which religious behaviour is administerd by a priest or shaman who is the interpreter (the instrument) of the sacred environment's 'performance'. The animistic religions (which hold that all things are inhabited by spirits) are prime examples.

Theories of the nature of art / religion:

G1a: Art as representation. Maintaining past perception in the present - re-present-ation. Stasis.

G1r: Religion as the subject (personality) idealised and made static (or, if you prefer, homeostatic).

G2a: Art as significant form. As exploration of all possible groups of form-plus-content combinations.

G2r: Religion as society idealised. As the ideal social form-plus-content.

G3a: Art as affective expression. As determined by the artist's environment.

G3r: Religion as the world idealised. As the ideal environment determining the ideal emotions.

Roles in the art - religion process:

G1: Artist / founder - prophet (e.g. Jesus)
G2: Performers / clergy - missionary (e.g. St. Paul)
G3: Audience / flock

Values in art and religion:

G1a: Aesthetically positive content (usually, but not always, 'beauty')
G1r: Religious 'vision' (might be of a beautiful, loving God, or might not)

G2a: Novelty of form
G2r: Religious novelty ("The Good News")

G3a: Sublimity of context (fascinated awe)
G3r: The Numinous (" Mysterium tremendum et fascinans ")

Disvalues in art and religion:

G1a: Aesthetically negative content
G1r: Irreligion (absence of religious vision)

G2a: Cliched form
G2r: Religious cliche (the dullness of invariable liturgical form)

G3a: Irksomeness of context (sublimity defiled)
G3r: The profane

Means in the art process:

G1a: Artist's aesthetic 'vision'
G1r: Believer-founder's belief and religious behaviour (and, occasionally, necessary self-administration of religious behaviour)

G2a: Performer's interpretation and performance
G2r: Clergy's interpretation of scripture and 'performance' of liturgy

G3a: Audiences's perception and evaluation
G3r: Flock's perception and evaluation (including perception of the divine and interpretation of the behaviour of divinity, and evaluation of clerical behaviour).

Religion, like art, is primarily about stasis. The 'capture' and maintenance of things both actual and ideal.

Evaluation and meta-evaluation in art and religion

Part A: Evaluation:

G1: The test of expertise
G2: The test of time
G3: The test of popularity

Part B: Meta-evaluation:

G1: Evaluating the test of expertise
G2: Evaluating the test of tome
G3: Evaluating the test of popularity

Appendix B: The Three Groups in this topic

Persons (roles) in the art process:
G1: Artist
G2: Perfomer
G3: Audience / critic

Values in the art process:
G1: Positive aesthetic content
G2: Novelty of form
G3: Sublimity of context

Disvalues in the art process:
G1: Negative aesthetic content
G2: Cliched form
G3: Irksomeness of context

Virtues in the artist:
G1: Originative will
G2: Originative imagination
G3: Originative skill

Virtues in the performer:
G1: Interpetive will
G2: Interpretive imagination
G3: Interpretive skill

Virtues in the audience / critic
G1: Evaluative perception
G2: Evaluative knowlege
G3: Evaluative practice

Evaluation in the art process:
G1: The test of expert opinion
G2: The test of time
G3: The test of popularity