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Noel Carroll - Philosophy of Art PDF

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Rodrigo P. Bernardi
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Noel Carroll - Philosophy of Art PDF

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Rodrigo P. Bernardi
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Introduction What is philosophy? The analytic philosophy of art Analysing concepts Some peculiarities of philosophical research The structure of this book The aims of this book Introduction What is philosophy? he word “pilosophy” has many ferent meanings Saetines aeope you about tht pilorophy of ie They vale ee L sre thr deepest and moran te Ts oe tiny an acepale usage ofthe word in oninarylngaage bat en broader conetion of philosophy than tht which wl pcepy seine book, Herein “phlsophy” wil generally reer tas come selon dhcp. ‘Ours ke many adenine pibsophy canbe aprocha ina numberof fern aye Tat htc ae many difesteee ae hilophy, such 8 exten, phenomerlany, masse does ruins and soon. Though wht in van epee he dif school of aadanepilsphy often have ferent tne ond The ype of poopy that we wl be eporing he ok called alc phish Int the eof ston eae expanded ashe Analg Piso of ar A Cantenporany fates tom This book i an Introduction to sme ofthe moje ete el cena problems the aac copy far Ut what i analyte psy choo of pilomaphy primary peti inthe English-speaking wold. Ths, Hh some aed jAtsl-Amencan” phlsephy, though that a somewhat elscing label canes nt by any ean tony form of made soe ee inthe English-speaking word. Homeve a vey prominent oko some might say the dominant school of English speaing econ el ich xtedcnsdnbleindnce hoagie te mama sary Bc thi only to suggest the "wheres and he “Whee eg ilosophy. The ‘hat remains oe expla * “Thi school of thought called only philosophy. So a natura se weston “What ean dvs ths cool fphbonpysoaec aliying rusia, me might sy that wat aan gly ees 4c concept, Thats why is sonetines so ele omer cel Though by thi point in history, many philosophers would soar har hg fs mo all hat analytic philosophy das, fr purposes of introducing the {opi ia oy thatthe what many aay psa hve ‘Mempted to doin the post ad what many at leat pro he me, conan odo iay. They analyse concen Concept ofcourse ae fant fo human i Conepsergnize cur pate The cont of «person for expla oid traces cling plc, marcy te mands The cone "umer ie fandaenal omathematicg we the cones of Kreg is indopenste throughout the widest gam of human sate, Watt such cones the ses in question would not est For camp, wethou the cnsepe of person, there woulbe no mot as we kno {ari persons not mere things to hich moray pean ‘Arough an ready way tocharacerize aay pop etsy that ins encemed wth the analysis of comet that are ky 0 human pae= ‘aging het i wall of pagnaicendesvorssuhs governance. Atal i plsopers in ths regards may trace thet herage back to Sores ho ltd the Sects aden Athens asking Whats Knowle” and Whats June?” in ways chat undermined omnnplace an fen complacent towers thee questo thas poving the way, the analy oro her might ay ina sglyselfsongraulory one of Vie) oe more "Shon a 00 who've et sme ine thuning though oll blle- sis have prebbly nokta he plsophy son lf es thar ‘ete fen" phophy “The Dank soften led inky the mae of some ober Geld—as i he pilose of een or of Ing or of ale hisoy ands forth, Posghy paca sens to be ‘Rephloophy of something Bu what sor of meting? “that something price, ike lwo eigion, Very often it is @ practeinvaled with aquringknowedge~ He pyses pylon, Fey ad tke Bt may a cial ay hc Fhilovophy begins when the people inveed nthe leant prcices become velf- solely invention, However dear tha when they alk of ‘shat we cal the orts = hing ke poetry, dana, painting eupeure dnc tre music - Plto and Avior thowghe that these shared a comanon fear they were all avd in iat, ‘Undoubtedly they dil not tink that these activites were the only ones sat involved imitation Aristotle talks about the way in which children Smite their elders. But iiaton for Plato and Aso, was a ast a Inecesary condition forthe kind of practices we cal ar Thats beng an fmitation ofa person, plc, object action ar event ~ isa general ature that anything categorie asa artwork (in our sense) snst possess, This inde theory of ae that we find presupposed in the wriings of Plo and ‘vst, We may state ie thus isan anwork only fit san imitation, In this formulation, the phrase “only signals hat imaon i neces fay conison or art sae if ante for art status dee property {Tieingan iitaon of meting tn sot am artwork For Po and ‘Arion toa ror request the pee in quoston be an int Sil someting Noting an aor unless an tation. Todny, ser ost a century of asta panting ths theory seme viol le Corn velnown aeng by Mark Ratko and Yes Rind ot ita anyhing~ they se purl of elr=and yet they dre conored major ork of tweneth-ctary art Thus the theory ifataris mation appear sou fal ara general theory of ar nei tals tobe fly comprthesve. Too mach of wht we kw o be a doce hoe meet te alleged necsary foment that anything tha at be ‘Ar hicory has shown us thatthe theory af et ascted wit Pato and Aristo oo exclave confronts to many exception fal 0 ous au ar everthing cat we rep blogg othe category of ‘Wal though sot tay at museum ody, and you soul bel wo dso counterexample oti theo "eid fo Pato nd rate we hold a at tr theory ws viol as fo ther eo wane he primary ‘namplesl tin hid were ists When they went the these or when they went so the unvelingof ne sclprare wha they aw Merlin of Heros and gos and pers and aon ~ pce of Sone that looked ene, dar shat mined ura sen and ply {hat re-enactalimportat nytholpl evens ike the dstrutont te House of Ateus. has given te data that history had them, she theory of at tha Plt and Arie posiposed a fay ell ot ace by wnt wos sale to them. i's ony throgh the bench of Hindi that we can see ow fof hey were Soin her om ine the inti ne theory of a advanced by Blo and Arson had some intl ply Te corn ih she dominan cymples of Greek ar abt a none veaters bo what tela for and to appreciate in thea of hi contemporancynamely ts Sessile That othe theory of Plo and Arocha prety od Bt wth she di i resonable jb of em pcking ost whe as imporant= oe pthaps must important in eck rs paces, ‘Due he nil ese fh thor, repeted tthe Western don fr er, Te tery Ke pliner ne sighenth entry, ice twas at ht ine tht theo gan oa ‘our modern system of the fine arts. ‘se Whats meant by a “ys of he ie ate” Here, what we have in mind ia way of groping certain pacts ike puming ad pty ino eategary dine rm ter paces ~ ike ony aed che ity. Piro the ightcenth emu, penis were grouped ns nome sl diferent ways Musiand mathematics for example ght fe place the same exer. However in the eighteenth century, era mo sroupng varus praccs became canna Punting pct, dance, Msc drama and selptae came tobe repad aehe ne athe as ‘ith eptal A Ths are the prac wth he ater adton of foe ‘ther ie fl, dae nowadays we exp tobe Used nthe ston of sles bliin der oe ans pres nd hse eth ns things we expt tof erste ota cntes Wed ot expec tind sale modes of pace ations thee * ipa wa gpg eas sme nro us Ba oe iayss is noc untl the eect centry tha th way ofc the eevant aces bse moro es xe A partial pean tox in ringing ths aout was Th Fine Ars Reduced fo «Single Prt Spe whi was writen bythe Henchnan Charles Batu Sn 154 Nove that hele of hs Dok indates tat he pate the go called the fine arts are not assembled hele le they are not ro fopeher under the same tle arbitrary. athe isda there Single rnp o which al the perinent aces an be feed. Av sha tha pring natin Bancun wrote,“ We wil defie punting, supure and dance asthe imitation of beso nature conveyed thrgh co, ough sl nd through atin And munis and poetry are the imiaton of Beunfal nature conveyed hough sounds or theagh measured douse For Baewx membership ine ystem of he ine arts eed hat pace inst etn seetrycondiion amc hat be imate ashi Eeeoc arsed prespyoition wey oped in the eghcenh cme tury =the art ay we ll to be dlne eset interme af the Paton Avsttlan notion of mation “Alsen sen sang ta you tha thichaesterzion oul or fave ten fold. You may wondee for example how musi could hve teon reared a¢ am imave a Her teots argued not ony that tricone bests nate brongs and han r= bts more porary, tht t sould uate the human vis, or Senay in mo ‘Silly, though much dance wich a scl dance, dos ot appeat ini ighecrbcery thorn sean corey aed th hr ang ans rhs tie wig Ae {oles philosophy of rama in onder jo the modern system of hes Sheroul was he bell ton which domed se sage the ager, Mars icone in den [gedscrioes ptr (pune dade o making at wihs capil A) ei he pal a eran reser en vl (eaten {Dapposimate the perce appestance of things a ony a posi). ‘hs for ever reatns the autho of he natin theory of ar yerscted wel into the nietenth century A proponet ofthe theory ud sil cin thatthe into hry of ar lord job des ing enting ae propely socalled. ice the vst joy of the mest prominent ramp of panting. dma oper dance, care and 0 on {rerlmitaive (ony nseme cry bee pctones ited meet theanteron ness for herbed nembethp ofthe pte fe ne ns) And wall there were also theories "sad athe ew hat mie inate the human v= that enabled apparent counterexamples tbe trained away noe the infance ofthe natin ary fa an sll fonda th anh ry nny a aeton te oul ear eplesying ofan abt paling hat art boas hea lok he anything And even tls some pope wl sy hata eran lm eo av ese ake tory tht Bcf nea Simon of ain (OF cours views lke this ae presen odd ae phitne~ the anon ofp none aoand rc anshaneby Epaying tha pnorince. Bur tat ignorance does ot come fom ethene oldu he matin teary ofr ob ory sl therneeens century had awe veined some empirical cel Iaiy. Several hinge however: hve happen since then wo underine thetherydessivey ‘By the lite nietenth sentry and arly remit centr il act daly bogie to devine rom he an of tating eae, Vil at eps fo the a of sopying ha hing lak ow things oak photography could do that German expesionist punter laf eying oon oc lok of hings a instead, stored them for epee ese eats sion puis and minimality dered fom pare en feakee ea tm take another look tthe tation of wal we Ta nets shims halla iiniative. Ain he wentetheentrpehencrke eee, theory is file. Ba thee ouneresampls aso choose a ei ‘undo tar history an ak wher he mito hoy ar ever acurte, Contemplating the eames of tesichen en think we aenline orealie hte atm teary ae ae ees "ght Minimal at forinstancy, reminds that here wavs a arto pure val design fom apes and prey willunnaed ee ak ‘sani alters Thehitory of pore voul deontion clea Ings the yf uo ily, once alerted othe och of the intaton theory wi ‘eet il a el eer realy imitative? Innes gon by, en muse seved psa he ha mf acompanying wor in operand seligous cant orcoe ‘one might have ben emped waste musta the nora har ‘ik the tumgh of symphonic mise pure anheeal oat cay nineteenth centr, the generalization that all tae oops aon wa no ng fale i ever wn ee ms toe ‘music~marches and dance scopanimenis- pret tie Resae ea thony: Likewise modern drama ar not oly deta fon tes of action Futana paste Gaon Ballas To Unease Mey siving so the deem pcr of Robon Wien ena es sto the itor of noimitatie performance nlodng may ea rocesions.Andpostmodern dance with icmp cate ere ‘pepe rim ae ro hr mc anc a cramer its a her epee psi Farthemore ie we begin poke hls in he initton theory of a, we rele tht itnever rely adequately chrmetocd eee aan sole hough of ieee ints dra ry ti sary ace nh they sought it waste: tame ace nae the speech of characters. Even lyri poetry spoken aloud can be = poet spoken soul be ace decd this way. But once we start to think of itraue noes ls snd short re hs ht ie wh nition aie Sipping or stmelvng appearances Becomes ined. For avel ae made aot words and wore dont ook Uke thet ferns The wor tat {serie Holden in The Catcher nthe Rye donot perepealyslte Inrdetodea wih his problem. and thers he rend ofthe Paonic= _Asotlan heacy ay leave off dking nero atin a or of representation. By representation, here, leant sumthing that Is intended tan for somethingele and tht recognize aun 8 Sich. A port fr example, intended stand for whomever isa porta hand viewers engine ta sch. This of cua, a example "imitation and tao a substegory of representation, However the tion f presentations Broader sine something ls san for something do wichout ooking ke Tor example he lewd can ‘dor yal of oun wth bi ‘Moreoves by apering of representation rather cha imation con- ceived erly, the PatoicAsttelian thease an deal wih the problem of lieatare sine the descipion ofthe Bate of Bord in Wer and Pace represents it without hnrlly copying it. Likewise, sranyrwenthcentry abstractions in inl at Ie the pts of ‘Monditan, represent sedi = sucht oltimate rely = wikout rendering it el apeurance. Reconstr the non theory ofa a the representational theory fat ie position ofrecer generality sins she carp of reper tation is Brader than the concept of iitaton. Bu even with hi ad ‘ional redth the wepesetainal theory ofr emai unselogabe Shee much tno epson ‘Stated formulate, represents y (whee y ranges over a domain comprised abject prsons events snd acon) and oly (2 sender intends (egy pcre) to send for y (egy Raya) and 2) he sucess ha send a ean fo ‘But ther re many works of chat are ot representations inthis serme, Consider aechiecture: many ofthe fact bulge in history are tor intended a sand for something, The cthedel of St. Peter n Rome dees no stand for house of Gol i s+ howe of God Sima the {pt Baing in Washington, DC. des no stand for he ele Iotss the ltr The representational theory of rt may prove the snean forinemporating mich eratre under debi ae stil Teses much archer ofthe sot we ae apt fo reid as at ose the xegory. Ths, the representa theury of are the ination theory oa ton exe serve ws a gener tory (Of courte the probe withthe presentational tory of arti not simply tat exes to mach actete frm the tgory of I alo excludes important and obvious examples of at fn every other artic gere wel Some orchealmuse may be posal Bae stn Some asa puntings ae esenally ome ope seating nothing ad there are even songs al pcs ik ths Aed ere are ab abst ims videos plongaph dane and eon shone aes {rsformance at shat stand for nh butareprecncl ecto he concentrated percepts experienc. Thee canes a pinay nal «in rg. Bu th representational hry af aes ele etch oy mle calc, Tor a we hve aed ne, throughout the ages provider an ate ad of sumer eases based in the pleasing play of forms, representing, nothing. " ‘The neo-representational theory of art Nether the ntaon toy of at othe ode pres theory of are appears suesfal. Neither gives usa general Une woke dts say peta ere et ‘ent ration nib pectinenl ean eek a: fru os suse couterxampes han reds We Sina ssn emerson ene eae we ‘nastbeadmied ha thisns brefamimamersne etn ae Sin ain rere coder inthe espa sve The never a ene akan nny ation waste ee aks inet aba meting stim mesa eg some commen Norn at ori ea ae ing ape akc ore Saribncty he toy nase ‘isan artwork only fi is about something his thn cane epunded by being ore abut what sina ‘in being “about something.” " vest Si ark ly hv a abu ich mes some comment abou whi it sys something of cape ‘some observation). ™ " " his notion might also be stated by alleging that in oder wo count a art candidate must have some semantic content. Indeed, iin wrt ofthe requiment that all aeworksporssr semantic content that we cll this theory neo-represemtaionalism, since the concept of semantics and hat of representation are intimately connected, ‘According wo the neoepresentatona theory of art anything that i 8 workof ar necessarily postesses the property of aboutness it has seman ‘Secontent thas a sujet about which express something. King Lea, for example, has a subject, governance, alwut which i aye something a house divided shall nor sand. Likewise, Paasso's Guernica about ‘Something serial bombardment, abou whicht expresses horror Pothape the easiest way 10 see what it attastie. about neo representatinalism st note how handles sme diffi cases of tal frm art One genre of movern aris the readymade or the found obj. Marcel Duchiinp is a aume ofenavncated with this genre. Two of his ‘more notorious works are Fountaivand In Adoance of Broken Ar, The former isan ordinary urinal: hele ies snow shovel. These a led realy or found objets because they came ready off the fctory ‘ssumbly line: Duchamp dd not make them eo to sek, found chem, ‘Though today there may sill be some people who deny that these seadymades are artworks practicing artists cis and ae historians reat these works as ental moments in wentieth-entory art Thus thee at least a prima face eve for regarding them = artworks Bat assuming that they ar arworks a pazale aries If Fountain and In Advance of u Broker ‘Arm are artworks, why aft things that Took just like hem ~ ordinary Urinals and snow shoves fom he same factories ~ artwork tat Duchamp’ eadymades are perceptually indiscernible from thei oxdin- aay, val-world countepures Yer we clssily Duchamp artworks and their ordinary, perceptually indvceble,rsl-worl counterputs in terms of radkally different categories, and thie hat important om Sequences, We donot stand before ondnary urna contemplating their ‘meaning nordo we store the snow shovels in oar garage with velvet ropes ‘round them to nvr hat visitor maintains proper ditnce fom them. Why nor? Why do we teat things that loo exacly the ste 30 Aileen? Because Duchamp’ rendymades are artworks wheres odinaty urinals and snow shovels are ot Bu what propery ot properties do Dachamp's Fenéymades possess tht their iacernible counterparts lack? Here, the neo-reperetationalst advances the tantalizing hypothesis that Duchamp's teadymades owes aboutness whereas their ordinary, erepallyindiscemblteal-world counterparts do not. ‘This argument shat i called an hypothesis to the best explanation — that is neo-epresenaonalismn offers the best caplnaion of why we make the awesome categoria distincion between Duchamp’s ‘eadymades and ordinary real things (the former counting asa the later pot and inasmuch as neo-represemtationalism isthe best explanation, we hve aol indie ground or acing By eng ibs xa tion, neo-representationalism reaommends illo Bus what docs it mean to say that the readymades possess sboutnes? ‘Tha they havea subject about which they say something For example tt istorins often maintain that Fountain andy Adouner of Braker ae about art about the nature of art= aout which thy insinuate thot actworks need not be literally rated o sculpted by the ebro te whan (the rts need not iterally Bean atic). This ew cantats with nore sancimonios views fart which regard the artworks viraly seco spiral imprine ofthe genius-artst Or it might be aid Duchamp sakes the theoreti point thatthe esence fat is nat manual labor oa In audition Fourtain might be “read” sa parol of scpltce-- ater a like the monumental fountains that grace great cies irs fashioned soe tet replete with runing water, ln shor, Duchamp's readymades warrant interpretations, It makes sense to ask what they are about. The sorts uf interpretations seheated ay the preceding paragraph answer that question. On theater hand does not make sense to ask what ordinary trinals and snow shovels ae cbr Ondinary urinals and snow shovel are not about emything they have wo Semantic content they are-mute ~ meaningless Ifyou vend ts yoos driveway after abizan, looking a your snow shovel und asking aici ‘meaning, people wil suppose you at either trying to aod clering off the snow or that you are a candidate for inatiutinaiation. And you stand in the men’s restroom contmplating what the utinals expos, youll probably get arrested, ur behavior then, conrontng eadymades versus thee indiscernible real-world counterparts is radially diferent Wik radymatse ne yes same that it iscorec and appropriate o interpret them we presume hot they are about something and that an spproprat response then eae determine what they have 1 say” or what they ily concerning whet, er they ate about, This not she approprate respon To ony Urinals and shovels Why not? Because the later are ot srtmorie ek ‘therefor are no about anything ‘The neo-repesentatina theory of art does a oodob of explaining the Aifference between sendymaes and ther perceptually indiscernible ea ‘world counterparts. Ths it solves an important eontmmporry pablo Butit is also proposed as general theory ofart-aboutners snot ampyg necessary property of readymades, but of allan. So the quecton io aenerlzabe is aboutness? ita property of allantworkst 'Neo-representationasm maintains that sboutnss or semantic content isa mecesary condition of all artworks, Clearly semantic content ora etoe of nly areal, Many ober sort of things rm sermons to ‘Store foyer haves jt ot hc yy Something So abou not he nique maroon artworks Buti nel oper hat ang har an ato mt nn (rote hing porters we «Ge way to angus rhs cousin is oben sith emi ht all anovor require interpretations When one Tea tcc oa fry bak very fo hare ae ale meres Icienaura to presume that ell aewarks ae open fo interpetatin snc that wha pope who ae exerts abo at aye sem todo oth frei tty ttre then Bat anything lls ran sepreson then surely must be abot something “mat sy something hve !ncaningo poses stan comet is ach sees ul nto te ence or the dfn ofan epee- tanh re etsy sd fimepon ha eee of interpretation havea subject abou which makes some commen. A interpre a the peta ofthat content Anything ht rly caren an inerpetaon must be sbout saneing oer would tox regs an interpreatin, Why ce wool eqieaninterpeaon, Calas wer about someting? hs srt fe laerpeetions, then they mist be bout something This lls rom what to be 0 Stated formally thisangument mina hat 1 Allartworks require interpretations. 2 1 anything requires an interpretation, then it must be sbout something 5 Therefor all artworks are about something Howes ronal te neo-epsematonalet on argue ht along there lines rely con the tess of nent eee ‘ie ach ator hate seman comet They ae shout ene whose point is that artworks are rea things by sirmp : sie by saying something (by aking a pou) tpn ely wetter ertea oe ec oa heen snewsry aur something Ths nen epeenenean {ine by aempting to resist interpretation forthe sake of dilning the "epresentationalism actually count in its favor, * hinges though he thinness tn rer oe ena yo vobot handing as of men a. Much moder a's about th ature clare eg eH see ‘eutement of lotr Of cue nv all en a wees ature ofa Sune moder an is occa with nemsloe i ‘pti o pyshlogial mate Bur nenepeena ci a ee 20 role with hee works thy sine heya ae oe ‘even in cases where the artworks are abstract or nonfigurative. * “Moreover neorepresentatonalism looks ike can des with a mamber ofthe other countereamples tha eset the representational they a at ‘Mach music and architecture that dos no stand lor anything neverthe les possesses expresive propery. The Pentagon, fr example expresses strength and substance, while some pure orchestral music ores us a joyous Might we no say that what hese cxamples ar about ~ what they ‘mean what comprises thei semantic contents thei expressive content ‘tren on the ane hand ond joyousness on the other? “And lst, with respect to decorative a, the neo-rerecentationalist wil point oat that many of the seemingly abstract chats om a wos Flom remote cultures are nota all rly meaningless, but when Understood in their correct historical context, they Wl be seen to have religious or seul signcance. Thus even art tht is allegedly merely we unconditionally recognize the fe truck n art Bocas sr but ts being reds the resule fan antesfent sil cde), 4. Conon spt reresention, Sometimes we rengize what is ting repre oly on clon tat me sad inp ha eg erste. One nly oni th psn sheng Pin the inser she ply win the yin Hae ules needy os shtthis ht he pay within lay epee eps One eta his whe intended 0 be repented ote es we ews pk wp wha the terse abscess sand fon But st inal probly, would be ss without sch ante inowilge This nt a ese of unconditional sepsention, se we won't haves clo aso what ng on without bong tld by Shope). ing fol here in fer hurd cod for underage ‘epvetaton However one tl Ges ane conti tet ee tse out nate reoponal pow fo dedpher the acre dase pone Nor thi ese of lec represent, snc there i ne pre sublshed oe for cor pong deme The asa prowes by intaton not by sly code sling Uesegrapiel sae ‘peetaton of coe coadnal,sfr adept ‘xine of aco bt mal snl ssc repeenion ne be les sins in many ce can operate by ensign tang sonal ais ome teh eh seid cts of Wht ‘pet es wht ob ning fo) Brahe eve of snd spec npresention can nol a complex ineay of cgi sles tung natal secon gry feaite that we know tha something spent ene cree PONE isbeing represented Ina oes oe 4 Conditional generic representation Seo ean NE eet. Hee he pect abe det ial ing cpet ondton hho a For example unless yi kno tae ey marying Simply knowing that an attics smeant to be Suu are nt tad exacy what represen ea sean ‘ral egnitonl pais or ingen nes bi our of strict semiotic endes, along with ather faemen non ‘eproony what the repeeaton ere a specific, intended meaning, esenaron eae me heen ci pci penton nano Se et oe henley rac inion by laying charade Inayine Remsen Fem Bing ich sea dig tl tt She ew dh ya NBME Seo members of Tas & know the sying ae ne Sake he fests ae intended epee trying signal Her fellow team members, however, know on sharaes, they might nor thin iinet Ha ti he tig represent something hey try todetrmine what, And they ae quite often scl athis For Team By their teammates gestures are regard as coniional eerie representation a the same ie that for obervers from Tea AA they are conditional specie representacons. Tha i members of Team B dsamsjgate hee geotaring om condition that they psu that something is represented, though they low aot what beforehing, For members of Team B the charade isa matter of conditional generic rope ‘sentation and, alerted to this they use dhs understanding ae frame work for interpreting the aray exploiting all kinds af sles to infer What is bing represented. Team Aon the ocher hand, knows wht is bing represented aheod of time. For them, following the charade is 9 snater of matching gestres withthe saying they are designed to Fc. They know the solution tothe problem thatthe player fem Team B is laying to cack, and they we that knowledge to apprsiate player B's Inger. ‘Cleat, the player on Tenn A and the players on Ten B ar engaged in differee cognitive ass, which we can characterize a responding 10 sondisonal sec representations on the ane hand, and responding 0 Conditional generic representations on the ther. Moreover this = not Simply» mater of charade, since artwotke can exploy either sort of representation as well Honegger's Macife 251 and Besor’s Synphonie Fvastqne are examples of conditional specie representation, while the thunder ia Beethoven's Pastoral ie more ofthe nature of tonkonal aenerc representation (one would’t hea it as thunder eles one knew thatthe pce wae illustrative). “Though these four pints on the continsum of representation ate not eshaustve and though they can be combined and melded in potola {ase in very complex ways they nevertheless are helpflincharsetang the typical ways in which diferent artionms ~ oF grape of aorms employ representation. ll the ars including painting sapere theater anc, iteraare, photogrphy, ln, vdeo and even music can employ all shese categories of ropresentaton, Ie ot the eve that any one of thse categories cortlates wth land only one artform, However though tech ofthe relevant arforms can employ every one ofthese categories, particular artform ~or group of arforme tend to enghasize oro ely ‘upon certain ofthese atogoies more than athers. This, we can enlist thse four categories to begin to describe the typical though not the tumign, representational pracies ofthe deren artform Tor example ii tre that dance representation ca lino al of the fourcategoies and ieisabo tethat representation inother arora can insansate each ofthese categories s well And yet does seer that dance relies on some ofthese categories more than the other arte do oat lest Tener boring a of rma names (uh lg theaters movies and TV), ore otrting dance with thet li and TV dane aun wo, rely tarda and thn do he lmand Ths See {pees doesnot employ cepres sans re employs ins enat hor mor than td cence TR sesh dna: weknow it docremply esse ant Ne eee than the dminane forme of thee fie a West cular. Indeed there artorme ly ne exclusively on category cae tet epre ftepraenion en ssa eh ee TRenepeseaa ptstttind seis property neg camensl man between dee aad cre go Fag i tt ind TV gy ‘a 2m tan argent yr rece fe Night hey may xen ley one ce cal Tren, Northline main he rin ae tat 3 os aver ee ee Sar ie gy aero fe on AN pel onctpices al pre 5 to whih even minarets ne im mati emo copying sg repeats tly wheres mamta ie ef [Thus theteiss proportionate diference bee the choice of represen on he oan fetes dnc onthe oe and an he oe sans ne DS hy mere en cool pres am rae they do But wha of muse? Though thee en repre: dime an ns when there proc Saami hv on coniona renner ey 2813 Re gar thre no dierencebexween musi tal oa ee spect ‘Heeerienations means oward which hey enn sn dag nce uss uncondontreetaton more han canon gmt din fers tm that im od Pog ae salar rms of condos psenaion iif 8 son neem wf uncondional pene Cheat on unconditional presentation imand TV distinguish temas an ae fer Fom therein tempera are tere seta end Te sino exces ep don any meaner dependingon har cage Tend mane st at dso fr hat mate hae ee a TVeand muse yon non poet tee fimanl do ey fo depend on conditional ‘sprang is apn {Ms he noms tos mod potay ioe deen coins) ar perhaps cet danethantey aera vehi in TV. Bur one suspects that they still do not rely upon con = oe tion to the extent that dance does. In this regard, these a {pr to fl somevhere Between dance n te one hada iin the nd Toto nin eon traps on unconditonl versus condiona representation tated alganother dimension ha of ener versus movement from ‘Resmi ngsetat pacts ec "painting doing scleste snd photegopby can be ding ht frm toe dts ihe) tls on ee 7 whereas, in turn, they ase lexical representation far a icra doe Ths eno nels th fc a here we ore ten rat es port iy ar Shoei Aston! tendencies tows which omy ats Her Sur icr we ad epee Nese wt sane se wt os rennet a Se ae sien wh they ees ne of ea feel peri eps ey Ser oe Sens at Chapter summary i an endring one. he ees ion of epson tat cn shi apolar proton roth feet tl cm dw a shrink tem nf eae ech Sains fe ae tod wna sary rendre hereroomeonal ery oles while alo alerting cheats to he fact that it had never relly been fully comprehensive, However even lf he representations theory of artis alsa «general theory of ari is sil the case thats lange amount ofthe ant ath aie wear familar is representations. Though no all et i tomcat Dulosopy ofa This is peshaps most obvious with respect to pletoral includes not only puining, but fm, photography, video and TV. Aen lage portion ofthis chapter hasbeen spon dsusing pend "epreentaton, which, we have stagese, best aalecd by wha ‘ald neo-naturalit theory of peor reprenentauon Sil pictorial representation isnot the whole story ofthe ration of att to tepresentation, sine there ae more kinds of epesenton tgs vs tonal representation. Consequently, we spent the conciing seo of {his copter examining the variation in representational prc: roc thears We noted tha cach ofthe various as doesnt poses ngs farm of epresenaton, Each arom can ep these page of "presentational strategies that the aher arts an, Whee thee afc when they dif with regard to thes representatonal peat ie trate ofa proportionate ference in he way in which coche ag ne groups of arts ~ relies in varying degrees, upon aesae cesta ok representation Annotated reading Studied retin ering the dasa npn heen ofan ‘held om Boks al of a's Res and Aes Te eae ‘he ate ft ine at Pa Our Kae "The Nes spn Spite sey onthe is of deen cea by ee Ree Uestyf Raher Pet) (ne versmal hen Presa 39 Chaper or annie oh wp pr enti Se Men Bele, Ar Eien Psp of aon maps nan ado ae ERE 28 Cho Th fi cher at Nao Gos eet Unto Hike Paling Company. 1978) mle powell teh {eptenln thery 0 pera epnin Sees Coes fas ‘say on Pr apeetaionCanbrige:Coige Unsere Pn an atm pein hen stra hey SES ETSIA ol At rc ae es She Rys Sra on Solo, NE Pon Gay Fos 80, vi ave ool discussed pital representation fram the perspec ste eth pe aes awe xing hing, We ve Sot SS kr Sais ate Sieve CHAPTER 2 Art and expression Part I Art as expression The expression theory of art Objections to the ex; Pression theory of art Part II Theories of expression What is expression? Expression, exemplification and metaphor Some problems with the theory of metaphorical exemplification 's expression always metaphorical? Chapter summary Annotated reading 2 Artand expression Part . Artas expression The expression theory of art ree cing very broadly, the emphasis in imitation tnd the actions of humans. a loose sense of the word, art was character~ ann the West, as the eighteenth century dissolved int ened Inward they Boca less preoccupied with capturing the appearance of peormcente = od to register their reactions ~ the way they s ceoaatin ieeiein ea ky mre eu cn eo vm cgi ‘The world is presented fam an emodonal tom an emotionally strated point of view wer he ned! prpets of he nny ne sich it svt natin of rprsenton of he exc ees ee he resto of an ine jie no ieee BS mn ad i fh Adin me of al eo seeegee's lke Beethoven, Brahms, Tchaikovsky, and others came to be requrded the Projetion of powerfl feelings. * * ss tamncn prooundly tiene te eof sul lin he shadows of Ramune Fea desea ace to the reigning theories of a sclera on shisha ha been engaged poco reanialy Were not Shspene ne xeric! That both new (Romano ad he ee se lind of comprehensive shen one ne av come othe fore Representational shore ofr teat the work of th een ve the work ofthe atta ain to a et ahs ae van Sc se sth sentry any comparison bees ‘he scent and th ati war ound to mae to ee ee ‘aon in srms of making dover var the neler Relies er pont Hee enced he cg So thre was soil pressure for art to come ith some w tha bth distinguished ise ram cence and ath oe a the emotions was partalary stan scene is awn ~ the exploration ofthe secre Seid et something comparably inportat frat todo toeapons he a tt of fing sence held the mip 0 ato a rnd a mimo st the rlf and expen iy the beginning ofthe ores century the philosophy oft was rcp fora ea hang Frm purely intel oie of ew eres ‘Katona oes ofa were de to Be eek the iad aa {Beare bth recent and poet ~comipechensisy- Moreve i stating Seine ame eau lec they made tse pine for bles" ‘Shee Conseuenly, theory, proce and sacl exigent al onspied © ‘opuve the awed ory toward expresion pilose of Fhvoughout the twcneth contary many diferent serion ofthe cxpresion theory ofa ave ben propounded Ut masonry, sch ‘feos were probably the mow common approach omer At oral Crpresion heorce mins tha something rt ely I i expresses Shvions “Expression comes fom a Latin word which means “rein ura — as ome squeeze the jue ovo gape Wht expression theres cam that atest inven bringing eng he Stace bringing hen outward whee sey cn be persed aes and Si ea tat sheryl y Lo Tl, shi fxn aor a oh Imuneivon When expres myself o youl communi e you OF {Durse not all commision i art So how doce one difference ‘Reon an apis communion anothers? Acorn ois ‘ltheory, what marke artis thts prienany concerned wth the expres Sin ore emmuraron fern, With wan ane emotion ate isexeraazed ir ibrought out no the open andtransuted 0 viewer ‘eaders and stoners Dat how ae we to understand chs noi ofthe wasn ofan emotion? Basco ies ofa rnamision the congo teaser To ‘rast something ito anter But what does an srwork ase? ‘eondingtothecsprssontheonit whatssterredsan emotion A Stibrlonks ata landeape and fens gloomy Then she das the adap imsucs way tho the viewer experiences the sme sn of glonmines= “The art expresses er gloss” here mea that she ha a fecing of _doosnes which she conveys tor inti hr auc by rowing “Ts conection of exesson involves eve things. tthe ait smusthave sme eling oremoton Perhaps directed atalandape meses. a whats henson cl ‘heen sory far re tha the ast experience some emo= nal ie Tee rent te bagi al ak by tying to dnd some configursion of linc shapes eer Bonds actons and/or words hat ae appropri oor tht "math hat seine senate Mug smectite rem sadn craton tht sae Son mrad the setesame eng state atte aren ane an figurations stimulate the same kindof emional Sappore you tar to kink abs a Spee about sing your own fb since ino edcammon workplace ~ and you fee ad ton, a "ng sados and my behavior ne you fae a ke you fel my pam mo am pst but is natn When nants express ho sim. She wns cour in the open where everya hewele on rmemplt ther Somthing i an awash eee Bee in 4 the sllnme a wht of greetings cas? ondlenc {Eau a the Btn of wring than an Sane SCE gt emotions Ba hy ae ery geen ean el joie sanufcrured and sald on a large scale. ‘They are rather reps the pol whosmos te la sre wsitate wal thm wore of art ale he tsp bce she emenins sey communicate are Daryll shh vale on he aaiton acd ee Uakthe spovoal exeeneconeyed bye gra eg eine mraz ering for crampte to any del wee i ‘psc nocd Soe as ald ova a eal and motion thie the arnt wor of rt is an intend eansmisson to an aun ofthe sesame India mtn tat the art expend Ths sll not yer an adequate dfn of art fr a cvious reason, Suppose tat a pine resives an eicton voce whl you ave viting Kio Hee san of red uit and opts ron he wall crs profsely wile he rst He's angey, ad his anges pety specie 1s dtcing the all which a wel-cose at for hating la lord and he expe he's sting abt th onl’ weg vera proves ethic bskground and om sel aor vo the ond, nd not jc anyone Imagine tat we are ned wth he pier re toa island sth episode e of he pines aor? “This seems unl. The expeson thet of a ype ies to plain this conclusion by saying that there tinction beeen the {ttc exreson ofan ction end the ee venation af an neta ‘seis not tera rating een four ong inane other the same way that we el enraged We ofen vent our emotion to loved ones sth comet share ou sd Ba this oe art Why nr? ‘An artst exis her emocons tao spy tht she spsessed by them. orth ats, her emotional state kth ster wh poss ora pore She stage to ind is texture an it contour As be reece ton heremodonal sate her acy contol, She explores ei erate and aempts tnd us the right word or elt or sod 0 xpress it Sherr slernatvs ake oa pce sh op franc word, tu then replaces i wth another which fete topes how se fel. Making wrk of ars ata matter exploding venting or sung 2 prt of cto. “yp am arts begins a wos a pass. or pining —with an inset, bu neverhlese age fing She rest bg th ling ino sar ee. She wor ringing into cle fu ary she secs this by excermbzing i by eerie with ifferen ays of expressing 1A dana wll cme sever paces» paner steal ‘shee, composer several hard nd then stand back ho ther, inguiing wheter they are righ where “ight mane “do they el fight” odo they gst the emution exact righ?” Tipe carn {he emotion fr the ait atthe sane tn at the enon isp ad Inks the a's cokes “Theat working through the emotion by striving article in her medium The ats doing what al So when we ack ules what we elf abo something The fit ew seme that me ter ima be vague and igmentay, Dt we esp ving te stig wo be Imo accurate and prise Sma, punter is mrling a te sume {ame only be sing ines shapes nd cols ater tha words What ‘lori my emotion? ie jag or smoot He tis one hie kt then shorten The punting i under the guidance of eh moto SR tis moe dei and eft so dete eu as Justina way of getingat the specific emotion away ofc ae a Hay of laying what the ares feng ang wha iis thing phrase or moteents the may abilon inc fom dient angles and with diferent toda a * psx thes od te sae For eames in hs Sones EXKI (“Tht sine. inh Shspare cans threo ee rem lr ved nbn ee hs oa Ofcourse the aninced ote oes not experienc he namerialy seem: ssythg Sheen an thin the bund as stared the same cll emotionype Marae neon always new emodons at last emotions more cartel src tres thin we odony do. rr nals nad nee ia spon a postiies. So, the notion of clarfction needs to pe eae the expression theorist’s account of art Let us say that somes ‘near only san inde wanminaon wana ne “Kean ge thr eran ed wreuless to say, an artist might clarify her feelinge just eT them meal Tht seat es ent han ennn cra ctional state simply by thinking about it on thon rlthecned bern eerand tea er crasssion of emotions be scued by means of line shapes, clos trunds scons endfor words This guarantors that an atrorka est in principle, publ acoonble that i embodied in some publicly wees [Heme ret seul note chat ther than stating hs equirement in sea artiste mei has Ben stated more Brady in ters of pub lily aces media ln colors shape sundae andlor words ‘nk ey dn mor a ery chon ee ceresontnorit is rying to debe at thas if the exrerson theorist Seton: “rt” (artic maa i the definition, ee suming she very Concept eis supped toe explain Likewis, the expression theo does nt 4 riniom and canton must posed by means of mst, Hare, Sen any hy arn ne ay fang se tr reveppors tht we havea wy of pcking owt rforme porto ding, {he non of arts Thun go evade relay, expresion theory ke “lst, have attempted to characterize rt by enumerating the relevant seis for mating ar witha in the pees nvoking he conc fa tthe excl a imply. ‘Assembling the presen considerations then, we ain state oe wey representative version of the expesion then of at relay we the proses of rane x lsaworkof a ifand only iis (4) an intended) rans: Son to an audience (3) of the selfsame (type-ienical) 3) Individualized (5) fcling state (emotion) (6) thatthe artist experienced (himseli/hersel (7) and dantied (8) by means of Tins shapes color sounds actions andor words We might allthis version of the expression theory “the transmission theory” Beas requiem condition 2) thatthe cfd emrtion be communicated to an aunce, Another version of the expression theory ould be obtained by dropping this requirement llsng tht something is an artwork as Tong ae it involves the daiication of an ention ireepctive of whether iis intended to be transmitted tan sudence. We ca ell this the "solo expression chery of ar” since t maining that Something isan artwork so long as its ceator has cared her erotonal ate if oly to herself) by mans of lines colors and woo. The tans= mission theory andthe slo expression theory are the two most widely Ascused expression theories of ar "Expression theories of art seem superior representational thesis of art They seem more comprehensive Not ony are they beter sud £0 {ccomnmodat the subjective stylistic of mach advaneed a since Roman~ ficom. They pertain generally to art of the pst. Romanian called our coon tthe iss portion nthe creation ofan ono ni het es ein of view oward his subjce Romantinny Sith ely Bn no rea subjective dimension of its own creations, cere abies pare * possessing these fearures as well rove meres se pa haps arts inthe posta hough hat relly. Balin hindghe ter Romane ses a ‘Beas tha the work cane inser ih poms ease {toes flings and emonons owl tay eben mae corctametan meh all “ow old te ohare hae a mck seg ey nr ay ofan omanticar hs apprnch wo mut fo empl 8 PS = al and representational theories of art, of een pce shes musics eapresive of elng cy artwork ~ to the fact. ngs emotions and/or sts with 9 ‘explores the outer work! of ing 0 the expression theory, Iiasion comparable e0 scence If scenes ature and human behaviow at, acc Objections to the expression theory of art ‘The tansmision theory says that something san arwork only if 38 an intended transmission to an audience of an erosion. As we have ttsudy seen. an alternative theory, the solo expression thay denis that Instlling the relevant emotion in tudiencess rire, Thus, an obvious place t start our incerogation of expression theories of are to ask Whether or aot intending to make a work fran audience i 9 nessa condition for ar status Te solo expression theorist args that one cn make at without hav= ingin ming te tention to communicate to an adiene One xn make 3 work of at Fr ones Repu, Fran Katka and Emly Dickinson dd rot want thelr work disseminated pubily. Cant I make an artwork = 9 Picture say~ and pur itin my coset under lc and Key, thereby ising ‘har no one will ever see? Ts any less an artwork for being locked aveay? And wha if a5 son a Tmade my picere, Fourie Surly isn ‘rok since if Thad chosen t show it, everyne wold say so Doesnt ‘Sem arbitrary to ay that tf not an artwork just Because no intend tex tro anyone eee? ‘Aer al the picture uneabibitl isthe same athe pcre exhibited ‘They are perceptually indiscerile If showed i towers, ehey would say "thar are” Why shoud the fact chat Ido not itend to show ie nyone ose demote i 1 the staus of nonat? That sounds rather pe ‘Sous This how the solo expression theorist might argu against the transmission sheorstAndif she sal expression theorist right, hina argument tha anyone can bring aginst the transmission theory sated in the previous section The “no intended audience necessary” argument ill seems right. ‘Surely a poet has madean areworkevenifas soon ae he writes it he shreds it And ithe shreds it immditely he certainly appeas to intend hat no fone le shall se st that iti no for the eyer of any aon But, appearances not withstanding the poets act in witing He poem may Sul at leas in one sense inate an intention to communicate 10 others Tn chat sense? Wel he poet has written his poem in the word of and Inaccordance with the gamma of some nataal language Thies is per publicly accessible Were sameane else to see his poem before he Shredded ior pasted shack together afterwans, t woul communicate ‘The poet has made his artwork inan idiom that by snare i acre co others ~ thr is invended to commie to others By odoping 4 publicly accesible medium, the poet shows an intention vo communicate Since he hs chosen to make something that is communicable. He hat rmade something designed fo an audience Even if he docs not want an acu audience for his work, fe hae made something that in pence, invites an audience. Both Kafla and Dickinson wrote works that aences ‘ould have (and do) comprehend, even if ‘2a have (and do) comprehend, even if hr authors id not want shen ras Something designed for public’ consumption, Thus, at best, his Scrum! oe nd sen than pune Sot fake Neel hemes also acted itetonlly ~ in dhe language to make something tat in prince pent ae ‘hats avsbe ta pena aadence,P* Sommninble nai ethps this may be enough to save the unc cond ansmision theory which in light of the preceling sn oe only intended i principe frauen ‘tial existing guiencin mind, "NO PMY ving any can fer maybe unpre by th agunent. est Ile median age artist in question is employing some publicly access. ‘Berman ngs o pape cemin cine gehen lating. Thus so te argument goes n mobiing soe ‘ne men the a inp airs an sent on ential audience. But, you may object, what if the m coder op thar ven the posty of an ance wre eee Alec ico ply inan dala a prac ngea ‘is truly incomprehensible crema ene at imal, quotient of public accessibility. If something created by oo se vlcyuninetigew anyonc ca why noid onde e an arework? Pethaps this is the crut he repirement ie ther would be acesile even tthe pce Hon ld he ART AND EXPRESSION real what it euly mean from one reading to the next his language rere genuinely private? And ifthe oem is acesible vo neither the post horanvoae es his composition realy eve a poem? Language is in principle a public ffs and itis daub that dere could be a private language of words of images, sounds or shapes. But fone the artist deploys a publi acessible medi, he works with the Sntention to make something thats atleast in pinple, eansmissble to tm audiene even he goes onto destoy it (Of cose, even if she ats destroys his artwork itsmight stil besegued thatit was not only in principle intended fora porential audience but that italso had an acta atten namely the att himsel Foran artists not nly aerator, he ks also the fist audience for his artwork. The post typiily stands back from his work inorder gage se effect Sra, indoing so, he become ts fist aulience The oe ofthe artist and tat of ‘he audience are intimately linked and every artist is his own fst dienes “Arisry requires that che aris play the role of audience member in toler to proceed inorder to rete ard corset her work Shei hero First eric apd tobe slf-ctia,he artist news to cake up the position ofa spectator. Ths once we remind mirsives thatthe are herself i alo ‘soenilly a member of the audience, we must grant tat the artwork Is ‘mething intended for an audience, Tesheve arguments are correct then the transmission theory shoul be prefersed over the solo expression theory. Art must be intended at asin Principle for some potential audience However i is not evident that the Sher conditions of the” wansmisson ‘theory can be defended as sce Tr addon wo requiring that areworks be intended for audiences the transmission theory also reine hat artist tanenn the sels el ing that they've undergone to audiences, The artist must be sincere, There ae wo necsary conditions here. Fist the att must have experienced a {ertin emotion and then, she mast rans ast shat emtion wo aadl- fences Let ual these the “experince conton” and the “identity cndi- ‘hon respectively, Areeither near condtans for being an art? "The entity condition does no sem very saisfactory, Surely artworks «an arouse emotions in aiiences which their srestors donot feel. An ator playing lago intends to iapve hated for his character inthe audience. But he need nor be feeling tre toward lago in order todo so. Rather he plies various acting fechniques vo rouse the audiences animosity the Actor were as worked up asthe audience about lgo’s nastiness, he would probably forget his line ~ or maybe il hinsell! Actors and thei adi- frees need noe bein the same emotional sate; indeed, often the ator ‘wold destroy his performances he were: Many (ment) actors ar 0 busy calatng he cmotional te on th onal ston th aude to emote genuine ‘Hemsles So the Ment condtion dos noc apply universe J coy in many gn li pon tt ee ee in cea ns sche ws they dS se mee employ eran ried and uae mate re oe reo ning anny in aude, Top the radar hee ‘th ath ne only deploy clr nshe age a fe supenicaherachtsupheouden sapychenteeene eet ths fel amuscment as he oghiens the ace bushing hase wut cid of eben that he wold mae dens wep [eimprovistion nly to lghst chr fly and taverns sha. he arstnd thane orf ge transit his genuine ekg a ing x nt an ars that bets pee we he deny dim try Bnton vas T's et a world of possibilities. ee es problene with the ns condition alo pine she csperen condition snc they inte tha ene a nd feelings with the audience. They: ‘might have some other feeling = _Blee rather than suspense. But, in addition, it may not be the case thatthe C. has any feelings at all when creating the artwork, “thane ohn fay eres suing emt es er of pting alateltom ough teat nom foe anything atl let alone wht hese aside ea fe tar Ths kr to bea work of at hearst med ee semetions at all let alone exactly the emotions felt by the au lence Hertmidhbcobeseltaccvnitnondt tian need not experience it while composing her artwork, t must be the case that at some ie or aser the artist must hive expernced the relevant 202 of pity. But docs this realy seem necessary? Consider horor: Imagine a horor write Perhaps she has never been frightened by a hore story in eri, but she knows how to Seas thet people Surely this i conceivable. Andi is equally conceable that when shedoes what she hast do to frighten readers she dos ot ugh up he Sleeve To her i’ just ajo of work. She may think thats pela eat ter peopleae frightened by her stories But she does anyway. She has {0 pay the ont she hs to feed the family. Likewise, why suppose that pychopaths can’t he festive actors they ave often repute ob able 0 ‘move people but purportedly they fel nothing ruil do no good to say tha felingless ares cannot make good art oF ‘von that dey cnn make ara al That remains to be seen ona ese byrcase basis. Thus weannor necessarily ral out of bunds the posl- ity chat cere nigh be ome works of art tht alt met the experience sonton. OF cose the propanent ofthe transmission argument may respond that given human nature itis impossible that an etwork be ‘made without feeling since humans are slieaysin some totaal ate or thers, there ie mo sch thing a elie arti. But this s problema or several reasons First, it de not seem true thar we ar abways i se emouonal state or other an thus there 0 reason to predic that an ats s aways in sore emerional tte Ye even ifit were thease that an artists aleays in ve emotion state woul not help the ansmisson theorist much, since he claims not only that the farist mustbein some emotional state, but tit she Bene in clarfy= ing that state, However an artist may be in sme emotional state while composing her work without being involved in tying to dari that ate ‘She may no be aware that she isin that state. Or singe may indeed be anxious about her taxes and perihevlly amas of hiss she belts out 9 happy rune, bt she does not diel on i, and, horefor, des not day i. 'Navonly does the clit condition impede the preceding defense ofthe ‘experience condition: thas problems of feo, According co the tran mission theory, artists essentially carly shee emotions, They do noe serve them up raw But this doesnot scm te the ait of alla. Some an like Beat poetry and Punk Are appears covet pure anrevised emo {ion ~it aspires to eal hang ou Iris the tls pupore of seas that go mine the emutions of he ait a5 lve to the nerve as posible Revision might even sometimes be thought of a dequalifying beayal — 2 imarter of selling out ~ in such ar But then clarion anes be & recessary condition of arb af there are certan creditable artis syles shore it shoulda bein [Nor ate the only counterexample here af rcent vintage, Reportedly, smsions, Symbolist Ar ofthe te nincceth ears Ket ea length. But che process cannot be elled one of darfeaton see ere 2 aon es dss fo ahr enone of he nasa theory as well. Since there nced be no single emotion that gives rise to che diverge frm those ofthe authors who consibuted eo Exgucie Conny -asey challenges the deny condition ofthe ansmissnn theorysabte ‘dtsonally since none ofthe authors of an Exquisite Corp nee be in ‘condition underinclusive, fees Sa affect They have done his n order 0 reno hems in imp Says Kom the compositional prowess ‘lawori works of thet oe rede a ar But hse works re at then cannot be tre that aawork mst be tendo ans the Shon of hake ten ns ating or STgue are dengned to factor ou the influence ofthe ass emotional ‘esr. Chee rls she than the ais subjecveexperene ‘Shem te final shape ofthe artworks Aleta works afar ate desig {Ethan expression nthe sens advan bythe ansmsin theory of Stealer ecdniqcs callenge he nsesaty othe ent, expesece Sn lartcaon conditions of the tansmion theory whe als at the Siete jing the onthe har tends rs ant re-itermuned by her own experince Her wn experince hasbeen {akon our ofthe proar laorc tei are adopted inorder to make Sy intention tcommunsate her expense imposible plement "kording othe anemison theory, the emosons communicated by rivers ae inde not geen From oe ayo the next 0p “yess serve up the same sentiments — another ese sie sme ‘hiring cheer and we av sadn she une way toy tat we were Seoverday fs downright monotony virealy routine Bar genuine a Te bee, explocer iliidualed emotions The complex. feings geerel for the mother in Toi Morison’ noel Beloved te Hel 0 npn for mot eae UUnoubrey thee are some works of ae that explore uncommon Iighlyindividlized emotional sites Hower overs the as presume total ais eth For enuresis pei the ae of Gras the Suc Hears Peshap same managed to exrss thei ove Tiny iniidualiedfolings toward Joss, But many more pebbly Struck prety much thesome reverential chord The flings of Eth am truniaed by these artis though probly sine nevericlessareaten “deed the patrons who conmisioned thee works more of Is cartel he aso msn hind wean ere tay “promise ts Christianity. Such wrk are numbered song the ars ePocur of the Won ot ave wi prt fing inl ize lee routine than snp pers Thy aay gener eof rene valve than soap opens but ot becouse they tae se emovins that ar es enere ine sch amples are des aeons aot be the ase {nriisernecesnry coition for rst a arr ate sly n thesat of midland emotions tt iteres nso theo “fat artworks explore highly Indu eroas ia realy aired Fare of cenin genres sch as modern dram. But it 08 ‘Mfatre falar The Mahebharota andthe Reryana pie wit mission theorist mistakes a good-making fe ome aos oo of exces for diferent atoms, bt same works that ae oeloree same time defy Wa at {Bother problem withthe notion tat artworks ast communicate individualized emotions thatthe very te of mie is very slippery and may even be incoherent Mest omen sae ‘nyt cn Sh cs mnt en cons ae genio sone ge thew dosee be ‘hati no array, bewen tones tat ate nding gnc taarena Noremnonedsw etn ag a a on ame hy the semeting show oe way wih spose eel shor or remains blender na secs con ofa Sm rap nts ee hese fami andlor iin tans Ber es saksrscnunting lr emooy a ci sng fiche dein Hen ces fe ‘nature of painting. Seeainwe The work of Frank Stell, for example, has ben frequently preoeupied| ‘wth alin ou tention to the consttive role thatthe edge ofa punt= ing plays in structuring composition. Many of Andy Warhol neo- Dadaist expeciments pore the philosophical question of wha diferentes reworks from ral things. M. C. Escher presonts we wich perceptual puzales hat encourage us to reflect on the pecllast of Our visual E¥stem, espeally with respect to the way in which iti engaged by Pictorial representation: you could say that his work p about pri Fepresentation. But iis no about motions. Is cgnitv, nt eine ‘Similariy, many of the dances of postmodern choreographers in the 49605 lke Yvonne Rainer and Steve Paton, were concerned with raising the question “Whats dance?” They were not involved in ether artulst= ing the chorenraphers emotions o arousing emotions i the audience, “These choreographers wanted to mae the suaence think not fee Spe- ‘fly, hey intended the audience to contemplate dhe gsrtion of what Counts asa dance and why. These seme pert legitimate projet for tists ro engage in and some ofthe work that hs pursed this resetc ecognized a classic by ar historians critics, praticones, and informed snienes, Thus insofar a uch “intelectual” work eat the expen fof emotion nota necessary condition for art. Art ned not be about fectng it may take ideas including the play’ of dens aie subject, Here the friend ofthe expression theory may ess this concoson in| ‘one of two ways, etherby denying ha the grossing exagles ae at oF by arguing that, appearances notwithstanding she work i question (e ‘concerned vith the expression of emotion. The fst line of counterattack Seems illadvsed, Is hard to motte i 2 non-question- begging sy “Theanworld appears to scep this work a art and that provides a eas rime facie reson for thinking tsa. On the ther hand ithe expesion theorist invokes her theory to support her condusin tha it ie no a, then she has mercy assumed eat she supponed t0 prove ‘Alternatively, the expression theorist might argue thatthe work of ‘tcl, Warhol Esher Rainer Paxton al is involved in expressing ema tions even ifthe artists are unaware of this just because every human ‘tion expresses some emotion. Humans bring their emotions to every= ‘thing they do, and chy cannot help leaving tas of themelves behind There are two claims here: fist that we aproach everything we do with ome atu, n some mood, wth certain flings fam som pnt ‘of view and 30 on; and we cannot avoid depositing the imprint ofthese states on whatever we reste Ths, these works express the felings and pevsonality of hearts even if theatst intends terse, Therefore the "expression theory of art snot realy inhorptabeto such works, Bur both ofthe presuppositions ofthis eounerangument sem fle As 1 add yp along column of numbers I need not have aay gaden-varcty attitude mond flings or emotions. And if havea point of iw he athena once view? sm thes oobi eed ee sfc tt mkv then hy a Ne appro «clan a figures nto emote ny seer impossible for me to ekulate the disposeon of che pinay? However a of gente signe, even i the cs (which ane dou tha cry human treth scandy tone sea ne tod aude and son then here bet aprason nical isin way int the products of oat enervore One ees i of News cal wate fem te ine nh insti’ fing rom the spc thuory of welts et ‘exon to think hr dings stand dierent with oreo You migh think sha there a dierencehee Sects ate eo remove tes emotion flings moots an s.on fo he ee thes eth, and where they no if they Dee th haat thy have speci poearesand enigus ha elites lee thesame isnot ue of acts Or sot nay oes Bat why presume th? Artists a hve equ or bachtng hei to hink bot Perhaps aly hemos sce may cance expression thr of hi toconfont her wha work he ‘Me Yoomne Rane’ To A andto ask what emotion veld ene, taken to expres? Count the expresion eos eres me ee nutes paseo idence ins the dam tha tomctng ta sprees cmorion "or does he ae agis the ve tat the exesson of emeson ina sccessry endton for at rst esarively wish comes a ve serightalavantgude “ies” rt Mach attend ace eee rotons Mucho tisdsigned merely o prowl alae nee owners Cal isthe at ofthe Beutel here bryce caine delight shrogh the manpaton of panes tah ec ad Some masc tikes us with its pereson, though we wuld Be ard put {2denty what motion expres Weld the seinen ania et work express the emotion a plosure Br tis soon, sae + not an eoton, tush ty scompany wae an ae tmy ese ths works donot cps plane ce a sadinal aris merely bei not expose. Thotlor he exper Sonal eatin not a necnary conion for xing an work “Te let estar conto of the anasion they the eq seat that awk expres emotions By mane of ince cls sends ‘Shapes, actions andlor wurde This condition sayy in effec thet artworks in in an, Tian ee ee png ferment tas i apt though perhaps notin Te ce Conner tte very pl regiment shat artworks be Pay Scoble aes in pric which in turn, wl sem oman they be physally dere Howey there ae at lee we potential prolenswith hc cha ore worth condi The fats ily controversial. There a Lind of contemporary art gilli A hy pr rc theroqurement Ase name sugges Concent Art important forts ‘eas Often thes en are abot the nae fat Ae wal Conta “Arts are onerally opposed what they rege ss the conmairon Gan Tore commodiatin they spec in arr that ante Sold areworks hat re dens ther th slate objects. Ichi spirt am arts igh dedare that her arework ws comprised of alle es ht she had sot ae Before breaks Now if tha would refute bh she leer andthe sprit ofthe reuiement that an $rework be embed in ine colors, sounds shapes acttons words anor any oer pial medism But of nse, the queon rebate whether ort a example of Canepa! Ark this? ‘One reason to suspect shat iti ote that ae pb acer Beit may be. Oe all hat rer to bese of Cereal At is Ascreration Tehap he aris inthe et paagph eis she dc Imetaon af he eel performance pee =a neatly typed ot et Acertions of al the rkvane though she ha in the abplated tine period. This might lsd yout ay bx then tis ota coutreange ince thei nin word, But the lst sor the artwork the thoughts see Mensa henner eins ontemglate i= though te anes report of whe she di ema) ‘hth work uceble though fe not arty ping ty il medley hor thought wer ot era, butane merely eid rae an tense by or Hh worse iets nor the ase that arworh require inamaton in 3 phys medium, "Adie, his am angoble ct: many wil ot be away by owe te nar pen th he ibn hein compels ompalingin spire notin the leer since th at =e colts haf und acon and/or words ~ mst Ireomplete Even ‘reworks mart be embod! in soni dium thats publly acces, there sno way ahead of ime to enumerate all he possible mea sat tists might employ. So, we have way to nh he he Moreover there may be ways of ansmitng tan sina che sl sane individualized, dvi emotion that he ste opened aes oa nor regard consining awe Ingie tha ain sla that do he jb oF that they cmmancate by opty Ideas ete ‘ould count thes methods are Bu aw wl we uly ts ‘ants ke hese om she lit without euntng cea) So adeguatey framing test aan of he anamon theory i troublesome We donot appear to have 3 may ol wpe the lg eg ay of disqualifying candates rm bing aed to We woul iso S3y that something ian artwork ony ii employs arte mera phe knew wha comprised ail and eny artistic means, we weal sree aves defintion of av our dos Thus far we hive ony ben eidring the expression theories of ar in srms of various purported ecesary conto We bee or el ster when ll th enditons are added ogres, they ae ajo sufcient Bat one example shoul sue toshow tha they nee Imagine cat you have ast broken up with your lover Yo dese your jolover now: You ston and write aeteroexpiss your ces heey tong lees writen in publicly accesible language end you es the {0 hei your emotions colo ls indus i the sae oe ou dwell graphially onthe sete wrongs dca yo tere wo sffctve lett You make your lover lathe hinsel herein these vay tha you loathe him or her And thats hat you intend rl dee swe woul ard mou sch ters as are nor you tld yeas lev a this may wile tng by the compiny microwave 1 date eal view ts put of the history of drama, Yet these ces mena ee {ons of the transmsion theory. Thao the umemtiom theory ee apply nly sucent conditions Tor ienutying at Meceoce ‘samples need nly be eweten nil to Jamonstae the soe a ing with espe ooo eapesion theo, Furthermore, cassie this ee not eceptonl Al srs of every behaviors can be eed chat ave expressive i acardane ooh oe "eiremens of expreion theres but ae ot art This egesae evident we par dewn the expres othe shim tet seating a and only i exes emotion, snc many things tak ae rose ‘expen ction Scouting varios expression tore of art shen onthe requirement that arturks be intend for uence lok ike has iio cee to sua as «necessary condition fora andthe coneon ete $ave anything to do withthe expression of emotion perso Eves aes condition ofthe exresion theres of at anced sob ee reso hori fa ike he noma oy therfore spe teocthuie Tenn mach at thy at eormole Bao thesame time expres tore fata o insite cons tre sr jal stb Topes they wl sam oo mach cer ‘Sprite eho av at when hey shld’ Thus exp see cfararenee cay aca ough Thong tp: wrepetngoal thereof are hy fo ak lat saat In bth ches ands pose. Part IL ‘Theories of expression What is expression? ‘ny pln peach th scom om pong Hom ‘"Tqnoter broad mening of exprein”in everday srechinsoty “eomumtton very wantgaepen ca Sh si ero Ten Son asain isin” Buta we in se trough our dcusion of expression theo {rth tao abroader see of expreion than philosopher of rt hve ‘municated but only a subset thereof. ves ‘of our anger saturates our utterance. Itis an angry utterance, not merely a istic expression, there are some other kinds as well, mene “This sense of expression contrat with the notion of representation cplored in the previous chapter. There the noton of eproentton Spplied to certain kinds of thingy but no thers damn 9 sp “Gmprise objects persons places events nd actions These wore the sorts {ngs tht cul erent ian he a of een pin an is oF anropomorghic properties ~ the Kinde of gules snd pop ‘taccan bape generally only to human persons These are sorts ‘hing tac be exrssd oy arework Saying that an artwork expresses “ences maps apd human ch Sadness courageovners andthe ike In sumay, then sy that an ‘rework expresses x means tha it mans ex projets embodies rhs hse iy Cnet Property) sich asm emotive propery or quality of characte, Expression nth ght oe he central defy propery ef ar sine not all arwrks need be exresive. Bu expression acu gt olen a riacurs wherever works manifest mon gealtee: Frequently we sorimend awoke andor prt of rors) for thir expan poers. ‘We say th the the movie wr good ecase it apres the dso feeling ofthe end ofan alas ork. That i sow forth hat gulity fing with reat iy. Someries we conde artworks fr their exrenive propre (the suman gaits they manfe) Perhapewe say teed see of ply exhib inappropte cruchy es aero sene on expres cry ‘xcesnly, But whether condemning or commending on for tat mati hehe simply doting storks (prs thesof, the aeuton of Truman quale to artworks comprise slg prt of ur commerce wih them : : But how do we go abou tutngexpresive properties to artworks? what anion ranting fr ane artis ane (ora part of pose of anc expres erin human goalies? Suppose tre fear a fanfare and tse us at regal, dypied and eaprerie SF nally. Or erhaps = poem spas pessimistic and resgned ‘We make cbscrvaton ke his often: They les the eat ofthe wey in which we deri nd evaluate much rt But on wt based we ee ‘och atucins? ‘One theory = which we may cl he common view — mais that An artist expresses (manifests, embodies, projets objects) (some human gual) and only if (2) the artist has been ‘moved by feling ran experienaeafx to compe his aor (ora port thereof) 2) hearst has imbued hisatwork orsome Prof it) wid (somehaman qualty;and (| the artwork or the relevant pat) asthe capac to give the at the is areata x whey her ad evan ek again and, conseuenly wo impart the same fchng crea sec oFx tthe ade lsteners andrew hse ae png heaps ada n Se of ss ng wan mn en indignation and her ington move het ale sored henna egeiy onder the Imes dhe se ca a ae ihn Te ean assent eie cons ae oes elena eet hoy oe Accrding te anmon view tanec ee an ae soreness oly the art expended a a Of governed the compost ofthe ator. We ae ae sony condo Sof Beethoven's Agar Smeg ‘cept of expression in daily life. * “esti wee feling Ifthe artist lacks the requis Fling, then he i not genuinely expressing it Thr would seem to follow from the ordinary wage ofthe anept of expression. Bat this argument assumes tha she concept of expuston is always applied in atin the way is asl applied ine, And this mistaken ‘When an ctor makes a paistive gosare we do no auppose tat the aoe ismournfl, even we soppse er character vec i= unlikely et the actor is ripped by gute snc if she were so ripped she would ras sly forget he lines and her blocking We donot presume hi the exper five behavior ofan actor onstage either necessarily or contingent cons as evidence af hat she the aces feeling. She may in ft be feling nothing tal, but oly reckoning he effect on the audience. ‘We do not require genuine sincerity from actors, after all, they'e «actors! Similly, when a composer nukes deepondent sore he may be feeling very happy that his notes ft together sa hiely. Even if expressive techavior in everyday living usually [or necessarily typaly) provides tvience of inner states, that iso season to suppose that it Functions likewise wieh rept tart Foras we havealeeady noted, much ft is commissioned. A lim diver right be hired ro make fins a ins nor —that suposed to projet certain feelings She knees how to do thi how to maple the ht ‘ng the dialogue, and de pacing. She can do the job without feng ngs. ‘We would not say the film is no expensive of miety, i we arn hat the director had ben cheerful throughout the production, When wes film is expressive of depression, we do ao regard this as evidence that the lakers were depeesed (OF course it not always the ease even in ordinary spesh that a ad expression warrants che inference fa ad mental tate Some people hive sad fae all he time that, tir faces have the characteristic Took of sadness They always lok ike they ae about to burst into tei Bt when vwesay that Margaret as sd face ~or that her face expresses sass = we need not ake this providing evidence that Margret sin che metal stare of sadness. As they say, Margaret Just bas 4 “sour puss” Thay though everyday discourse affords some suppor forthe common view isnot conclusive since ordinary speech ao counenances use that dos not suggest that expression requires the pertinent gcompanying poyeho- Jogi state. And pach artis ke this‘Thus the way in which the pre ponent ofthe common vie tries to deduce the sacerty canton em ‘ordinary language is no as suaightforsard as itmay have seemed a fie. Provisionally we might mark distinction butween two ess of expres sion. none ese when we ay that x expresses sadness” we mean that = isan expression of sadness such chat agente expression of sadness y Person ether coningenely or necessary typically counts as evidence that, Ss PHILosorny oF ant the person i si Cal this the expression sense But another sens of expresses sadness” mean oly tary expe of sas Vat gies the racers appearance of sadnere where sadness deeb tow something leks or sounds but doesnot nat tat anyone in he peycholoial state of sine Call ths the expresve sme of oe exposes sass The expenion sensei wud fa lev gut ith ‘ference to artwork than che expressive soot Hence tae tr Ga ony abut an expressive gut sch sansa Wan arr thearat has experience siness ‘One way to ee hii to el tht we ofen tribute expensive ui tis tomar We ay the droping weping wil tes ad Hare abviosly mea that it isexesieof edness we cannot be nln ha thetieisinestate of pychologal sadn Trees canot bean Leos sve migh sy tht she pita ofthe weeping lon te nad But ‘Piture cab inthe paychologil sat of dacs ether So ssh te tne we ate ying dha the pre expe of sale and ote the ponon wha made the pure Inthe ae ofthe tree mtr, we ca say tht thas the expressive propery of sadness, without saying tht Haul the men ae of Sadness Silly we can abate dee tothe par of uch een ‘hesame way. Since we arena compel a cn tha there mst be the mena ae sadness in onder say that isenpesve of sere by panty of reasoning ean sy tht the pictures expres of canny yh binge 0 tor There acs a thatan stork nearly expresses acertan human ust nly he artist is moved by the feeling or experience of x. setysealy “he sincerity condition is one cnponent of the common View It spears to be fae ei nt 2 esety codon for expressing 2 anthropomorphic quality x that an art be moved by the keling or ‘xperence fx But the comnon ew ao tains Tht inode 9 fxies he artwork mst me sullen to fel oreperienee He on cal chs the arousal condom An artwork express nly arse inthe audience Bt te arousal coin so ore compli then the sins condition 'Undubrely sich ar dos azo cmoton in auenes Bat aon coorins in audiences i ota necsary conon af aie expen tes A piece of music can express Rope and Tan appekend at cexpanes hope witht becoming pet sell just eT an se that George ass happy fe without esoming hay evey tine ae George, iyo ay th epg wii eat ot aidan wat you mean ~ Tam dest the rlovan expt proper wie becoming sad myself, * per Ifthe rosa ofthe relevan emotion inthe audience wera necessary conton fran artwork’ expression of it then wherever me find expe ‘Sven in etwork we would have find carves telly mowed o fel whatever the arowork exposes: But thts not er fr all ators tha expen iumen quien Her ere thes very costmon ype of ces that how tha th rosa condition no nce Fine many ofthe works of srt tit aon Resign adinss arcate iene morons ht ae que diffrent than thane expreed {nthe work Parts of Dosoyeshy’® Crime avd Punishment expres ‘evr but wars do no femora would be lps they over lll anyone: instead hey fel pity. Thus it is ot the case hat monde to exer ome emorion the aan mt Be made fel the ame aA artwork ay express x while arousing sme altogeer ‘iret el Sword somes artworks expres human gules other than en tiveones A puintng may express oad, But forte mt smething that youcannonscin eaenes Tn cack thes arora ene £ veut making audiencs fel since here ot something ht one Sn fe: And if weer mowed some fling by an exe of the rio fra, ut something el, ike amano in which oe sre are ack a he objection in he proving pra “Thin some stwork ar expremic of anthropnorphic proper ke ange bat they lc the resources to arouse anger in sudcnces. Pte Gebel msc generally Hh thi Tobe aroused to ange ono ave some abet toward which direct my anger and that eject mst be Scbsumable under the eprprnte Kind of tesiption = Tm angry Henry cae he as wronged me oF mine. Lirratore sin sopply seth the requite objets ~ ike Simon LcGrce~ a wall rte appropriate dexciplons the way he abuse hi stver Bot pore orchestras roi with eer objets or ‘scrips snd wish thr, aed ost how In ae 0 ‘anger We connate angry without meting to beangry bout — witout tm eis adhe right soon, Ad yo ote use scone enprove o Anger We ay we ea angen thems But we are notaroused o anges ‘With whom and for what aso souk we be ngry? The musi mate tm this score. Ths some ari expensive of eoctonal ster that ds tot and php conn) arose audios Meow thi not oly ‘he ase with se sn ut wih erin htt paling on wel Sometimes people speak ifthe arousal condition alone proves secur and sufcentcondions for artbuting expreivencse fo an ‘rework Iisobvinily na neceary condition since many areor te tcxprenive ox without mowing the el-sae fing of xn sudo forehar matte without sousing ay singin the audience al Wecan dsc expressive quits without ring inet by them ‘And deny arousal of emotion isnt afc condtion fo x seninan sn aos an bane ten oa ‘epresenttion or description of erin kinds a event He ough Ads and mapas Nor ithe ars condo, supplemented by the sincerity condom, mucho an improvenent since gen te seen Sear wean iain artworks expense of remotes hat neo ‘elect the ars’ feings nor arouse ore nthe ance heen Silloher artworks may arouse ear inthe uence ehhh sat Shares ~ le not being expressive of er (or example sei {nisi photograph of meer bung towrd Ea). Sofa we hve be ocsing tention onthe sine andthe aos condone of the common vic, We hae ot call anything ther the Secon condition athe theory theta artwork express fe is aly) ony ifthe rst hs inbued the artwork ose po of) wh This conion dos sem tobe onto something Ashe eres «ijoy only i hearst a given ithe quality of jyousnes In orto ‘xpress oy, dhe quality of oyusnes must fe deel ne TRS ‘stmcobe wha warrants our tution of joyous ote cher, However the novon of the sca beng imbued with jveusess its having the quay of oyusnes ie somebat sur and oin fos, ve Ge being imbued wth the property of Jojouener less net of caphaion than the nai of ing expressive oyoures? Thertore ier se her a oh non cn be me es me rhaps ha wlyeld compra theory fhe pounds tan ‘we ascribe expressiveness to artworks. * “ " * Expression, exempliication and metaphor ‘When we say that an artwork expresses somthing we have in mind some property or gual, namely some human quality, whether an emexive ‘quality ora quality of cacacer For such an ation to ota then it ‘cems fir 0 say that ee artwork in question must be imbued withthe quality. But what iit for an azework tobe bus witha gualey? That seems very opague Can we do anything orlcve that ops? ‘When an ais makes an expressive artwork, she intends show forth ‘orto display some anthropomorphic quality. That is there is some herman ing the exresive artwork refers to mourning, and it shows fort the relevant properties of mourning by Being sd sa in a cereain way) The artwork exempliis mourning by relereing to sadness by way of poses ing the property of sadness Just asthe wastes exemplier howe cake by means ofa sample so the artist exemplifis the sadness of lass by showing cerain of ts properties ‘his doesnot require thatthe artwork make the audience sad. We an rel pon the adness exemplified by an artwork without becoming “Thearework an inform ws abut sodnss~for example about its rhythms conditions, and 40 on ~ without arising sadness in us To exemplify fades only requires fering to aspect of sadness by way of possessing them en we yh a at imbues ae ith a ey haan ality, what we mean, more concretely is tht the aris fashions the Sips sree in sch way tat expe the evant haan lity. Sapose a composer wants express feclng of sarcines She {Ever he mascastoedelerate ac rather than a fst, cngested one. In this she tries to capture the characteristic appearance of sutlines its slow, deliberate cadence, Ske exemplifies actiness by eeerng to by ‘say of providing a sample of. She ofers an example of stteiness for Tienes o contemplate perhaps to compares projection of satelinestor thelack thereof with evens intel ly lve. ‘Suving that imbuing an arcwork with am anthropomorphic quality involves exemplifying ker ome eadway in explientig the notion of srs egret But the ecg thet wl be he eso Point oot that this r not qe right To ace this jut reall our lst ram We nd ht henge mpi station ae by ‘roidng sample of. And to bea sample the music mast possess the property of statelinen But mi tay be argue isnot itely stately; People are stately. Simi if we say the msc is sad in pre because JF pce sanesy we cannot be apenking Iter, since any penans gen Mo nt see ig How a os sal? Sunes ir peychologi sate and pice of mic has no paychoogy. “Thuy, he exemption theory of expression a stated thus far cannot eight, since tis imposible for music t0 be «proper sample of sadness ‘Here the exempliaton theorist i key to agree. More needs t0 be aided to he view inorder to deal with this apparent problems. What he txemplifition theorist dss thatthe musi only metaphorically ad tot erly sa The msc doesnot possess the property of sadness er Ally, but_metaphoricaly. Expression on this augmented view. hen, involves three clement: reference, poresion and metaphor. Sted formulae expresses and only f(a) xsefers to y-and (a) xpusesses y (5) metaphor Exon hen easy mile 0 ven more somal, expression ie metaphorical exerplifstion ‘Undoubteily the notions of metaporical posession and metaphorical sxemplston ae hard ones understand How does someone posses nying (uy ca for example) metapherially? One ees meses sumething oF one dosnt Sor ou purposes ews tae kono metaphor postson to mean that the artwork poses ears hel Iropertiy— pcs and empon fr instance = thatthe oben al {0 describe in tems of some spprorane meager “This appear co do bere job th ard oss ik sal sic When we say the mis ad we areasrbing she propery af since Ne ee euphoria no teraly Bat of ose, when abating s qui the ‘aoe he mune nt ik jt ny met et mst ke a metaphor tat isthe muse that apps toe saa and eadener of the mu “mr ie woud be bird to arbre duress o Beethoven's “Ole oy. Thus ifexpeivenes in arts a mater metaphonal elie then in order jib to ascribe snes tt pe of ee cee conditions must be met the masic must refer to tadnese aif ce ses ses atleast in the ans that our metaphase ae sues appropri This howees stil aves at east one quertion — what makes et ‘hovel aebtion spropate none oanswer squeal anaccountof metaphor Ba theresre many acenmsol eth oe and we cannot expe all them. So for purpes of capeion le lok only a te caunt of metaphor mt eon sain al he erplistion theory We sy tit the schero in Mendebshn’s program mi for A Mid sumer Nigh’ Dream vivant sod spily atthe anaes scrutresofPnssi's Indsape are ratonl thatthe flmSeen pa nova Bat, the exempiaion thor ays usc ent We pee 2 picture tational, nor afm pains. So thee abate ee be euphoric. Bot how do" we go abut signing thee mens ser ‘A netphor i lest she appliation of «name, or 3 etgory, ora despre ero pase to set o which the abel dn og Ser, but only imaginatively “King Richard the Lion Hered ie nnecaphor. King Richa dd pot Itery have the Betas sche fentens “King Richard was lon het Inerly fle On te as hand forthe prot of his times something abut the prc seen sg The nae seme ising edd appear to cou some soporte ofKing Ricard and anclte hom ponte Wye Accdngt the exempiiaton tors etapor inva the tans fof one set of abl trom an indigenous el of spon a te feld Lion-hearedoess comes rom the eld of anal cass chen standacly apd) and ges astern soto speak tothe ag eld of {elds Wesay dt singers oe that he cmmissar’s cold abd Om ths view of ‘metaphor, echo are always systematic eee Contig tel tenga jeg maa ten i ye Const with sme tepid singing se (perhaps Al Gow even we gh yy tenes ope heed an ie any fy ae Hak ihe ae sete am wes he a ea a ‘paintings, Monet's, and so on). aa ‘other scheme of labels. Which scheme we project is almost arbitrary. Heeettae ikea tee eet wait ae ah et coe eta a shor abet we le of hana fej ee Some problems with the theory of metaphorical cexemplification “There is no doubt thatthe acaunt of expression offered by the theory of rnetaphorial exemption sketched above attractive It provides 2 ‘ery lepble mol of how we go abou tibuting expressive properties 0 [revo And yet forall ts adirableprcision.eposessesertain mag” {ing limitations, We may begin to explore these by asking whether the thoy of metaphorical exempiication we've outlined supplies necessary br sufficent condition foc abut expressive properties to artworks Teit she cate thot every expressive artwork metaphorically exerplifis its properties in aeordange wih the preceding account of metaphor? That tccunt of inetaphorregute that metaphorical terms be par ofa ager ‘mates of contrasting seem. This works very wllwhen we are Hiaking ‘of opposing cots constting only of ingle abl like hot Romantic mane repid Muzak (61d Electronic mie Hoyer orale iia so stp : “Sppose we sy thet a psn express some very complex emotional property sch at "ne minecentenury, fesse bohemian, archtic despa and lating es crailyvery tet eagine ‘construing the ign scheme of contain abet hat ome len propery label ini Indeed, ft presume there 4 nme Unies nat shown otherwise And yetmany’ of the expressive proper the bo rsa a ea he spl Tor ctl he Inovie King Kong is expressive of mik-cntiry Amerson brass rate, an sentiment Therefore the theory of metphoral ‘remplcton that we are examining ds not lok ike possesses the feeourcs to acammodstll she exsive poperics we Wish a= sre arworke in the same vin ther appear tobe many “one-off” me rvctapors thar do hot sem fo belong 60 sere of conten For Sample in te poem “The Highayiman” the moon i sid to hea “Ghost elle Bur “holy gall” does auc long any nestst «Fcrpons dt can be ely upped onto an len scheme of ext terest Soi that exit same strctare of conta Tes 3 ee ‘mcapor Bur thee slo apes ube one-off metaphor with ree tocaprenive artworks {say that Tom Clancy's novel Part Games is ery Join Waynes this is nail without there Being a schome of trae ek, thename “Jon Wayne” conte wth tne names ofaher seca Ree theft hat we hae etn sscaton wil on Waye inde from any scheme of aes ennigh far us tor that he megh ntabution of John-Wayishnes oa JohieWynesque md i Reet Gates gps The heey of metaphor ean une esion dws oops very apresie mean nh which wea Nor is metaphorical exemplication »slfciet cndton for abut ing cxpesvenes tan atwork Using the ol machinery of eke {raser we may say, metaphor that one tng pee fee he lea) brite where hs imply conta ith om ter sa oun hat are strong Ths the theory warrants ce he Re minnesota bo en ig fe exresed in artworks ii ot rally am emusne proper en human charter qual. Thun the choy that weave eek ca counts ateworks that are no expressive ae eapresine Hee te an ty ny hate ral oh nce gece ae works by consulting hs theory. But wih equa june we ne tga ‘ha ch theory hs ale odie mar pend Als remember that he theory of metaphorical exempifction main- tains hat the choice ofthe nignous hee oarbinary, Barthes be comet If we mapa scheme of farming devices nts an reg che works ean wind up withthe onchasn th ene eae epee trata rather than rapes Dut evn i theres Sane pe sould be aptly desc by tht metaphor ican cpr meee tice wacornesis not something that canbe expec ene eae Wind of poperty “itis not an anhropimorpi propery, Tes he hee dows not provide sficient conto lor eprssnensn Reve ll ‘counts expresive to many thing that ae ar uly eprens te may be hough ee this Ic an be repair ss cena constraints onthe kinds of schemes that can Be maid for as cree meri esa he ort of metal exp om willy cha only schemes nein antropomonric pence resis Bu thre wll be problems here ow sinc ender nehoons rophic propre are not the ors of things thar oar ke ea Imagine che of human shin dae bing projected on an ee {irs withthe esl cat sme artwork pres arr dg ee les with mpeigiousness Surly has ot an aprenne aig ee ananworkan have * ane Thi isa ostrght counters for any exempliion thers ‘who maintains thatthe che of 9 scheme for mopping pena arity, But ie aio problem fr the exemption theorist who ‘ent place constraints on which wees ar aval for mapeng Anil she ose up with way soz! the conse so that hey wl tially expe poe Tat se i ft he teat the proonent of metaphor exemlicaton, “So far thesesjatons have primarily reve limites ihat cn be crore back to te pater acrout Of meaphor upon Which te trompliaton chor wally alles Bt perp chat acunt cao fe ‘eworkel: rafter one an be fund. Thus might be argued thee Cieton do our nwo the guik ofa theory of meaphoral eempie ton are there deeper objetone?’ “The theory of etophoral cxempliation dams cha ol expresie roperiv arose by arvork eophontal That whenever me frie expen properties to anor we do 0 ttapborically = atever the coc fru of nephrin This the dees comic Inthe oy Te thy fpr amin etl anaverto ring Goston-How do we tbe exprerive ropes o artworks?” Theanower ie Metphorially” Bath? Is expression always metaphorical? The fend of metaphoric exemplifrion args that eapraion in a wrt i aksoye metaphor wich we cn unrtand athe tn that {very Hie expesiv properties ike sadn ated to artwore Canc is snes ate bang aed aa extended or meuphi wy This mst be te case, argued, ne art are ot the kid of ah ne sy i ig at eal hy ee tings canbe the proper bers mental propery sca ness. A cto artworks ae not sient beings So ator are nly dese SBle wd unaghorsaly they only poses th exprese proper ineaporcaly. The i a sedacve sgumen, Buti order vo probe ‘fice te ed ola arin great dra Stared nore epansively the angument contends 1 If artworks and parts of artworks) poses expressive properties they dose either iteraly or metaphor (premise) 2 IF arworks (and parts of artworks) possess expressive properties erly they mist the kinds of things that a Bear mena proper (premise) Artworks (and parts of artworks) are not the kind of things hat can feat mental proper. (premise) 4 Therefore, artworks (and parts thereof) donot possess expressive properties lea. 5 Buc artworks (and ports of reworks) do poses expresive propetin (premise) 6 Therefore artworks (and parts threo) posses expressive propetise smetphoriily. For the purposes of argumentation, let ur grant shit the fist premise is tewe = that, when we sy an artwork has an expressive propery, our serbution is cithe iterl or metaphorical and that these are the nly tw sermatives, Moreover the fifth premise scems tobe a matter of fac that «very philosopher of are will acep.Consequenly ifthe conloon af the srgument is fa, chen that must be Beso either ot both ofthe remains ing premises are false. f there is problem hee then it mt en hey ‘he second or the thi premise oa both, Premise #3 caims that ne artwork or any parts thereof belong othe «las of things that can Bear mental properties. statu enaor besa, no8 can any part oft besa, Stone isnot sentient If we atibute exprsnon to Stone, that can only bea metaphorical atibution, nota literal oe. The «se may seem tobe an apen and shut oe, But it snot, especially if we tend co the way in which we often attubuteexpresive properties to srtworks, ‘As we noted in the previous chapter, many artworks ace repreen- ‘atonal: Episodes ofthe TY progeam the X-Fi are repreventtonal, Bat also these episodes are often sa 1 be deadpan. An expressive property often ariuted to episodes ofthe X-Fi, then is deadpare-nes wcaate human quality of mind and manner But why’ do me cal the XcFies deadpan? Inne cause the major characters in the ftion ~ Mulder and Scully — ae deadpan? Moreover, Mulder and Sealy represent senent Benga “Mulder and Scully chen, do belong tothe class of things tht can bear mental propectis literally. Thus, pats of artwork, notably representa. tions of haracter, are te sorts of hinge to which mental propery ters are literally applicable. So is roquired that parts of artworks le rope bearers of mental properties in onder to Bear expresive properties ee ally then some parts of artworks iy (and quite lrequenly do) meet thas rojuirement. Furthermore, entire artworks, lke Dostowvshy’s Notes From the Underground an be devoted t the representation ofa characte and his mentality. Likewise, the representational resources of entre aremorks, such as Lord of the Flies, can be devote to presenting the conten of negra he seer lod rot ta th fistinction between literal versus metaphorical does not coincide @ pHILosonny oF ART Lndottaly, the exemption thers wil jet tha these sorts of amples cnkie representation wihexpresion Repesenapactarstee rho angry i ifeen rom being expensive of the property af anes Bur King Leis not oly represented ass an whois he spore 2s behaving on the moos in mad manners ha expres eek nes ~ it manifests the character appearance of manos the sae behavior expresses mes in eeryay hfe then sods ears These sauce tlhe though tar why an eng ional one) she ight oe oFenity to uke one mentees an lke madbess Ths the actor's perfrmance an sem on Bes ‘exes mas ical. Of ours the presentation of characters and groups are no the on loi fees tht we ned eo cone in ely pane works may not only contain characters who poues ment sesh “Arevors ao contain points of view wher the poenon oft pare ok view presuppose kinds nfemiis tat can pores nen wakes hee ally: To ace what i mean here bya point of ew tal das mea oe otk ave vewpins tha diverge rm the viewpoint of he ners In the Belang ofthe fl Ply Fiction the viewpoint ofthe youn sven whore aout besho that of high ans Bat sh en ee thet plight as amusing The pont of view thf is decchet coak od ‘orden And this lends sto atebute the gualty of rony soe gg Moreover when we apply the ems iron dctached anol tthe poe af view of Plp Facto, we re dug th the same lee oy the ne bight describe the ett of fend eine o-vew tlk f core seme’ that thee sameone whose ine of view It is Ad pointe of view ae pope lars of mere roperty terms, because pints of vw blog to rae secede sons Inthe case of fl like Plp Fon the oni pont of iow hee belong to the decor of the fl, Quentin Taranina Of eee may turn out tht Quentin Tartine is veal sry foe ead feling type of guy, and tha he pon of sew ofthe fm ne ane ally fis “thas fs only wering the mask or paying the oe ot tag sesahed an ironic: Nevertheless the point uve sl dongs tee Sh kind fen, sine even i Tarantino sony playing ale she 4s character the implied author or narrative Peron who rin at ew he projets, ch inthe manner of Snap ‘As weve ace, tonal characters str mental properties ely. The impli author or raeatvepertne is abo Seon! saree te “oie” who else story fram a tin point of view Sie here oe ‘obleminsying cha fetal characte beat the motel pees uel, there 6 no problem saying that fond hatcers who ar impli authors or narnve persons beer thc mental properties le Aly Moreover since ther prints of ew are connected othe ight sortsof Satis ton enont Ging) expr roprice re etaburbl ‘hom er “Artworks may have one of ves and these may blog othe actual cetos ot pled suthore (or evens of ail crestor impli sathors wher the later ane to be understood on the mal of fell hare, Th tos th i fea te no ing that can bor mal properties Annie artwork san arte theo of ven of fs or aid sso Ths rovers and parcof artwork can Be the sarers of mental properties in iu of he points of view Artwork cn cxpress man gales tery throagh he pointe of cw oftheir act and/or gli autor. Lyric poems are an exellent example ofthis They ae exces in laboraing pints of iw Lyre poems article she tude an cm tone of apeser ho may be the ata ator or «psn, The {Gis us cts tothe speaker's inner ie in och a wy that ete of the spear’ emorina tate emerges that the distinctive fel of he spur’ aie about sch and sich i rendered man 1 20 ‘Sip stated. Rather its ingredients the desires, bei nenions pe eptions nd aor that ie re tot are presented so ht the opt tes ofthe rev fling become valet the vender or refeton Wit ye poems ie gency the speakers ars tat cps he poet. But the speaker wheter th actelsuor ora coal veto, fra sable Barer of metal proper. Soy iis false sha srw ae never suitable eres mental popes And forthe sae reason agzneilly the cave that ye pons are Lely expressive of man We have been arguing aginst the third premise ofthe exemplifestion shoo argument Now iim orn to the second prise that atworks poses exprnsive popes literal then they must be the inde hinge ha can tear mentl properties This i lee a pr af the dno fh pen epee ropes ily. Te reise presupones tht nseary condition of the Mera pose $n of propery tat the lege fear of the property Be the kindof tg ha ah he ml ae Tas ar xr gr ter tery enix posses mental states” ‘Wein bogin 0 examine the awertion with an uncntroveril cxample, the fae of a St Bernard dog Tes expressive of sadness OF Course thse aces counterenampeto the cl ander examination se prvumatlySe Bernards pone mental states But why done say the the faccof the Sr. Bema expressive of sadness? Te face ofthe Se Besnard atl sre of sane cen afr he dog as nl he how it stants a pint in tne when iis hapy af dogs Be sfc hd Independnly of ts mente TY ‘What ls ates sadness oa St Berar fe cone figuration which wo ll su the dons mental sat if ths any withstanding The face simply ook sad to us We data mewn ogee snetaphor when we say tit the Se. ermard's lous ad. Weare reporting bow the facet ks to. The configuration hedags lak looking where “sal looking” srl deerpin af eaters Undoubely we cl sch configurations sd [or sod eeing) tease similar fl configeratons in humans are agcocated with pschelpal stats of sadness = that i sila conliguations me chanetenn a sins. They strike us a® sad. So sometimes we seu expeniog opetes to hings beau ofthe configuration the wey shee ak oe ‘ound respective of whateves any mental state Bey pose tai ‘weatubute expressive properties to things on the basa rcp, Sen ney a cs cal for insta, the example ofthe weeping wilow te Like the fact the St. Berard dg, ates ss dele hats why weal oe particular member of she genus alc a seeing wilow tee When ae ge thatthe mein lon sade dng hat nia cos: we mean tht the Wee i adloking ives the ppciane of sodnesThis probably de othe ace that cetain kata the oe resemble cerainperectble fetus of vad people = for example od Pele sp ‘A person with hee ea and shoulders droped exhibits ne ofthe sfaracterstic appearances of sadnens Such persons a locking. Whee Wwe say ahe is sadlooking we ae nox speaking metaphor Re ee Aly We re ofering ster dserigcio ft may tick se ak to us Silay, when we lhe weeping willow tree sd oa nkegy arcoffetinga lea deseition oi pcp canfgulocon sonching trolly by eesemblance, the ee mings us ofthe chance ae nce of sad people. Thus when we soy the weeping wow te ene are saying tha sa oon Human brings manifest certain outward. physiognomic features that ue pally expressive of thee poychologl Sate i the way tae frowns and slumped shouler ae associated wih sane More our shingle dogs atc can rid wo te free shape we ate prone to see human phyrognmic fetus in mae oe realy beso desecing the emotion stro thers sc nporant es ou sural Tus natural selon fae inverted ws with so hee trigger capacity to recognize the shape” of emotion ith eo Hichsin even when we ate atending nonhuman things Dut be tht tay, tthe cane that we dtr to ge fetus of hua and even onsen bjs a exhibiting the physingnomy” of aman fosting Sate: That jet how hey lok tos Lally We se the gare branches of baron tse and ll hem sngsished cau he clo mind the ewe appearance of human suffong, Of Curse fe al thee anguishe, we do mt Itc nen that is SBifering ut that despot ena that we ae not speaking trl. For dreamt saying tha th ec i ullring (chat psece a ayo pal sn bi anu king ar aba shoraternicapects ofthe physiognmy of angish And that auton Ble tee fe ak ange, tone peo ally ‘lin hy stir. "The praise (#3) that “If artworks ponsss exprenive proprio, tera then they mart be the Kinde of things thar an ber tent popes” prsuponcs that “I anything possesses expressive proper: Healy ten it must be the Kind of thang thar can bear men! proper sr Baur rer cms asunder nin stn Forsometnes express roger terse reed rly oh on figuration or apesance of things thar donot beat mental prope. Moreover thie pene up the ponsity that sometimes we site tSpresve properties inti way ose cnfguranons of acworks which, inten, would undensine premise ‘A this pointe deen of premise # is ike to sy that when we sels tothe willow oe at weeping we ate sell tuadingnmetaphor stil Sor speaking cally ~ even if re are refering to he coniguratonal Iopentance ofthe te. But thi seems spews. For even Hf weing villow wes ave meaphor anc pon a tne (which cope to ot) Is now a deal metphoy and dead metaphors ae mtaghors tht have cme lira. When we sea the "hands ofs lck”hand”itever srs ctor ino longer Now t serves to describe erally cen {Gosek Stuy, when we sa of “weing wl “weeping” eno Toner metaphor t fs become pat ofthe eral dlncpion of member ofthe gous Salt Ieprtine the loko the twtr Like when were of uous storm or of misty weather hough vedo nor mean the the dinate tealy angry oF means we ae Tot speaking metaphor: Rather weary thar dey cernind ws of the character bucrable Bho of angry and mean-spirited opt ‘tare storm reminds of how the behavior f+ Frio orson Spats Ishi ever was a metaphoy nove ti not “Furuse eral Ripon afhow cain storms apes = Buti his elo res nd pounding waves is pesussve, thn we sometnnes apply aheopomarphic tems ar Ite desenptions of ‘inanimate configurations. That ig, expresive propertice are. some- fimes applied literally to things that ae not the bearers of mental ste This conclusion, moreover. b supported by the St. Bernards uahapoy frown as well, since frowns don’ have menial states but we have fa Aifcuky describing the configuration of the St. emacs face ae “unhappy” So, sometimes we attribute expressiveness itrlly to things that lack ‘mental states as desripcons of hee configuration, Moscover tiseonae sion if correct, has sgnifane implintions for rework A eet dal of ‘orchestral music is described in ers of expressive proper, We sey thet the second movernen of Beethoven's Eroca ssa Perhaps thar lke oor Akesripton of the St. Bernard's frown — a lier Gesrption of 4 conligration, Music often sounds ~ ue wo ts dynamics, emp, and tensions in ways that remind uy almost sutomatily, of characters human fel states and we use the relevant feeling ternnulogy to describ erally the ‘onfigratons that we hear. We say certain chord sound ominous or by weakening his aw that ciao more than tha someting itor my the rfl in sn hn ae th an incenton hich may or may not be the primary ivenon, but oy 4 standart of evn ore teen tht ork ea Sgnican form Surly that dee no appear wnressonable Why wd theaat have ten the pune ocetes signa forma rangement, inks she ined io Be cab and engaes tiowever thi conspal anes sina For example, in cae tr can se wn ea ean gt ae somone i tary fanton ofthese igre promecton = they are supposed to ward cif near aod tespanee They el outsiders “Beware of he denen, ashy nd a on ht demo rao Ieee These figs are ment sete people Furthermore, we typically count sic scares os artworks, They populate museums worldwide and are coveted pieces in private collections Seeitis immensely implasble o suppose tht thee work ae designed seth any tenon tex signe form. They al ae ighen nyome away if they smalancosly nite the pecan of sgnint fom. Thi restore must hnow this So they cannot have intended the ‘works exis or. Nit ay tthe on the don ee giant form, bat tiene pert of te ait’ nenion~ primary or aber =o dlp soe the ats exiits igen succes her canceling ot the eying pet of Rs work thereby deeatng oat ice compromising his purpose, Thus it cannot be the se universally thatthe tein exibition underwire artwork ‘Counernsmples such these are Mlly to inline the frm 2 rehink the way in which this neesry contion is aml. robles seem be crptng with expect he eguernent hat he exbon of Sign form be designed or intentional. So, why not aad the prob lems by dropping the expeation tat the ply be nentonal and ee ett se awk pn a got fr? Bt an we have ale cen that wy le ole ‘On the one had, here the aforementioned roem oad are. nay be od bse acs gfe form, ba trill are Ths imagined Trt he ann fom se ae wl nay “pct bad ar, buon fnnare But bad arts ot tana Antartn oar Bad sl ot though art ofa nero so So the revison of the conto i to exlsv it cannot sere as ancestry condom for nt er and hee sh prem frat Nae cn ve spat form — jus stay the play of cor of country genau aren they opting bo Bu nase hn a Whee the reguirement tat the posession a xhibn of sgn foe 4 dsignd te formalit cm excl naar ftom thecopes afar ce thebeats of nature have ben intended by mo ame Barone the linen, son requirement i doped then the formals dentin nt en ture an hin ini Shy eninge een of the relevant intention the reise ormulton as toprol sebiner ‘condition for art status. * * “Thus he foals appears teapedina lenin, Either she regards the intention to dly signin for as necesny onion fees ar he dos at she dos then her conion wl to crs scouting he ot sat nf demon pres Bui shedou sored the persinenntention as ore thn she sent the podiseot cxcing bad art whe inclaing natre under her concoion af oe None ofthese seratves seem purely savory Noris thence component the only sta at of he formal’ theory. The notion af signin form self rgreablyindeomanns What ie icexacy? The formal fas givens no way to dscns Seonen sigan fom anni orm, Wen bn genes cxamples but no principe he iferonce Whot maken jose fest hae anne Were ay ode obscurity sat the het of fnaom: the tay as because its central term is undefined. _ The frmalist mighty tht work as signif form i rest ing But his notengh snes wrk cn earring et ‘hin formal ones reve ine of fra proper that oe ns ne nfcant in che fonmalit ssene=such tease! monotmecls Hoe ‘ho sharaterzaton af gan orm wl wens whey ses ring bse pss sige frm tha ‘tien foals amet repair ths shortcoming hy sing that sige nificant form isc tht eases special ae of in ees ‘hn lagen se formal on ee a of innd. Otherwise we ate lew one uneined onepe Pag oe 4 defini af another ~ which I elesiely squalene Ree ‘definition at all. ss ae Norcin the formality hat sigan form sesh pci state of ind in peers tat is he apprehension of signer ne ane sucha defnton is crelr We woul ve toa sos ease cf sgniean fa in ade tll wether « mental sate wa inde on {pprchersion of signet orm inthe ert capes we wl ak at furier attempt to develop the en shat arwors evoke cern dstncve states of mind Une then we a truly oer this porte way of desing snifcan frm, Hower ths poi the burden of ro fal tothe formalin onthe fase ‘citaypear unl hat tere isa dts sate af mind dtd by all Sriwora That since here are so many ferent Kinde of rok Gat Tepe al sors of fern nds of mel fespose ei doubtful Bat {hae jst one mental sata they all share Doe east nove tealy engender he same ind of renal stat that «Faber epg does? Uns sch hurd an be coed the sugeston tha signees form an ede ners ofthe dine mel tet provokes oe Bat perhaps the format lay that we rly dont nesta defiiton cf sigan fons here. Everybody knoe what tix Everyone can ct ‘tT invaies poporsins notably ons ike he Golden Sion, oye tetris yinmeen baanrs skin ibalanss tension ant, co trast andthe Te In ordinary Tengage en pl ou ea of Signin form wha arin degre of convergence We nay nol them signin form, Bui ake pick ow examples of works of at wath sg mal gets csp ity wean wh 9 ry iigh rao of apeenent, We know tt ok fo: reeting mons cqulirn strong sontasty symmetric, and soon. We an apy the tron of agent form without a deiton Therefore, he formal Sgt the ack of carcterzton of gan foro note huge impediment hat wehave ade cure tf eke he fora the word an se ror langage ington tgp the concept of sgn form here are many outer txamper tothe chess tat sgn form (anor the lercon 1 ibe) isa menseryconino fra The compose John Cage crested 5 plc eld 35" which fe general regardst as « major work of ‘eemeth-cenary art is compnsedof ot fractions: pans st Stavaplanoandépen ssc but not sete hye The peforeane Conan oall he abet sounds ht ocr within the ensuing intra four mntes and thry-thes seconds Hf somenne cough and srpes {halt along the Boog thas pat of he pis ts lla phone nig training van rmbt ose that of ato he pe ike ifscmeone tre ona ada we hear Howard Sem preting, Then the ist doses he core andthe pee over ‘Obviony, wha head om pofomance to performance wil ary with loans The sound that makeup 4" 95 hve no peetersnc fermal ot the ompotion islento ntat gard The pone of the pio ito daw our tention othe fen neg sound veryisy Me cant then at let fr fr mines and hiya Theis an artwork ba if ew our ody ngage nin, we willy that # possess san form Ineed lone ae ‘stows formless athe aay of eerysy andere daly sis Nori lose to atabwe Cage tense ee Seen form. He has conte sain there ore sgl obj of our atenton Buf wih repeat ic eee hh mindy linge ip mht ae a incenonally foes artwork saestlly hen nenhes cpt een ‘rhe inseam wo exit tea ncaa canon Morcovt Cage isnot the only mt empl ves —n out sndiatylngunge sense ~ intentionally. The ser Redon Moon, sre cS ci fen nea ae reuling “gue” is as formless fg Likenie his oa elgns Lntted trends emadewp of thaadwae opto ooo ee tubing andi seared er the foo whem ign eee tose United Din) where on abel of tit he dncbcd ene es apis of rik tel sam bras sic and ek eh ge nt randomness EsoyngorinaryInguageT pelt te th thing thc comes to mind pon enruning thes aes ae snes” Ife ond etal election of cn on csengstn tes ‘ant th did An ed deh ue ‘ely they wor formless fren page hee hae they look like), aaa Mor’ works can be defended a art on sew grounds. One ean ange thatthe are about exploring che question of “Wat st Ora expresiontherst might promo ft thyme meant ote eas gust or rvason and to prof! the quality faces ae ‘ude an contemplate hi sing brn ae of ee cae ito ur heptane ke formless ordinary ens the word. Thus erm elon tere are formless work ofa Hee Perhaps the forma il say hat thee orks rot ely ores Bue the ambien sounds of "33" ae indpuemle how te ele sounds of everydy if hat we contour forms ah he a snscap ls that Mors hor nue oe ndicemble foe ane nomena hati earl as amorphous They lnk somes len, sqlite contra sung oad ee a ea that we pally sie tap the conte mn enoon dace ‘What ik fom in te mon sc for n ate ein estan are erly indice frm te el naidoore ge mounds of ease arefrmlss sare Movs sclptene thee ee the case tha twos universally poses and eh sient form 20 ite fle htt form, x deratod in odin language he intentions prace isa neces featur ol are “Asal for the folie ny contend that tee works by Cage aed Bors ally dopo and cc sgl form intently. For once one understands what ths aris ae upto oe cose at ther choirs were apps Form flows fancion Where he arti wants toa anenton te te vagrant ound everyéy the design off 33° i rllane Te gt the jb done wth delibeme economy and vert. So fpestances noid. the wrk of Cage and Move docs bt formal virus “hese much sath in the preeingaxguent. Hower, ls not rally svublto dhe fama os pore tthe dicusion For in order {aprtgreaninterprctation ke this emeting lke Ute (i), one trou areola atceenl thar ivan er and ot an ondary ines on the gargs oe That node ott sigan for 0 tind (Di) you woul fae Kaeo be alos tas an ator. Bast fa ano he he ait re eo nay signs form independ i rer Chl seencing et Sees dar ms ry wher cn Shin terms of log pisity =i order to deermine whether poe ‘se sgnbcant frm, Thr wuld eat in doy. Ina gee of depron, the formalist muy sy lr’ topping tke Ingabottsignan frm and jn abou fora undesood oly ny relation berween she prs ofa whole Something art only fovne and ects or: Ba th exteney nel Ie drs not Provide ancy conn for arsine there re errs Ue the Imonockrome printings ofA Reinordt, ver Klin an Robert Ryman thabave nour (dey are blocks ef single ols). Moeovey reading he formals teary In thie way wood defeat ny hope of fi sce sullen conden fora ce everything tat ha part probally es fer inthe le snes and no evrything a Indeed ins Doon on Meta sley Laia notes hat everthing ne mater ow sppreny formes efor nthe ene tat 2 tae tte equation cn fe devied represent t Bat if thsi, form nthe Unqualified see tno suices conto for anything ara, Itahoud ale be event chat even f we revert the cae statement the theory~thars oat and only prin dig vo pers Sd exhib sgicane frm ~ te femal har not scared a sficent ‘oaditon forte ori our ondary way of peaking thre ore ngs there primal esigcd to posers and exe ign a form Gate tt artwork, Consider matheratial theorem where» root aeady

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