Advancing a claim about the quality of a work of art is critical thinking applied in a particular arena and applies the same rules that advancing a claim about anything follows. Described this way, advancing an art evaluative claim is no different from advancing any claim. On the other hand, advancing claims in differing arenas frequently follow different methodologies. Art criticism, thought of in this way—as a species of critical thinking focused on advancing claims about the quality of works of (...) art—has its own methodology. This paper describes two versions of that methodology, one that is object-focused (or event-focused) and one that is subject-focused. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly (...) confronted with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious (...) lack of underground art in Soviet Lithuania, however, the retrospective usage of political categories here became problematic. Especially in international representations, the complexities of artists’ relationship with officialdom came to be routinely assigned to the phenomenon of non-conformism; this eventually obfuscated the differences between the Lithuanian Soviet art context as somewhat different from the Russian case. (shrink)

Noël Carroll denies and Robert Stecker affirms that it is a necessary condition of aesthetic experience that it should be valued for its own sake. I make use of their controversy to argue for the psychological impossibility of discharging very common practices of art evaluation and analysis without undergoing an aesthetic experience valued for its own sake. By way of supporting my thesis and also making progress in Stecker and Carroll’s dispute about aesthetic experience, I analyse their methodological assumptions (...) and develop further our understanding of negative, indifferent and unexpected aesthetic experiences. The article provides a defence of Stecker’s position based on my contention regarding art evaluation and analysis. (shrink)

While numerous studies have shown diverse effects of rankings, rather little is known about their production. This article contributes to a broader understanding of rankings in society, and does so by focusing on underlying worldviews. I argue that the existence of a ranking and its concrete methodology can be explained by the producer’s paradigmatic assumptions about a world-to-be-ranked. Referring to the sociology of knowledge and studies on commensuration, comparisons, quantification and valuation, I provide a general heuristic to analyze this relation (...) between underlying worldviews and observational regimes through which order is constructed systematically. Presenting empirical results on a ranking for the most famous artists in the world, I show how the review device’s initial problem and its construction of order derive from consistent assumptions about contemporary art, its symbolic structures and its social embeddedness. These findings have implications for both research on rankings and sociology of the arts. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, (...) however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)

"Those who think they know George Dickie's views should be sure to read this book. They are in for some interesting surprises. Of course, those unfamiliar with Dickie's views will also learn a lot." --Anita Silvers, San Francisco State University In this book George Dickie presents a theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art. Focusing mainly on the writings of Monroe Beardsley and critically examining (...) the views of seven other philosophers and art critics--Paul Ziff, Frank Sibley, Nelson Goodman, Nicholas Wolterstorff, David Hume, Bruce Vermazen, and J. O. Urmson--Dickie synthesizes their insights to discover what can be derived from their theories. On this basis, he attempts to work out a theory of art evaluation--the first such book on this topic by a contemporary philosopher. Initially, the author outlines all possible theories of art evaluation, assuming that traditional evaluative notions are used. He identifies seven theory-types that fall under four general headings: imitation value theory, objective intrinsic value theories, subjective intrinsic value theory, and instrumental value theories. Dickie then discusses the historical development of the theory of art evaluation, examining the ways in which eighteenth- and nineteenth-century philosophers treated representation and other cognitive dimensions of art as artistic values. His thorough analysis of the work of other contemporary theorists argues for a theory of art evaluation derived from various strands of thought. (shrink)

This essay shows that a sharp distinction between ethics and aesthetics is unfruitful for thinking about how to live well with technologies, and in particular for understanding and evaluating how we cope with human existential vulnerability, which is crucially mediated by the development and use of technologies such as electronic ICTs. It is argued that vulnerability coping is a matter of ethics and art: it requires developing a kind of art and techne in the sense that it always involves technologies (...) and specific styles of experiencing and dealing with vulnerability, which depend on social and cultural context. It is suggested that we try to find better, perhaps less modern styles of coping with our vulnerability, recognize limits to our attempts to “design” our new forms, and explore what kinds of technologies we need for this project. (shrink)

– The property of the car – The appropriateness of your response: you are overreacting • We can discuss the value of art works.

What is the value of art? Standard responses draw on the different kinds of value that we tend to ascribe to individual artworks. In that context, none have been more significant than aesthetic value and moral value. To understand what makes an artwork valuable we then need to examine the interaction between these two kinds of value and how this contributes to the artwork's final value. The main aim of this article is to highlight two areas of concern for interaction (...) theories, in order to improve our understanding of the dynamic relations between kinds of value in art. In the first instance, I shall outline the main tenets of the three leading interaction theories. Next, I shall discuss what it might mean to say that an artwork has moral value, in an attempt to establish on what grounds interaction theories base their central claims. Subsequently, I will look at how our conception of art's moral value affects the possibility of a bona fide form of value interaction, or one capable of shaping a work's final value in conjunction with its aesthetic value. Finally, I shall turn to a discussion of the notion of aesthetic value. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

Land art requires careful evaluation when assessing its aesthetic and ethical value. Critics of land art charge that it is unethical in that it uses nature without such use being justified by some future good. Other critics charge that land art harms nature aesthetically. In this essay, the author canvasses these charges and argues that some land art is ethically and aesthetically defensible, and that some has great and rare potential in both realms.

This chapter contains sections titled: Introduction Aesthetic Properties and Principles Ideal Critics Engagement Objections and Questions References Further reading.

Critics often give reasons in support of their evaluations of works of art. They say, for example, that a work is bad because it is repetitive, or the characters are not well-delineated, or the colors are too uniformly bright. Or they say that a work is good because of the delicate balance of colors, its wit and excitement, or the way in which each variation of the theme is fresh and yet related to the previous variation.

Unlike bioethics mediators who are employed by healthcare organizations as outside consultants, mediators who are embedded in an institution must be authorized to chronicle a clinical ethics consultation (CEC) or a mediation in a patient’s medical chart. This is an important privilege, as the chart is a legal document. In this article I discuss this important part of a bioethics mediator’s tool kit in my presentation of a case illustrating how bioethics mediation may proceed, and what this approach using both (...) bioethics and mediation may add. (shrink)

Commented article: ZHENG, X. D. Theoretical Evaluation of Art Education from the Perspective of Traditional Chinese Philosophy. Trans/Form/Ação: revista de filosofia da Unesp, v. 47, n. 4, “Eastern thought”, e02400123, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15024.

To a superficial consideration, art criticism might appear as a profession of a parasitic nature, nourishing itself on what is produced by others: by artists. In fact, however, the relation between artistic practice and its criticism is more adequately conceived of as a sort of symbiosis. For, while it is true that criticism depends on and presupposes the existence of its objects - that is, works of art - on the other hand nothing would prevent good art from being equated (...) with and contaminated by bad art if critics ceased to draw a distinction between the two. (shrink)

The Liberal Arts model of undergraduate education within small, internationally-focused University Colleges is becoming increasingly popular in Europe. This trend is most notable in the Netherlands, where the liberal arts model is acclaimed as filling a gap in Dutch undergraduate education at conventional research universities. This paper explores the status of the Dutch University College as simultaneously continuing the liberal arts tradition of the US, with its civic and pedagogic values, and providing a truly modern education preparing students to find (...) innovative and inter-disciplinary solutions to the complex problems which define contemporary society. It concludes that the traditional role of a liberal arts education in cultivating intellectual rather than vocation skills does not have to exclude its appeal as providing the skills necessary for professional success in global sectors of the 21 st century knowledge economy. (shrink)

There is a standard skeptical concern within philosophy of art that causal explanations in psychology and neuroscience apply equally to our engagement with art that is done well and art that is done poorly and so do not contribute to our understanding of the normative dimension of artistic appreciation. This skeptical concern is often used to challenge the relevance of psychology and neuroscience to our understanding of art. I sketch a crossmodal model for perception which demonstrates that those affective processes (...) responsible for encoding the biological and instrumental value of a stimulus play a critical productive role in perceptual processing. I argue that the ensuing model for affective perception dissolves these skeptical philosophical concerns. (shrink)

This study sought to identify whether or not differences exist between the ethical decisions of male and female managers; and, if they do exist, to identify the areas in which differences occurred. An additional evaluation was conducted to determine how each perceived their counterpart would respond to the same ethical decision making situations.Data were collected from 50 male managers and 50 female managers by means of a self-administered questionnaire. Distinctive demographic characteristics were noted among the segments.

Contrary to the received view according to which the value of works of art consists exclusively or primarily in their aesthetic value I argue that the importance of aesthetic value has been grossly overrated. In earlier publications I have shown that the assumption stipulating that the value of artworks consists exclusively in their aesthetic value is demonstrably wrong. I have suggested a conceptual distinction between the aesthetic and the artistic value arguing that when it comes to evaluation the artistic (...) value, which reflects the significance of innovations exemplified by the work, is no less important than the aesthetic value. Here I take the argument a step further by suggesting that the aesthetic value is considerably less important than the artistic value. To show this I draw attention to a neglected aspect of art evaluation, namely to the monetary value of artworks. Although there is no necessary connection between monetary value of works of art and their aesthetic value or their artistic value, it can nevertheless tell us something important not only about the overall value of works of art but also about the relative importance of the two component values. I show that the enormous differences between monetary values of different artworks cannot be accounted for by the corresponding differences in their aesthetic value but can be explained by the differences in their artistic value. (shrink)

In order to establish a rational framework within which to discuss aesthetic matters, I attempt to find grounds to support the notion that objectivity in aesthetic evaluation is possible, within the visual arts. I begin by exploring the possibility that the foundations of our aesthetic response are innate, because, if this is the case, it would indicate that aesthetic considerations have a common basis within us all, rather than belonging to a purely personal and subjective realm. In Part One, (...) in search of foundations, I turn to the art of those who are relatively unprogrammed in our artistic conventions, in an attempt to distinguish between innate impulses and conditioned responses. Next, by looking for the motivation behind the aesthetic impulse, and what this can tell me about how the aesthetic is constituted, I consider the possibility that the aesthetic impulse is in some way linked to characteristics which aid survival. This includes studying the nature of perception, including various innate perceptual mechanisms and the part they play in the way our idea of the aesthetic is constituted, and some theories concerned with the psychological aspects involved in creativity, which link the aesthetic impulse with creativity in all fields of enquiry. In Part Two, I study examples of how discussions on aesthetic matters are conducted in our culture, to see whether there is evidence to support the notion of objectivity in aesthetic evaluation. While recognizing that it is common for aesthetic discussions to be conducted in a confused and even unintelligible manner, often using criteria actually irrelevant to aesthetic value (an example of which I provide), I seek out examples of reviews which are conducted in a rational and intelligible manner, based on relevant objective criteria. Also, by analysing the terms we use when discussing an art work, I ascertain whether these terms refer to properties in the actual art work, which we believe exist independently from the spectator, or whether these terms describe how we feel when viewing a work. In other words, I examine whether we have the concepts to support the idea that objectivity in aesthetic evaluation in the visual arts is possible. (shrink)

Out of the consideration of the same artistic essence and aesthetic function of drama and opera as theater, many directors devoted their lives to building a "golden bridge" between drama and opera: on the one hand, to maintain the traditional characteristics of opera, but "to make use of new ideas, new techniques, and new organization, so that the face of the old opera can be renewed". On the other hand, their early practice of new drama also made them realize that (...) Chinese drama, which lacked roots, "in terms of scriptwriting and acting, its only master was the Chinese opera. On the other hand, their early practice of new drama also made them realize that Chinese drama, which lacked roots, was "still the only master of Chinese opera in terms of scriptwriting and performance" and therefore needed to draw on the aesthetic spirit and artistic techniques of traditional opera, and in their later years they hoped that drama would "create the latest and most beautiful dramatic art on the basis of tradition". Many directors have left an important legacy for the 20th century Chinese theater by their thinking about and defending the aesthetic nature of theater and its "independent and dignified" artistic status, as well as by their important ideas and remarkable practice of fusing drama and opera to create modern Chinese national theater. It is of great importance to evaluate the effect of fusion. In this paper, we study the deep integration effect measurement of traditional drama and modern drama directing art based on intelligent computing and time-series data analysis, which effectively solves this problem. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate a (...) theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and—due to its unique in situ, immersive setting—is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson’s exhibition “Baroque, Baroque” held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers’ attention to both installed artworks and/or to the museum environment. The data showed differences in participants’ emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers’ appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

, George Dickie offers an account of artistic principles comprising both a description of their character and a description of the role they play in the evaluation of artworks. According to the former, artistic principles state that certain individual properties of artworks, in isolation from other properties, are always artistic merits; according to the latter, artistic principles serve as premises from which we infer that artworks have artistic merit. I argue not merely that Dickie 's account fails, but that (...) any account comprising either component of Dickie's account fails. Because not every account of artistic principles need comprise either of Dickie's components, the success of my argument will not rule out every possible account. But it will rule out many, and it will place tight constraints on the rest—tight enough, I believe, to raise worries about whether principles play any role in the evaluation of art. (shrink)