Aesthetics I by Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. PDF

By Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)

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And so for the most part it lacks unity. Those who do hold their knowledge under the conditions imposed by the need for consistency find that they have a philosophy. And of course there are advantages to be gained in this way. To move against a background of principles, however unstated they be, means to look deeper into the nature of things and hence to live more intensely. We can only take in, only absorb, what we find out about, a fact which makes of our inner intensity a function of outer principles.

I did it this way because I wanted to be able to show that the philosophy of art rests on the work of art and not on the psychology of the artist. No one would deny the importance of the artist in the production of art: obviously, without the artist, in most instances there would be no art. (In some instances we would have the spectacle of aesthetic objects, such as a sunset or a particularly beautiful piece of driftwood, the value of which may lie very close to those works of art which were made by man).

In some instances we would have the spectacle of aesthetic objects, such as a sunset or a particularly beautiful piece of driftwood, the value of which may lie very close to those works of art which were made by man). But the accidental works of non-human nature however high their value are still not art. Deliberation allows for a greater complexity and hence for a greater intensity in a small compass. To the sculptor when he has completed the modelling of a statue it becomes a thing out in the world capable of standing on the merits of its own contained values.

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