LEADER 04150nam 22006494a 450 001 996214608803316 005 20230617005245.0 010 $a1-280-19835-4 010 $a9786610198351 010 $a0-470-79876-9 010 $a0-470-77492-4 010 $a1-4051-4364-9 035 $a(CKB)1000000000342044 035 $a(EBL)233114 035 $a(OCoLC)475939757 035 $a(SSID)ssj0000105779 035 $a(PQKBManifestationID)11127975 035 $a(PQKBTitleCode)TC0000105779 035 $a(PQKBWorkID)10104815 035 $a(PQKB)10874306 035 $a(MiAaPQ)EBC233114 035 $a(EXLCZ)991000000000342044 100 $a20030515d2004 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aArt as performance$b[electronic resource] /$fDavid Davies 210 $aMalden, MA $cBlackwell Pub.$d2004 215 $a1 online resource (292 p.) 225 1 $aNew directions in aesthetics ;$v2 300 $aDescription based upon print version of record. 311 $a1-4051-1667-6 311 $a1-4051-1666-8 320 $aIncludes bibliographical references (p. [266]-272) and index. 327 $aContents; Preface; 1 Introduction; 1.1 Challenges to Aesthetic Empiricism; 1.2 Methodological Interlude:The "Pragmatic Constraint " on the Ontology of Art; 2 Aesthetic Empiricism and the Philosophy of Art; 2.1 Aesthetic Empiricism; 2.2 Indirect Arguments Against Aesthetic Empiricism; 2.3 Direct Arguments Against Aesthetic Empiricism; 2.4 Drawing Ontological Conclusions from the Counter-Empiricist Arguments; 3 The Fine Structure of the Focus of Appreciation; 3.1 The Structure of the Focus of Appreciation; 3.2 Performance and Appreciation; 3.3 Ontology After Empiricism 327 $a4 The Artwork as Performance: An Argument from Artistic Intentions4.1 Overview; 4.2 The Bearing of Provenance on Work and Focus; 4.3 Artistic Intentions and the Ontology of Art; 4.4 Conclusions; 5 Provenance,Modality,and the Identity of the Artwork; 5.1 Preliminaries; 5.2 The Work-Relativity of Modality; 5.3 A Strategy for Accommodating the Work-Relativity of Modality; 5.4 Appendix:A Defense of the "Modality Principle "; 6 Artwork,Action,and Performance; 6.1 The "Action-Type Hypothesis "; 6.2 Assessing the ATH; 6.3 Currie and his Critics; 7 Art as Performance 327 $a7.1 Elaborating the Performance Theory7.2 Structure and Focus; 7.3 Heuristics and the Individuation of Artworks; 7.4 Work-Constitution and Modality on the Performance Theory; 7.5 Performances,Actions,and Doings; 8 Revisionism and Modernism Revisited; 8.1 Revisionism Revisited; 8.2 Performance and the Challenge of the Modern; 8.3 More on Forgeries; 9 Performance as Art; 9.1 Performance as Art; 9.2 Performed Works and Work-Performances; 9.3 Work-Performances and Performance-Works; 9.4 Performance-Works and Improvisation; 10 Defining "Art " as Performance,,and the Values of Art 327 $a10.1 Notes Toward a Definition of "Art "10.2 The Values of Art; 10.3 Conclusions:The Case Against Contextualism; References; Index 330 $aIn this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights cor 410 0$aNew directions in aesthetics ;$v2. 606 $aAesthetics 606 $aArt$xPhilosophy 615 0$aAesthetics. 615 0$aArt$xPhilosophy. 676 $a111.85 676 $a111/.85 676 $a701.1 700 $aDavies$b David$f1949-$0964256 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a996214608803316 996 $aArt as performance$92266775 997 $aUNISA