By Gregory Currie (auth.)
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Additional resources for An Ontology of Art
So Walton has no grounds for saying that it would be rational for us to revise our assessment of the work. But it seems, intuitively, that we ought to revise our assessment of it. It might be objected that the psuedo-Giotto painting fails to belong to the same category as Giotto's actual work because it was painted at the wrong time. But Walton's definition of a category in terms of standard, variable and contra-standard features does not allow us to exclude a work from a category on purely historical grounds.
These results will be applied in the next section. 8. MOVING FURTHER AWAY FROM EMPIRICISM With this correction in mind, let us return to Walton's main thesis. The thesis is that the aesthetic properties of a work supervene on its pictorial properties, together with the category of art to which it belongs. While Walton recognises that this is a refutation of empiricism in the strict sense, he turns out to have some sympathy with empiricist ideas. e. , p. 367). Thus aesthetic judgements about visual art are to be based on the perception of visible properties in the work, as those visible features are weighted in accordance with the category to which the work belongs.
P. 367). Thus aesthetic judgements about visual art are to be based on the perception of visible properties in the work, as those visible features are weighted in accordance with the category to which the work belongs. In this way Walton can give a pleasingly precise answer to the question: how much do we need to know about the history of a work in order to appreciate the work correctly? His answer is: just enough history to decide what category it belongs to. Walton's view is certainly an advance on empiricism, but I do not think that it is correct.
An Ontology of Art by Gregory Currie (auth.)