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Ideas of Stephen Davies, by Text

[New Zealand, fl. 2016, Professor at the University of Auckland.]

2016 The Philosophy of Art (2nd ed)
1.2 p.6 The idea that art forms are linked into a single concept began in the 1740s
1.2 p.7 Aesthetic experience involves perception, but also imagination and understanding
1.2 p.7 The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation
1.2 p.7 The sublime is negative in awareness of insignificance, and positive in showing understanding
2.1 p.24 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees
2.1 p.24 A definition of a thing gives all the requirements which add up to a guarantee of it
2.2 p.27 Feminists warn that ideologies use timeless objective definitions as a tool of repression
2.2 p.27 Defining art as representation or expression or form were all undermined by the avant-garde
2.5 p.33 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences
2.5 p.36 The 'institutional' theory says art is just something appropriately placed in the 'artworld'
3.5 p.67 The title of a painting can be vital, and the artist decrees who the portrait represents
3.6 p.71 We must know what the work is meant to be, to evaluate the artist's achievement
4.3 p.85 If we could perfectly clone the Mona Lisa, the original would still be special
4.4 p.90 Art that is multiply instanced may require at least one instance
5.3 p.111 Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention
5.4 p.116 The meaning is given by the audience's best guess at the author's intentions
6.4 p.141 Music is too definite to be put into words (not too indefinite!)
6.4 p.142 Music may be expressive by being 'associated' with other emotional words or events
6.4 p.143 It seems unlikely that sad music expresses a composer's sadness; it takes ages to write
6.4 p.144 Music isn't just sad because it makes the listener feel sad