Skip to content

Art


Peter Storm Henningsen


Pages 62 - 68



The modern concept of art was originally was derived from the latin ars and the greek techné, which can both roughly be translated as skill or ability; in the current understanding of the term, ‘art’ denotes both the activities involved in the production of the art work, as well as – prima facie at least – a distinctive (possibly contextual) feature of these activities and their products that demarcates art from other domains such as the crafts, science, or life. Art comes in different ‘genres’ which are determined by the type of product generated in artistic activity – such as painting, music, poetry, sculpture, performance and more recently happenings, ready-mades as well as hypertext based works.




1Lillebælt Academy, University of Applied Sciences



1 Abell, & Bantinaki, ed., (2010), Philosphical Perspectives on Depiction, Oxford: Oxford University Press.

2 Bantinaki, K., (2009), “Depiction”, in Davies et al, eds., A Companion to Aesthetics, 2.ed, Wiley Blackwell.

3 Batteux, C., (1970), Les beaux arts réduits à un même principe, New York, Johnson Reprint.

4 Baumgarten, A. G., (2007), Ästethik 1-2, Hamburg: Felix Meiner.

5 Baumgarten, A. G., (1983), Meditationes Philosophicae de Nonullis ad Poema Pertinentibus, Hamburg: Felix Meiner.

6 Beardsley, M. C., (1982), The Aesthetic Point of View. Selected Essays (ed. by Wreen et al.), Ithaca: Cornell University Press.

7 Beardsley, M. C., (1970), “The Aesthetic Point of View”, in Kiefer et al., eds., Perspectives in Education, Religion and the Arts, 219-237. Reprinted in Beardsley: The Aesthetic Point of View, 15-34.

8 Beardsley, M. C., (1958), Aesthetics – Problems in the Philosophy of Criticism, New York: Harcourt.

9 Bell, C., (1915), Art (2.ed), London: Chatto and Windus.

10 Bullough, E., (1957), Æsthetics – Lectures and Essays (Wilkinson ed.), London: Bowes and Bowes.

11 Burke, E., (1958), A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful, ed. by J.T. Boulton, London: Routledge and Kegan Paul.

12 Carroll, N., (1999), Philosophy of Art – A Contemporary Introduction, London and New York: Routledge.

13 Collinson, D., (1992), “Aesthetic Experience”, in Hanfling, ed., Philosophical Aesthetics, 111-178.

14 Crowell, S. G., ed., (1995), The Prism of the Self, Dordrecht: Kluwer Academic Publishers.

15 Cubitt, S., (1998), Digital Aesthetics, London: Sage Publ.

16 Danto, A., (1981), The Transfiguration of the Commonplace, Cambridge Mass.: Harvard University Press.

17 Dickie, G., (1974), Art and the Aesthetic – An Institutional Analysis, Ithaca: Cornell.

18 Eco, U., (1962), Opera aperta. Forma e indeterminazione nelle poetiche contemporanee, Milano, Bompiani. English translation of the main parts in Eco, Umberto 1989, The Open Work (Transl. by A. Cancogni), Hutchinson Radius.

19 Hambridge, J., (1968), Principles of Dynamic Symmetry, New York: Dover.

20 Hanfling, Oswald, ed., (1992), Philosophical Aesthetics – An Introduction, Oxford: Blackwell.

21 Hargittai, I., ed., (1986), Symmetry. Unifying Human Understanding, Oxford: Pergamon Press.

22 Hargittai, I., ed., (1989), Symmetry 2. Unifying Human Understanding, Oxford: Pergamon Press.

23 Hopkins, R., (2006), “The Speaking Image: Visual Communication and the Nature of Depiction”, in Kieran 2006: 145-159.

24 Hopkins, R., (1998), Picture, Image and Experience, Cambridge: Cambridge University Press.

25 Ingarden, R., (1962), Untersuchungen zur Ontologie der Kunst, Tübingen, Max Niemeyer. English translation: Ingarden, Roman, 1989, Ontology of the Work of Art (transl. by R. Meyer), Ohio University Press.

26 Kant, I., (2006), Kritik der Urteilskraft, Hamburg: Felix Meiner. English translation: Kant, Immanuel, 2000, Critique of the Power of Judgement (Transl. by E. Matthews), Cambridge: Cambridge University Press.

27 Kiefer, et al., eds., (1970), Perspectives in Education, Religion and the Arts, Albany: Suny Press.

28 Kieran, M., ed., (2006), Contemporary Debates in Aesthetics and the Philosophy of Art, Malden: Blackwell.

29 Lewis, C.S., (1961), An Experiment in Criticism, Cambridge: Cambridge University Press.

30 Lopes, D.M., (2006), “The Domain of Depiction”, in Kieran 2006: 160-174. McWhinnie, H. J., 1989, “Influences of the Ideas of Jay Hambridge on Art and Design” in Hargittai 1989: 1001-1008.

31 Null, G.T., (1995), “Art and Part: Mereology and the Ontology of Art”, in Crowell 1995: 255-275.

32 Osborne, H., (1986), “Symmetry as an Aesthetic Factor”, in Hargittai 1986: 77-82.

33 Reid, T., (1997), An Inquiry into the Human Mind, on the Principles of Common Sense, (edited by D.R. Brookes), Edinburg: Edinburg University Press.

34 Rorty, A.O., ed., (1992), Essays on Aristotle’s Poetics, Princeton: Princeton University Press.

35 Sibley, F., (1965), “Aesthetic and Non-Aesthetic”, Philosophical Review 74: 135-59. Reprinted in Sibley 2001: 33-51.

36 Sibley, F., (1974), “ Particularity, Art and Evaluation”, Proceedings of the Aristotelean Society, Supp. Vol. 48, 1-21. Reprinted in Sibley 2001: 88-103.

37 Sibley, F., (2001), Approach to Aesthetics, (edited by Benson et al.), Oxford: Clarendon Press.

38 Stecker, R., (2010), Aesthetics and the Philosophy of Art, 2., ed., Rowman & Littlefield.

39 Strawson, P.F., (1974), Freedom and Resentment and Other Essays, London: Methuen.

40 Strawson, P.F., (1966), “Aesthetic Appraisal and Works of Art”, The Oxford Review 3. Reprinted in Strawson 1974: 178-188.

41 Wollheim, R., (1987), Painting as an Art, London: Thames and Hudson.

42 Wollheim, R., (1980), Art and its Objects, (2. ed), Cambridge: Cambridge University Press.

Share


Export Citation