By Jerrold Levinson
This can be a long-awaited reissue of Jerrold Levinson's 1990 booklet track, artwork, and Metaphysics, which gathers jointly the writings that made him a number one determine in modern aesthetics. many of the essays are exotic through a priority with metaphysical questions on artistic endeavors and their homes, yet different essays deal with the matter of art's definition, the psychology of aesthetic reaction, and the common sense of studying and comparing artistic endeavors. the focal point of approximately 1/2 the essays is the artwork of track, the artwork of maximum curiosity to Levinson all through his profession. a few of the essays were very influential, being one of the such a lot mentioned in modern aesthetics and having turn into crucial references in debates at the definition of artwork, the ontology of paintings, emotional reaction to paintings, expression in paintings, and the character of artwork kinds.
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Extra resources for Music, Art, and Metaphysics
3 'Medium' in this sense is closer to 'art form' than to 'kind of stuff'. 4 Only a historically informed analysis, not a purely material or dimensionindividuating one, will capture the aesthetically important notion of hybrid art in actual use. A hybrid art form is an art form with a "past," 2 1 might note in passing that though I have characterized hybrid art forms as ones in which two distinct arts are combined, there are artistic phenomena we might call hybrid in which an existing art and some preexisting technological process or semiartistic activity are brought together; for example, neon and laser sculpture, computer music, computer graphics, video installations, earthworks (the latter joining sculpture to a body of construction skills).
The components of a putative hybrid must be locatable somewhere in the preceding culture and must be plausibly seen as having come together in the result. In short, hybrid art forms are art forms arising from the actual combination or interpenetration of earlier art forms. Art forms that have not so arisen, 2,8 Art and History though they may be intellectually analyzable into various possible or actual structural or mediumistic components, are not hybrids in the primary sense. ) As I remarked above, European figurative painting is not normally considered a hybrid art.
II The art forms on our opening list are all hybrids, then, in displaying a complex character in virtue of derivation from two or more earlier forms (or media) of art, but they are manifestly not all the same sort of hybrid. I have used the word "combination" to cover the relation of hybrid to antecedents in general, but we should now recognize that several logically distinct varieties of combination are involved. What varieties are there? It seems to be there are three important ones, which can be labeled juxtaposition (or addition), synthesis (or fusion), and transformation (or alteration).