By Gregory Currie (auth.)
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Extra resources for An Ontology of Art
In this respect the theory is a seamless whole. Aesthetic empiricists insist, as we have seen, that we must appraise the work, if not on the basis of observable characteristics alone, then on the basis of those of its characteristics that supervene on its appearance. In attacking this view I am adopting a position akin to scientific realism; a position that denies that we can distinguish effectively between an appraisal of the work's appearance and an assessment of the kind of ability and technique that went into producing it.
1o Two expressions with the same sense must have the same reference. But of course the Fregean thesis is not that sense alone determines reference; facts about the world play their part as well. The reference of 'the king of France' is determined not just by the sense of that expression but by who happens to be the king of France. What it means to say that sense determines reference is that if two expressions have the same sense they will have the same reference within any given world. An expression may have one reference in one world and a quite different reference in another world, but expressions with the same sense will undergo exactly the same reference change from world to world.
229, my italics). And Beardsley gives us no indication as to what limits of variation in value are encompassed by the qualification 'very'. If we are to refute empiricism we must know more clearly what we are dealing with. So I shall give a sharp formulation of the supervenience thesis. If we can show that this is false then it is up to empiricists to decide what they will substitute for it if they want to continue with their programme. It is clear, first of all, that we cannot adequately formulate S as a mere generalisation: (51) 't:/x't:/y (x and y share the same pictorial properties share the same aesthetic properties), ~ x and y where x and yare variables that range over pictures.
An Ontology of Art by Gregory Currie (auth.)