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Peter Lamarque's Aesthetic Essentialism

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Peter Lamarque's Aesthetic Essentialism University of Reading Peter Lamarque’s Aesthetic Essentialism PhD Thesis Mona Roxana Shields Department of Philosophy October 2016 Abstract This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two-fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new-object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contributes to the aesthetic character and value of these works. Declaration I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. Mona Roxana Shields Acknowledgements I have greatly benefitted from many interesting discussions with members of staff and fellow graduate students at the philosophy department at Reading and from their valuable comments on my work. I am particularly grateful to my main supervisor Severin Schroeder for his constant help and support, for dedicating so much time to reading many different drafts of chapters and for his stimulating criticism and meticulous attention to detail. A special thank you also goes to my second supervisor Maximilian de Gaynesford for his inspirational guidance and many feedback discussions. I thank to Andrea Lecher for taking time to reading some of my chapters, for her interest in contemporary aesthetics and detailed feedback on some of my arguments. In addition, I would like to thank to the artist Jo Thomas for her support in reading a couple of chapters, for her comments and long hours of discussions about conceptual art. Finally I need to mention Arthur Shields who read my early chapters and who encouraged my academic journey through his continuous support and beautiful and illuminating discussions about aesthetics and contemporary art. Contents Introduction 1 I. The Concept of the Aesthetic – Historical Dimensions 5 II. Aesthetic Properties 44 III. Peter Lamarque’s account of aesthetic properties – Key features 70 IV. Peter Lamarque Individual-Essentialism. Part 1: New-Object (Non-Identity) Theory 95 V. Peter Lamarque’s Individual-Essentialism. Part 2: Aesthetic Properties and Works of Art 132 VI. The Aesthetics of Conceptual Art 149 Conclusion 204 References 209 INTRODUCTION 1 Motivating Questions This thesis is motivated by the debate in contemporary aesthetics about the nature and main characteristics of works of art, in particular conceptual works. On the one hand, I am interested in the main philosophical theories of art which deal with the characterisation of works of art and their main features. On the other hand I am interested in the explanatory force these theories have in clarifying ontological questions about works of art and the complex subjective experiences prompted by works of art. In contemporary aesthetics there are two sets of important conceptions that function as a basis for most discussions. The first set consists in these three concepts: the work of art, the artist and the art audience. The second set has the following three important concepts: the aesthetic attitude, the aesthetic properties and the aesthetic experience. I have become fascinated by the relations of dependency and the impact that those concepts have on shaping our understanding of art and art responses. Therefore, I decided that I have to make a choice about a starting point in investigating works of art and their experience, and this starting point was the concept of aesthetic properties. There are rival theories about aesthetic properties and the most important dichotomy is that between a realist position (aesthetic properties are in the work) and an anti-realist position (aesthetic properties are not in the work, they are imputed to the work). The most important philosophical literature about aesthetic concepts and properties are the papers by Frank Sibley and his supporters. I focused mainly on Sibley’s work and that of his philosophical descendants. There are also other discussions, like the one about the distinction between artistic and aesthetic properties, which contribute to a larger picture of the importance of aesthetic properties in art. While developing a picture about philosophical contributions to explanations of the nature and the role of aesthetic properties in art experiences and appreciation, in particular in conceptual works’ appreciation, I have become conscious of a contemporary predilection for anti-essentialist approaches to art. However, I realised that I am a realist about aesthetic 1 properties and I believe that an essentialist position about aesthetic properties can be sustained. I found Peter Lamarque’s position on aesthetic essentialism very convincing, even though there are a number of serious objections to it. Interestingly, I found that the most effective way to tackle some of these objections is by a detailed analysis and discussion of particular works of art. 2 Overview of the Thesis Experiences of works of art are some of the most rewarding experiences one has. There is a fierce debate about what kind of experiences are responses to conceptual art. In this thesis I shall suggest that conceptual art can be aesthetically experienced and appreciated. In order to support this claim, I shall first discuss Lamarque’s individual aesthetic essentialism. Lamarque’s essentialism proposes that some works of art necessarily possess a distinctive aesthetic character. In order to present this account and consider objections to it, it is useful to set up a strong conceptual framework. The concept of the aesthetic and that of aesthetic properties are vital for an understanding of Peter Lamarque’s aesthetic essentialism. CHAPTER I of this thesis has two main sections. In Section 1, I introduce the main historical dimensions of the concept of the aesthetic in order to reveal interesting developments in the use of the term and to identify a number of contemporary philosophical arguments about works of art and aesthetic properties. In Section 2, I discuss Frank Sibley’s conception of the aesthetic, proposed in his investigation of aesthetic concepts. I close the chapter with an initial proposal about main features of the concept of the aesthetic: the concept is indissolubly linked to the perceptual and any account of the aesthetic needs to involve an understanding of the distinction and the relationship between the aesthetic and the non-aesthetic. CHAPTER II discusses one of the most important concepts of any theory about works of art, that of aesthetic properties. In this chapter I focus mainly on Sibley’s account of aesthetic properties, an account which had a big influence on Lamarque’s aesthetic realism, in particular his property realism. I analyse in detail the two-fold relational character of aesthetic properties: aesthetic properties are dependent upon non-aesthetic perceptual properties (Section 1) and aesthetic properties have a relation to qualified observers (Section 2). I conclude, in a Sibleyan manner, that the dependence of aesthetic properties on non- 2 aesthetic properties is one of emergence. Moreover, I propose a broad employment of the concept of the aesthetic, beyond sense perception. CHAPTER III introduces Lamarque’s account of key features of aesthetic properties. In Section 1 of this chapter, I go over the main characteristics of aesthetic properties, on which Lamarque agrees with other thinkers, and also the characteristics which Lamarque argues for, in opposition to other views. In Section 2, of this chapter, I discuss in detail the difference between aesthetic and artistic properties, a distinction which is important of discussions of the aesthetics of contemporary art. Also here I analyse a number of 20th century works of art in order to illuminate the attribution of important aesthetic properties to those works. CHAPTER IV proposes first a general introduction to essentialism (Section 1) and secondly an introduction to Lamarque’s argument for individual essentialism (Section 2). This particular type of essentialism rests upon two premises. The first one is that works of art are ontologically different objects from the mere objects that embody them (Lamarque calls this view, new-object theory). Lamarque’s new-object theory is the subject of Section 2 of this chapter. But Lamarque’s second premise is dealt with in the next chapter. The conclusion of this chapter agrees with Lamarque that works
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