Is art created with computers really art? This book answers ‘yes.’ Computers can generate visual art with unique aesthetic effects based on innovations in computer technology and a Postmodern naturali
With this, the first volume in the Oxford Philosophical Monographs series, Paul Crowther breaks new ground by providing what is probably the first study in any language to be devoted exclusively to Ka
Formulating a new approach to philosophy which, instead of simply rejecting postmodern thought, tries to assimilate some of its main features, Paul Crowther identifies conceptual links between value,
As a philosophical approach, phenomenology is concerned with structure in how phenomena are experienced. The Phenomenology of Modern Art uses phenomenological insights to explain the significance of s
The Kantian Aesthetic explains the kind of perceptual knowledge involved in aesthetic judgments. It does so by linking Kant's aesthetics to a critically upgraded account of his theory of knowledge. Th
The Kantian Aesthetic explains the kind of perceptual knowledge involved in aesthetic judgments. It does so by linking Kant's aesthetics to a critically upgraded account of his theory of knowledge. Th
Contemporary discussions of the image like to emphasize art's societal functions. Few studies come close to answering why pictures and sculptures fascinate and intrigue regardless of any practical fun
Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocati
Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Cr
Crowther (philosophy, National U. of Ireland) addresses basic features of modern art "on the basis of style as a bearer of aesthetic meaning." He defines style as "a way of visually disclosing attitud
Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In this 2002 book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment.
Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocati
What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional d
Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In this 2002 book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment.
There are as many meanings to drawing and painting as there are cultural contexts in which they exist. But this is not the end of the story. Drawings and paintings are made, and the process of making
