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    For an artwork to become an objective entity with manifes... — Carmelics
    Home/Aesthetics
    HistoryEditSee Inverse

    For an artwork to become an objective entity with manifest meaning, the audience must actively reconstruct the meaningful silence between the traces left by the artist.

    Aesthetics
    ?Rate how convincing each reason is below to see the overall strength.
    1 reason for
    2 reasons against

    Reasons For

    1 perspective
    Reason for
    ?
    • 1.The artist only sees the artwork from the inside, living it through an idiosyncratic form of being-in-the-world.
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    • 2.The expressive power of an artwork is rooted in the artist's particular mode of being-in-the-world.
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    • 3.Understanding that is merely passive cannot capture truly expressive meaning.
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    Reasons Against

    2 perspectives
    Reason against 1 of 2
    ?
    • 1.Artworks possess determinate structural and formal properties that constrain interpretation independent of any audience's reconstructive activity.
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    • 2.Goodman's allographic/autographic distinction shows meaning can be fixed by notational systems without requiring phenomenological reconstruction.
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    • 3.If meaning required active audience reconstruction, forgeries and misattributed works would bear identical meaning to originals, which conflicts with established critical practice.
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    Reason against 2 of 2
    ?
    • 1.Gadamer's hermeneutics holds that meaning emerges from the artwork itself within a tradition, not from subjective reconstruction of authorial silence.
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    • 2.The concept of Wirkungsgeschichte entails that an artwork's meaning accrues through historical transmission, making audience reconstruction derivative rather than constitutive.
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    Topics

    Aesthetics

    Related

    Artworks possess determinate structural and formal properties that constrain int...Gadamer's hermeneutics holds that meaning emerges from the artwork itself within...Goodman's allographic/autographic distinction shows meaning can be fixed by nota...If meaning required active audience reconstruction, forgeries and misattributed ...
    +4 moreShow less
    The artist only sees the artwork from the inside, living it through an idiosyncr...The concept of Wirkungsgeschichte entails that an artwork's meaning accrues thro...The expressive power of an artwork is rooted in the artist's particular mode of ...Understanding that is merely passive cannot capture truly expressive meaning.

    Similar

    The artwork becomes objective and manifests its sense in actuality onl...86%All works of art are visible imprints of the artist's abilities, putti...78%Knowing the artist's intention is knowing the work's meaning78%Therefore, conveying an emotion cannot be the source of an artwork's v...78%

    Source

    AI-extracted1/3 agreementValid
    SEP: aesthetics-existentialist
    View source passageHide passage
    A metaphor Sartre and Merleau-Ponty employ frequently is that of the two sides of the artwork, comparable to the two sides of a mirror. The artist only sees his or her own work from the inside; he or she lives the artwork in a sense, since the expressive power is rooted in an idiosyncratic form of being-in-the-world. For the work to become an objective entity with a manifest meaning, the understanding and imagination of the audience needs to reconstruct the meaningful silence in between the trac
    Extraction notes

    Validity: Extracted via Max plan + API grounding/validity checks

    Details

    Type
    claim
    Perspectives
    3 (1 for, 2 against)
    Edits
    1 edit