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    Monroe Beardsley and George Dickie's institutional and ae... — Carmelics
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    Challenges→Criticizing conceptual art for failing to yield aesthetic experiences cannot undermine conceptual art on its own grounds.

    Monroe Beardsley and George Dickie's institutional and aesthetic theories both require that art objects be candidates for aesthetic appreciation, making this critique structurally prior to any project's self-declared intentions.

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    Key Terms

    Aesthetic appreciation(as used in discussions of what education should teach)
    The ability to recognize and enjoy beauty in art, nature, and other things—understanding why something is beautiful or moving.
    Aesthetic theory(as the other main theory being discussed)
    Philosophy about beauty, taste, and how we experience and judge art and beautiful things.
    Candidates for (aesthetic appreciation)(as the requirement being discussed)
    Things that have the potential or qualification to be judged and experienced as art or beauty.
    George Dickie(as the originator of the institutional theory of art)
    A 20th-century American philosopher who developed new ideas about what makes something art, focusing on the role of the art world and institutions rather than just how things look or feel.

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    Institutional theory(as a theory about what defines art)
    The idea that something counts as art because the art world—museums, galleries, critics, artists—treats it as art, rather than because of what it physically is.
    Monroe Beardsley(his theory about literary meaning is being discussed here)
    An American philosopher who studied aesthetics (the philosophy of art and beauty) and how literary meaning works.
    Structurally prior(describing the logical order of ideas in the argument)
    More fundamental or logically first—something that must be true before other things can follow from it.

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    Aesthetics1 linked

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    Criticizing conceptual art for failing to yield aesthetic experiences cannot und...

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