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    Nelson Goodman's Languages of Art demonstrates that resem... — Carmelics
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    Supports→Resemblance alone is not the source of pleasure in aesthetic imitation, because resemblance can be produced by means far simpler than the full range of artistic faculties

    Nelson Goodman's Languages of Art demonstrates that resemblance is neither necessary nor sufficient for representation, since any two objects resemble each other in some respect while denotation depends on learned symbolic systems.

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    Key Terms

    Languages of Art(the specific work being referenced)
    A famous book by Goodman arguing that art forms (like painting, music, and dance) communicate meaning through symbol systems, similar to how language works.
    Necessary and sufficient(describes the relationship between a particular's existence and a statement's truth)
    Necessary means something must happen for a result; sufficient means something alone is enough to guarantee that result.
    Nelson Goodman(the philosopher whose theory is being discussed)
    A 20th-century American philosopher who developed theories about how symbols (like words, pictures, and artworks) work and mean things.
    Symbolic systems(in cognitive science and AI)
    Computer or thinking systems that work by manipulating symbols (like words or mathematical signs) according to logical rules, similar to how humans use language.

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    denotation(Goodman's theory of symbols and depiction)
    A variety of reference; the relation in which a name stands to its bearer, a predicate stands to the members of its extension, or a portrait stands to its subject
    representation(Schopenhauer's Kantian framework; the empirical/phenomenal side of reality)
    The world as it appears to a knowing subject; objects as they are given through the subject's cognitive forms
    resemblance(Ontology of universals and intelligibles)
    A relation predicated on two subjects; a property belonging both to classes of intelligibles and to their individual members.

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    Aesthetics1 linked

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    Resemblance alone is not the source of pleasure in aesthetic imitation, because ...

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