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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs38 Denis Dutton}{\i\shad\hich\af1\loch\f1\fs38 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Died 2010:  was editor of }{\i\shad\hich\af1\loch\f1\fs28 Arts &                                         Letters Daily}{\shad\hich\af1\loch\f1\fs28 , taught at the University of Canterbury, New Zealand, directed Radio New Zealand, Inc. and edited }{\i\shad\hich\af1\loch\f1\fs28 Philosophy and Literature}{\shad\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Dutton}{\shad\loch\af1\hich\f1 \'92}{\shad\hich\af1\loch\f1 s most recent book is }{\i\shad\hich\af1\loch\f1 The Art Instinct: Beauty, Pleasure and Human Evolution  }{\shad\hich\af1\loch\f1 (New York: Bloomsbury Press, 2009).\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 He also has a youtube video }{\shad\loch\af1\hich\f1 \'93}{\shad\hich\af1\loch\f1 A Darwinian Theory of Beauty}{\shad\loch\af1\hich\f1 \'94}{\shad\hich\af1\loch\f1  Nov. 10, 2010. }{\field{\*\fldinst HYPERLINK "http://www.ted.com/" \\o "http://www.ted.com"}{\fldrslt\cf2\ul{\shad\hich\af1\loch\f1 http://www.ted.com}}}{\shad\hich\af1\loch\f1  animator: Andrew Park \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24 Salvator Rosa }{\shad\loch\af1\hich\f1\fs24 \'93}{\shad\hich\af1\loch\f1\fs24 Evening Landscape}{\shad\loch\af1\hich\f1\fs24 \'94}{\shad\hich\af1\loch\f1\fs24  1640-1643\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\i\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Dutton: Rosa painted this work to excite feelings developed by humans during the Pleistocene era about landscapes.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\loch\af1\hich\f1 \'93}{\shad\hich\af1\loch\f1 The }{\b\shad\hich\af1\loch\f1 Pleistocene}{\shad\hich\af1\loch\f1  is the epoch from 2.588 million to 12,000 years BC covering the world's recent period of repeated glaciations.}{\shad\loch\af1\hich\f1 \'94}{\shad\hich\af1\loch\f1   Wikipedia. It is the period in which man evolved. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 "Artistic Crimes"  1983  from }{\i\shad\hich\af1\loch\f1 The Forger's Art\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs28 The concept of forgery is a touchstone of criticism, but it has been ignored.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Critics have praised forged works, but this makes them look ridiculous.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Since "the aesthetic object as perceived is no different after the revelation that it is forged" [a position opposed by Dutton] it is suspected that the work was not valued by critics for its }{\shad\loch\af1\hich\f1 \'93}{\shad\hich\af1\loch\f1 intrinsic aesthetic proprieties.}{\shad\loch\af1\hich\f1 \'94}{\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 Misrepresentation\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 There is a suspicion that the critics praised the work for the wrong reasons in the first place, i.e. because it was a work by a great artist.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 I shall seek to discredit this view [i.e. the idea that the aesthetic object remains the same after revelation of forgery].\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 Skill Misrepresented\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Smith listens to a performance of Liszt on a recording and thinks it a  }{\shad\loch\af1\hich\f1 \'93}{\shad\hich\af1\loch\f1 truly electric performance.}{\shad\loch\af1\hich\f1 \'94}{\shad\hich\af1\loch\f1   But Jones responds that the engineers actually speeded it up, and Smith}{\shad\loch\af1\hich\f1 \'92}{\shad\hich\af1\loch\f1 s enthusiasm evaporates.  [So the skill of the performance was misrepresented.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs38 All arts are creative and all are performing arts.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 The distinction between creative and performing arts has its uses: choreographer vs. dancer, for example.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 But it should not lead us to fail to recognize that all arts are creative and that all arts are performing [arts] }{\shad\loch\af1\hich\f1 \'85}{\shad\hich\af1\loch\f1  that every work of art involves the element of performance. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\loch\af1\hich\f1\fs28 \'93}{\shad\hich\af1\loch\f1\fs28 Performance}{\shad\loch\af1\hich\f1\fs28 \'94}{\shad\hich\af1\loch\f1\fs28  means a human activity which stands in some sense complete in itself.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 It also involves some sense of accomplishment, of achievement.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 There are differing relations of artworks to their performance: for example, in dance, to perceive the object }{\i\shad\hich\af1\loch\f1\fs28 is}{\shad\hich\af1\loch\f1\fs28  to perceive the performance, whereas in painting the object of perception is representative of a human performance.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Still, the concept of performance is internal to our whole}{\i\shad\hich\af1\loch\f1\fs28  }{\shad\hich\af1\loch\f1\fs28 notion of art. [vs. Danto]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 Forgeries\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\loch\af1\hich\f1\fs28 \'93}{\shad\hich\af1\loch\f1\fs28 [a] forgery is an artifact of one person which is intentionally attributed to another, usually with the purpose of turning a profit.}{\shad\loch\af1\hich\f1\fs28 \'94}{\shad\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Dictionary.com}{\shad\hich\af1\loch\f1\fs28   one meaning:  }{\shad\loch\af1\hich\f1\fs28 \'93}{\shad\hich\af1\loch\f1\fs24 the production of a spurious work that is claimed to be genuine, as a coin, a painting, or the like.}{\shad\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  }{\shad\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 What is wrong with forgeries is not only that they misattribute origin but that because they misrepresent origin they }{\i\shad\hich\af1\loch\f1\fs28 misrepresent achievement.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs28 Forgeries are a subset of a wider class of misrepresented artistic performances:\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-7{\pntxtb l}}{\shad\hich\af1\loch\f1 in all arts there is always the possibility of misrepresenting achievement.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-7{\pntxtb l}}{\shad\hich\af1\loch\f1 In the case of a recording engineer who artificially improves a piano performance Smith [member of the audience] has expectations about achievement which are not met.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-7{\pntxtb l}}{\shad\hich\af1\loch\f1 Smith's experience of sound implies the experience of a performance, of something done in a certain way by a human being.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 Artistic Achievement\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 The question "what has the artist achieved" is fundamental, not because of psychology, but because of the nature of the concept of art itself. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Technological advances have altered what counts for achievement, but not the relevance of the concept of achievement.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Hans van }{\shad\hich\af1\loch\f1 Meegeren}{\shad\hich\af1\loch\f1 , who forged }{\shad\hich\af1\loch\f1 Vermeers}{\shad\hich\af1\loch\f1 : his achievement was considerable, but it is not that of a genius artist.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24 \line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Vermeer}{\i\shad\hich\af1\loch\f1\fs28 The Music Lesson}{\shad\hich\af1\loch\f1\fs28  \line c. 1662-65 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\i\shad\hich\af1\loch\f1\fs28 The fawn}{\shad\hich\af1\loch\f1\fs28  (}{\shad\loch\af1\hich\f1\fs28 \'93}{\shad\hich\af1\loch\f1\fs28 Hertje}{\shad\loch\af1\hich\f1\fs28 \'94}{\shad\hich\af1\loch\f1\fs28 ). One of Hans van Meegeren}{\shad\loch\af1\hich\f1\fs28 \'92}{\shad\hich\af1\loch\f1\fs28 s (1889-1947) best-known original drawings, 1921\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Han van }{\shad\hich\af1\loch\f1\fs28 Meegeren}{\shad\hich\af1\loch\f1\fs28 , }{\shad\hich\af1\loch\f1\fs28 Nachtlokaal}{\shad\hich\af1\loch\f1\fs28  #2, \line ca. 1925. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24 On left, }{\shad\hich\af1\loch\f1\fs24 Frans}{\shad\hich\af1\loch\f1\fs24  Hals, 1633\line }{\i\shad\hich\af1\loch\f1\fs24 Malle}{\i\shad\hich\af1\loch\f1\fs24  }{\i\shad\hich\af1\loch\f1\fs24 Babbe}{\i\shad\hich\af1\loch\f1\fs24 , The Haarlem Witch}{\shad\hich\af1\loch\f1\fs24 , On right, Van }{\shad\hich\af1\loch\f1\fs24 Meegeren}{\shad\hich\af1\loch\f1\fs24 , 1935-6\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs18 Han van Meegeren's "The Disciples at Emmaus}{\shad\loch\af1\hich\f1\fs18 \'93}{\shad\hich\af1\loch\f1\fs18  1937}{\shad\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24 Director and Chief Restorer of Museum admiring this work.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\shad\hich\af1\loch\f1\fs28   \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Dr. Abraham Bredius, Dutch Art Historian, about "Christ at Emmaus,"  "It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration.... And what a picture! ...what we have here is a -- I am inclined to say --}{\i\shad\hich\af1\loch\f1\fs28  the}{\shad\hich\af1\loch\f1\fs28  masterpiece of Johannes Vermeer of Delft!}{\shad\loch\af1\hich\f1\fs28 \'93}{\shad\hich\af1\loch\f1\fs28  1937 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\b\shad\loch\af1\hich\f1\fs24 \'93}{\b\shad\hich\af1\loch\f1\fs24 Christ and the Adulteress}{\b\shad\loch\af1\hich\f1\fs24 \'94}{\b\shad\hich\af1\loch\f1\fs24  by Van Meegeren, 1943\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs20   }{\shad\loch\af1\hich\f1\fs20 \'93}{\shad\hich\af1\loch\f1\fs20 Essential Vermeer}{\shad\loch\af1\hich\f1\fs20 \'94}{\shad\hich\af1\loch\f1\fs20  website, Jonathan }{\shad\hich\af1\loch\f1\fs20 Janson}{\shad\hich\af1\loch\f1\fs20  2001-2012, }{\field{\*\fldinst HYPERLINK "http://www.essentialvermeer.com/misc/van_meegeren.html"}{\fldrslt\cf2\ul{\shad\hich\af1\loch\f1\fs20 http://www.essentialvermeer.com/misc/van_meegeren.html}}}{\shad\hich\af1\loch\f1\fs20   accessed 12/5/12\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Herman Goring  (1893}{\shad\loch\af1\hich\f1\fs28 \'96}{\shad\hich\af1\loch\f1\fs28 1946) in SA-}{\shad\hich\af1\loch\f1\fs28 Gruppenfuhrer}{\shad\hich\af1\loch\f1\fs28  uniform, by H. Hoffmann, official portrait, 1935.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24 Van Meegeren at his trial\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs19 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs19\pnscheme-6{\pntxtb l}}{\shad\loch\af1\hich\f1\fs24 \'93}{\shad\hich\af1\loch\f1\fs24 During the trial of Han van }{\shad\hich\af1\loch\f1\fs24 Meegeren}{\shad\hich\af1\loch\f1\fs24 , which took place in 1947, the forger demonstrated the techniques he had used to create several convincing Vermeer forgeries. Before the court and under police guard, he painted his last }{\shad\loch\af1\hich\f1\fs24 \'91}{\shad\hich\af1\loch\f1\fs24 Vermeer,}{\shad\loch\af1\hich\f1\fs24 \'92}{\shad\hich\af1\loch\f1\fs24  }{\i\shad\hich\af1\loch\f1\fs24 Jesus among the Doctors}{\shad\hich\af1\loch\f1\fs24 .}{\shad\loch\af1\hich\f1\fs24 \'94}{\shad\hich\af1\loch\f1\fs24  Wikipedia\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs24\lang2057 Van Meegeren painted this in prison before to prove he had done the forgeries. 1945}{\shad\hich\af1\loch\f1\fs14 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs38 Vermeer, }{\shad\loch\af1\hich\f1\fs38 \'93}{\shad\hich\af1\loch\f1\fs38 Woman reading a letter.}{\shad\loch\af1\hich\f1\fs38 \'94}{\shad\hich\af1\loch\f1\fs38 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs40 Van }{\shad\hich\af1\loch\f1\fs40 Meegeren}{\shad\hich\af1\loch\f1\fs40  forgery\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Van Meegeren two months before his death.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs14 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs14\pnscheme-6{\pntxtb l}}{\b\shad\hich\af1\loch\f1\fs18 Van Meegeren\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs14 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs14\pnscheme-6{\pntxtb l}}{\b\shad\hich\af1\loch\f1\fs18 Man and Woman at a Spinet\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs14 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs14\pnscheme-6{\pntxtb l}}{\b\shad\hich\af1\loch\f1\fs18 65 x 53 cm, painted around 1935-36}{\b\shad\hich\af1\loch\f1\fs28  \line }{\shad\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 The Concept of Art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Thus the concept of art is constituted a priori of certain essential properties.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Reference to origins and achievement is one of these properties.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Those theorists who claim that it ought to make no difference to appreciation whether a work is forged or not attack the idea of art itself.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs38 Works of art are the end-products of human activities.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Part of understanding a work of art is grasping what sort of achievement the work represents.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Understanding of the achievement takes us to origins:  who created it, the context of creation.  [vs. Bell]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 This goes hand-in-hand with our interest in the work as visual, verbal, or aural surface.}{\shad\hich\af1\loch\f1\fs36  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs38 Extreme contextualism and Extreme Formalism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Extreme contextualism emphasizes origins at the expense of attention to formal properties.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Extreme formalism and extreme contextualism are both forms of philistinism.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 One view [associated with }{\shad\hich\af1\loch\f1 contextualism}{\shad\hich\af1\loch\f1 ] is that if a work of art is a forgery then it must somehow be without value, even though its formal values remain unchanged.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 Aestheticist}{\shad\hich\af1\loch\f1  philistinism [associated with formalism], however, says that it ought to make no difference whether it is a Vermeer or a van }{\shad\hich\af1\loch\f1 Meegeren}{\shad\hich\af1\loch\f1 .\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1\fs28 The }{\b\shad\hich\af1\loch\f1\fs28 significant}{\shad\hich\af1\loch\f1\fs28  opposition is between correctly represented artistic performance and misrepresented artistic performance.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Challenge to his position:  what is really important is aesthetic experience of the sensuous surface.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 But no one among serious lovers of art has such an experience [i.e. an experience just of a sensuous surface].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs22 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs22\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1\fs28 Hearing a performance is a matter [of interpretation]:  e.g. of hearing a virtuoso perform a dazzling interpretation.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 When we learn that the achievement has been misrepresented it is not just a new fact but the work is no longer the same object.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\shad\hich\af1\loch\f1 [Is he really saying that the painting changes into something different because of something that happens in the perceiver?]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\shad\hich\af1\loch\f1 Some Paintings by Vermeer\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\i\shad\hich\af1\loch\f1 Girl with a Pearl Earring}{\shad\hich\af1\loch\f1  \line c. 1665-1666 (120 Kb); Oil on canvas, 44.5 x 39 cm (17 1/2 x 15 3/8 in); Royal Cabinet of Paintings Mauritshuis, The Hague \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 Compare!\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\i\shad\hich\af1\loch\f1\fs24 The Milkmaid}{\shad\hich\af1\loch\f1\fs24  \line c. 1658-60 (150 Kb); Oil on canvas, 45.4 x 41 cm (17 7/8 x 16 1/8 in); Rijksmuseum, Amsterdam \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\i\shad\hich\af1\loch\f1\fs24 The Art of Painting}{\shad\hich\af1\loch\f1\fs24  \line c. 1666-73 (130 Kb); Oil on canvas, 130 x 110 cm; Kunsthistorisches Museum, Vienna \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\i\shad\hich\af1\loch\f1\fs24 Girl with a Red Hat}{\shad\hich\af1\loch\f1\fs24  \line c. 1666-1667 (120 Kb); Oil on wood, 23.2 x 18.1 cm; National Gallery of Art, Washington, D.C. \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs42\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs38 Denis Dutton  }{\loch\af1\hich\f1\fs38 \'93}{\hich\af1\loch\f1\fs38 Art and Natural Selection}{\loch\af1\hich\f1\fs38 \'94}{\hich\af1\loch\f1\fs38  from }{\i\hich\af1\loch\f1\fs38 The Art Instinct}{\hich\af1\loch\f1\fs38  2010\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\hich\af1\loch\f1 When applying evolution to the human mind and to cultural and artistic life the issues of design and purpose emerge again (as they did when creationism was taken seriously).\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\hich\af1\loch\f2\fs26 l\tab}{\*\pn\pnlvlblt\pnf2\pnfs26\pnscheme-6{\pntxtb l}}{\hich\af1\loch\f1 Are the arts in their various forms adaptations in their own right, or are they better understood as modern by-products of adaptations?\par 
}
}