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{\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\level1 heading 1;}
{\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\level2 heading 2;}
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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 This is Tomorrow exhibit, 1956 pages from the catalog\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\loch\af1\hich\f1\fs40 \'93}{\i\hich\af1\loch\f1\fs40 This is Tomorrow,}{\i\loch\af1\hich\f1\fs40 \'94}{\i\hich\af1\loch\f1\fs40  }{\hich\af1\loch\f1\fs40 London, 1956\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 was conceived by architectural critic Theo Crosby, who was the editor of Architectural Design magazine, and a member of the ICA. Theo Crosby had attended a congress in Paris in 1954 on the drawing together of fine and applied arts, and was later approached about a similar concept to }{\i\hich\af1\loch\f1 This Is Tomorrow}{\hich\af1\loch\f1  by representatives of }{\hich\af1\loch\f1 Groupe}{\hich\af1\loch\f1  }{\hich\af1\loch\f1 Espace}{\hich\af1\loch\f1  in London.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The }{\i\hich\af1\loch\f1 This Is Tomorrow}{\hich\af1\loch\f1  exhibition included artists, architects, musicians and graphic designers working together in 12 teams}{\loch\af1\hich\f1 \'97}{\hich\af1\loch\f1 an example of multi-disciplinary collaboration that was still unusual. Each group took as their starting point the human senses and the theme of habitation.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  Wikipedia  (accessed April 26, 2011)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 The exhibition's most remembered exhibit was\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 the room by Richard Hamilton, }{\hich\af1\loch\f1\fs24 Johnn}{\hich\af1\loch\f1\fs24  }{\hich\af1\loch\f1\fs24 Voelcker}{\hich\af1\loch\f1\fs24  and John McHale, with collaboration from }{\hich\af1\loch\f1\fs24 Magda}{\hich\af1\loch\f1\fs24  and Frank Cordell. It included the Op Art dazzle panels, collage Space modules, and }{\i\hich\af1\loch\f1\fs24 pop art}{\hich\af1\loch\f1\fs24  }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Found_art" \\o "Found art"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 readymade}}}{\hich\af1\loch\f1\fs24  of a }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Marilyn_Monroe"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Marilyn Monroe}}}{\hich\af1\loch\f1\fs24  poster, the Van Gogh }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Sunflowers_%28series_of_paintings%29" \\o "Sunflowers (series of paintings)"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Sunflowers}}}{\hich\af1\loch\f1\fs24  poster, a film advertising billboard of the }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Forbidden_Planet"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Forbidden Planet}}}{\hich\af1\loch\f1\fs24 , }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Robby_the_Robot"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Robby the Robot}}}{\hich\af1\loch\f1\fs24 , a }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Jukebox"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Jukebox}}}{\hich\af1\loch\f1\fs24 , the strawberry perfumed carpet, an endless reel of film depicting the Royal Navy Fleet at sea, large }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Guinness"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Guinness}}}{\hich\af1\loch\f1\fs24  beer bottles, a }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Marlon_Brando"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs24 Marlon Brando}}}{\hich\af1\loch\f1\fs24  poster image and a '}{\hich\af1\loch\f1\fs24 CinemaScope}{\hich\af1\loch\f1\fs24 ' collage mural design, and the design of the Pop art collage poster that were all provided by John McHale.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The graphic designer Edward Wright  (1912-88), who taught typography at the Central School of Art from 1950 to 1955 and then the Royal College of Art, designed the catalogue \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Morris Weitz, American Philosopher (1916-1981)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li0\fi0\qc {\hich\af1\loch\f1 "The Role of Theory in Aesthetics"  (1956)\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 writings\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Philosophy of the Arts}{\hich\af1\loch\f1 , 1950 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\loch\af1\hich\f1 \'93}{\i\hich\af1\loch\f1 The Role of Theory in Aesthetics}{\hich\af1\loch\f1 ,}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  1956\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 editor of }{\i\hich\af1\loch\f1 Problems in aesthetics}{\hich\af1\loch\f1 , 1959 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Philosophy in literature}{\hich\af1\loch\f1 , 1963 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Philosophy of the arts}{\hich\af1\loch\f1 , 1964 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Hamlet and the philosophy of literary criticism,}{\hich\af1\loch\f1  1964 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Is aesthetic theory possible?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Such a theory would provide a true definition or set of necessary and sufficient properties of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But we seem no nearer to this than in the time of Plato.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Yet those interested in aesthetics still hope for such a theory.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Weitz:  theory in the classical sense is }{\i\hich\af1\loch\f1\fs40 never}{\hich\af1\loch\f1\fs40  forthcoming.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We should supplant the question "What is the nature of art?" with other questions.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The inadequacy of theories of art is not due to the complexity of art but to a misconception of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Those who wish to define art misunderstand the logic of the concept of art.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A formula about the necessary and sufficient properties of art is never going to happen.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But theory is not meaningless or worthless: It is of the greatest importance for art.  [He}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 ll explain why later.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Assumption:  true definition\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\b\hich\af1\loch\f1 Each of the famous theories on the nature of art assumes it has given the true defining properties of art.}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 Formalist (Clive Bell):  significant form\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Emotionalist\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Emotionalist: (Tolstoy) expression of emotion in some sensuous public medium\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs28 Leo Tolstoy}{\hich\af1\loch\f1\fs28  1828}{\loch\af1\hich\f1\fs28 \'a0\'96}{\hich\af1\loch\f1\fs28   1910), Russian writer, novelist.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 What is Art?}{\hich\af1\loch\f1\fs28  (1897) \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 Intuitionist:  }{\b\hich\af1\loch\f1\fs28 Benedetto}{\b\hich\af1\loch\f1\fs28  Croce}{\hich\af1\loch\f1\fs28  (1866 }{\loch\af1\hich\f1\fs28 \'96}{\hich\af1\loch\f1\fs28 1952) Italian critic, philosopher.\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Intuitionist: (Croce) [Collingwood] art is not a physical, public object but a creative, cognitive and spiritual act bringing intuition of the unique individuality of things into clarification and expression.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs24 L'Estetica}{\i\hich\af1\loch\f1\fs24  come }{\i\hich\af1\loch\f1\fs24 scienza}{\i\hich\af1\loch\f1\fs24  }{\i\hich\af1\loch\f1\fs24 dell'espressione}{\i\hich\af1\loch\f1\fs24  e }{\i\hich\af1\loch\f1\fs24 linguistica}{\i\hich\af1\loch\f1\fs24  }{\i\hich\af1\loch\f1\fs24 generale}{\hich\af1\loch\f1\fs24  (1902), commonly referred to as }{\i\hich\af1\loch\f1\fs24 Aesthetic}{\hich\af1\loch\f1\fs24  in English. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 Organicist (early Weitz):  artworks are organic wholes with parts interacting presented in some sensuous medium \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 Voluntarist: (Parker) need a complex definition:  art is provision of satisfaction through the imagination (desires imaginatively satisfied), social significance, and harmony\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs28 Dewitt H. Parker}{\hich\af1\loch\f1\fs28  (1885-1949) was a professor of philosophy at the University of Michigan.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Principles of Aesthetics}{\hich\af1\loch\f1\fs28 , 1920.   \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Failings of these theories:\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Each leaves out something that others take as central.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Some are circular:  Formalist [significant form]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Some emphasize too few properties:  Formalist [excludes descriptive art] and Intuitionist\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Some are too general, covering examples of non-art too:  }{\hich\af1\loch\f1 Organicist}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Some rest on dubious principles:\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Voluntarist}{\hich\af1\loch\f1  (art rests on imaginary satisfactions), Intuitionist (there is non-conceptual knowledge)\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Although supposedly factual reports, none are open to verification or falsification [they cannot be proved true or false].\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 They may actually be honorific definitions of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  (redefinitions in terms of chosen conditions) and not factual reports.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Yet, all these criticisms have been made before.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A more fundamental criticism is that art cannot be defined.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Weitz's new criticism\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The very use of the concept of art demands its openness.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The problem is:  What sort of concept is "art"?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The root problem of philosophy itself is to explain concepts and the conditions of their correct application. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Ludwig Wittgenstein}{\hich\af1\loch\f1\fs20  1889 }{\loch\af1\hich\f1\fs20 \'96}{\hich\af1\loch\f1\fs20  1951}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Wittgenstein}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s Major Works\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Tractatus Logico-Philosophicus }{\hich\af1\loch\f1 (1921) translated by C.K. Ogden (1922)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Philosophical Investigations  }{\hich\af1\loch\f1 (1953) tr. translated by G.E.M. Anscombe (1953) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Wittgenstein}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s idea\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Wittgenstein's [1953] idea:  don}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 t ask }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 what is the nature of x}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  but  "What is the use of 'x' in the language."\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This is the way to solve any philosophical problem.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 In aesthetics we should elucidate the actual employment of the concept of art, giving the conditions of its correct use.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We should not construct definitions of philosophical entities [concepts].  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Wittgenstein asks the question  }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 what is a game?}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs24 \tab \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We do not see something common to all games, but similarities, relationships, and a whole series of them.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Family Resemblances\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We find not necessary and sufficient conditions but a complicated network of similarities:  family resemblances.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We pick sample games and say this and similar things are called }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 games.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Knowing what a game is is being able to recognize games and decide among imaginary and new examples.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs40 Swarm}{\hich\af1\loch\f1\fs40  by J.V. Multimedia: }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 a completely new type of game}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 ?\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Application to }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Similarly, being able to recognize, describe, and explain things called }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  in view of similarities }{\b\hich\af1\loch\f1 is }{\hich\af1\loch\f1 knowing what art is.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Game}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  and }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  are }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 open texture}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  concepts:  paradigm cases (but no exhaustive set of cases) can be given. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 I can list some conditions, but not all.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 A paradigm case of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Portrait of Mona Lisa (1479-1528), also known as }{\i\hich\af1\loch\f1\fs28 La }{\i\hich\af1\loch\f1\fs28 Gioconda}{\hich\af1\loch\f1\fs28 , the wife of Francesco del }{\hich\af1\loch\f1\fs28 Giocondo}{\hich\af1\loch\f1\fs28 ; 1503-06 }{\hich\af1\loch\f1\fs28 Musee}{\hich\af1\loch\f1\fs28  du Louvre, Paris \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 For novel conditions are always forthcoming.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [with games, for example, a novel condition would be something new that would seem to be sufficient for something to be a game}{\loch\af1\hich\f1 \'85}{\hich\af1\loch\f1 it would probably come with a completely new type of game]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs32 A concept is open if its conditions can be changed and corrected.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 That is, situations can arise that call for a decision to extend the use of the concept to cover a new case, or close the concept and invent a new one. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A closed concept is one in which necessary and sufficient conditions can be stated.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This can only happen in math and logic\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 or in other areas if we arbitrarily close them by stipulation\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Example:  novels\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Is X a novel?}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 :  what is at stake in this question is not a factual analysis but a decision whether the work is similar enough in certain respects to works already called }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 novels}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  to warrant extension of the concept\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 A sentence from Finnegan}{\loch\af1\hich\f1\fs40 \'92}{\hich\af1\loch\f1\fs40 s Wake by James Joyce, 1939\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The fall (}{\hich\af1\loch\f1 bababadalgharaghtakamminarronnkonnbronntonner-ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur-nuk}{\hich\af1\loch\f1 !) of a once }{\hich\af1\loch\f1 wallstrait}{\hich\af1\loch\f1  }{\hich\af1\loch\f1 oldparr}{\hich\af1\loch\f1  is }{\hich\af1\loch\f1 retaled}{\hich\af1\loch\f1  early in bed and later on life down through all }{\hich\af1\loch\f1 christian}{\hich\af1\loch\f1  minstrelsy. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 similarly with other sub-concepts, e.g. whether a collage is a painting}{\hich\af1\loch\f1 \line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Richard Hamilton, }{\i\hich\af1\loch\f1\fs28 Just What Is It That Makes Today}{\i\loch\af1\hich\f1\fs28 \'92}{\i\hich\af1\loch\f1\fs28 s Homes so Different, so Appealing}{\hich\af1\loch\f1\fs28 , collage, 1956. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  is an open concept.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 New conditions and cases constantly arise with new art forms and new movements demanding decisions, mainly from professional critics.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 [Clement Greenberg:  leading art critic of }{\hich\af1\loch\f1\fs24 Weitz}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s}{\hich\af1\loch\f1\fs24  time]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Aestheticians may lay down similarity conditions\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 but never necessary and sufficient ones.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 New cases can always be envisaged or created by artists, or even nature [?] which would call for a decision to extend, close or create a concept.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 A paradigmatic sculpture.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Michelangelo, }{\i\hich\af1\loch\f1\fs28 David}{\hich\af1\loch\f1\fs28 \line c. 1501-1504\line }{\hich\af1\loch\f1\fs28 Accademia}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 delle}{\hich\af1\loch\f1\fs28  Belle }{\hich\af1\loch\f1\fs28 Arti}{\hich\af1\loch\f1\fs28 , Florence \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 But is this a sculpture?  Alexander Calder, }{\i\hich\af1\loch\f1\fs28 Big Red}{\hich\af1\loch\f1\fs28 , 1959 \line Metal, wire, and paint, San Jose Museum of Art.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Or This? Calder }{\i\hich\af1\loch\f1\fs40 Red Mobile}{\hich\af1\loch\f1\fs40 , 1956, Painted sheet metal and metal rods. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 The expansive adventurous character of art makes it logically impossible to define it.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Closing the concept of art, or related terms like }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 tragedy,}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  would make creativity in those realms impossible.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 There are legitimate and serviceable closed concepts of art, for example extant Greek tragedy [the list of tragedies written in ancient Greece].\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A critic here could work out a real definition in which he lists the common properties of these.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Aristotle}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s definition, although incorrect, can be interpreted as such.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 There is a danger for the critic\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 of mistaking a linguistic recommendation for a real definition of an open concept:  e.g. taking a chosen closed class for the whole open class.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This involves transforming correct criteria for recognizing members of legitimately closed classes into recommended criteria for evaluating any member of the [open] class \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Evaluative use of "art}{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The evaluative use of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  praises:  includes certain preferred properties of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 example: to say }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 x is art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  in the evaluative sense is (for some people) to say it is a successful harmonization, or to say something praiseful on the basis of this\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Criteria of evaluation are converted into criteria of recognition.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Theories of the evaluative use of art are not true definitions of the necessary and sufficient properties of art: they are honorific definitions in which "art" has been redefined in terms of chosen criteria.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 These honorific definitions are supremely valuable for the debates they generate.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The great theories of art are correctly understood as honorific definitions of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Each should be valued for the reasons they give for changing the criteria of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This makes the history of aesthetic theory important.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Each theory states and justifies criteria neglected or distorted by previous theories.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Bell's theory can then be understood to mean: }{\i\hich\af1\loch\f1 return}{\hich\af1\loch\f1  to plastic elements since these are indigenous [native] to painting.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Honorific definitions are really summaries of seriously made recommendations to attend in certain ways to certain features of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 George Dickie, born 1926\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Dickie}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s}{\hich\af1\loch\f1  Books\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Aesthetics: An Introduction}{\hich\af1\loch\f1  (Pegasus, 1971) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Art and the Aesthetic: An Institutional Analysis}{\hich\af1\loch\f1  (Cornell University Press, 1974) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 The Art Circle}{\hich\af1\loch\f1  (Haven Publications, 1984) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 The Century of Taste}{\hich\af1\loch\f1  (Oxford Press, 1996) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Evaluating Art}{\hich\af1\loch\f1  (Temple University Press, 1988) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1 Art and Value}{\hich\af1\loch\f1  (Blackwell, 2001) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 George }{\hich\af1\loch\f1\fs40 Dickie}{\hich\af1\loch\f1\fs40 \line }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Art As a Social Institution}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40  [from }{\i\hich\af1\loch\f1\fs40 Aesthetics:  An Introduction}{\hich\af1\loch\f1\fs40   1971]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs28     \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Weitz}{\hich\af1\loch\f1\fs28  is wrong that }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 art}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  cannot be defined.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Some }{\hich\af1\loch\f1\fs28 subconcepts}{\hich\af1\loch\f1\fs28  of art, e.g. tragedy, might lack necessary conditions.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 But, vs. }{\hich\af1\loch\f1\fs28 Weitz}{\hich\af1\loch\f1\fs28 , }{\hich\af1\loch\f1\fs28 artifactuality}{\hich\af1\loch\f1\fs28  is a necessary condition for art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Weitz}{\hich\af1\loch\f1\fs28  thinks that there are some works of art that are not artifacts.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The evaluative and classificatory senses of "work of art."\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The evaluative sense is used to praise an object: }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 That driftwood is a work of art.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1   This means that it has qualities worthy of notice and praise, not that it is art in the classificatory sense.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 One does not usually say "this is a work of art" in a classificatory sense.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 Driftwood Crafts 2008 accessed\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Sheridan Alexander.  }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 The elements of nature create a stunning driftwood sculpture on Jekyll Island Beach in Georgia.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24   accessed 2008\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Heather Jansch, driftwood horse, accessed May 2008\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Alldriftwoodfurniture.com}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Carl Andre example\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 An example of using }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  in the classificatory sense is "Do you know that you are walking on a work of art?" said of a [Carl Andre] sculpture. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 "That painting is a work of art" is not classificatory:  "painting" already implies art.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Artifactuality}{\hich\af1\loch\f1  is a relational, non-exhibited property. [}{\hich\af1\loch\f1 Weitz}{\hich\af1\loch\f1  assumed wrongly that the essential properties have to be things that are seen, i.e. that can be exhibited.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Carl Andre \line 144 Copper Square }{\loch\af1\hich\f1\fs24 \'a0}{\hich\af1\loch\f1\fs24  }{\loch\af1\hich\f1\fs24 \'a0}{\hich\af1\loch\f1\fs24  (1969 )}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 "144 Copper Square" is one of several squares that American sculptor Carl Andre made of various metals: lead, magnesium, iron, zinc, aluminum, and copper. Each square is composed of one metal and shows the distinct physical properties of its material: weight, }{\hich\af1\loch\f1\fs24 colour}{\hich\af1\loch\f1\fs24 , }{\hich\af1\loch\f1\fs24 lustre}{\hich\af1\loch\f1\fs24 , the sound that the plate makes when walked upon. To underscore his focus on materials, the artist displayed a periodic table of elements on the wall in earlier installations of these works, referring to the table as his "palette". Reduced to square grids that recall scientific tabulations, Andre's sculptures allow the viewer to observe and experience the materials directly. Even the form he uses refers back to their elemental materiality.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24   \line National Gallery of Canada   accessed Nov. 22, 2010\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Carl Andre. }{\b\hich\af1\loch\f1\fs24 Steel Magnesium Plain}{\hich\af1\loch\f1\fs24 . 1969. 6 X 6 ft.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Weitz}{\loch\af1\hich\f1\fs32 \'92}{\hich\af1\loch\f1\fs32 s conclusion, that }{\loch\af1\hich\f1\fs32 \'93}{\hich\af1\loch\f1\fs32 being an artifact}{\loch\af1\hich\f1\fs32 \'94}{\hich\af1\loch\f1\fs32  is not a necessary condition, is based on a confusion.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs28    }{\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is only not necessary for something to be art in the evaluative sense of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art.}{\loch\af1\hich\f1 \'94}{\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Focusing just on the classificatory sense of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 art,}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  we realize that what we mean when we say something is art is partly that it is an artifact [something made, e.g. by a human]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Nonexhibited}{\hich\af1\loch\f1  property\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Artifactuality}{\hich\af1\loch\f1  is a }{\hich\af1\loch\f1 nonexhibited}{\hich\af1\loch\f1  property [i.e. you cannot see that something is made just by looking at it].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Perhaps other definitional properties of art are }{\hich\af1\loch\f1 nonexhibited}{\hich\af1\loch\f1  [for example its institutional nature]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Dickie's}{\hich\af1\loch\f1\fs32  definition is an attempt to capture Danto's insight in a formal way.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Arthur Danto (1964): to see something as art requires something the eye cannot descry [see] }{\loch\af1\hich\f1 \'96}{\hich\af1\loch\f1  an atmosphere of artistic theory, a knowledge of history of art:  an }{\hich\af1\loch\f1 artworld}{\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This is a }{\hich\af1\loch\f1 nonexhibited}{\hich\af1\loch\f1  property.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs28 Brillo}{\i\hich\af1\loch\f1\fs28  Boxes}{\hich\af1\loch\f1\fs28 , Andy Warhol,\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 1969\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 1961 Robert Rauschenberg sent a telegram to the }{\hich\af1\loch\f1\fs24 Galerie}{\hich\af1\loch\f1\fs24  Iris }{\hich\af1\loch\f1\fs24 Clert}{\hich\af1\loch\f1\fs24   which said: 'This is a portrait of Iris }{\hich\af1\loch\f1\fs24 Clert}{\hich\af1\loch\f1\fs24  if I say so.' This was his contribution to an exhibition of portraits.}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Robert Rauschenberg. }{\i\hich\af1\loch\f1\fs28 Bed}{\hich\af1\loch\f1\fs28 . 1955. Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Compare to: de }{\hich\af1\loch\f1\fs28 Kooning}{\hich\af1\loch\f1\fs28 , }{\i\hich\af1\loch\f1\fs28 Gotham News,}{\hich\af1\loch\f1\fs28  1955\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Dickie}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s definition of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1      a work of art in the classificatory sense is (1) an artifact (2) upon which some person or persons acting on behalf of a certain social institution (the artworld) has conferred the status of candidate for appreciation.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Conferring Status\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 An example of conferring status is a king [or queen, as in the picture here] conferring the status of knighthood.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Other examples of conferring status include conferring a Ph.D.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Ceremony is not always required: a person can acquire the status of a wise man in a community  [without that status being formally conferred].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Acquiring Status\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 Similarly, an artifact can acquire the status of candidate for appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 An artifact's hanging in an art museum as part of a show is a sure sign of conferred status.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 A performance in a theater is too.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\ql {\b\hich\af1\loch\f1\fs24 Sol }{\b\hich\af1\loch\f1\fs24 Lewitt}{\b\hich\af1\loch\f1\fs24  }{\b\loch\af1\hich\f1\fs24 \'93}{\b\hich\af1\loch\f1\fs24 Wall Drawing 725}{\b\loch\af1\hich\f1\fs24 \'94}{\b\hich\af1\loch\f1\fs24  }{\hich\af1\loch\f1\fs24 (Detail) On a blue wall, a black square within a white border, April 1993 India ink, color ink wash, gouache, Yale University Art Gallery,}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Who confers status?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 A number of persons are required to make up the social institution of the artworld, but only one person is required to act on behalf of it.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Many works are only seen by the creator and are still works of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The status may be acquired by one person's treating the artifact as a candidate for appreciation:  it is usually done by the artist who creates the artifact.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Marcel Duchamp }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Fountain}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  1917  Alfred Stieglitz  photographer.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 At the time Duchamp was a board member of the  Society of Independent Artists and submitted the piece under the name R. Mutt, presumably to hide his involvement with the piece, to their 1917 exhibition, which, it had been proclaimed, would exhibit all work submitted. After much debate by the board members (most of whom did not know Duchamp had submitted it) about whether the piece was or was not art, }{\i\hich\af1\loch\f1\fs28 Fountain}{\hich\af1\loch\f1\fs28  was hidden from view during the show. Duchamp and Arensberg resigned from the board after the exhibition.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Fountain (Duchamp)\line }{\hich\af1\loch\f1\fs18 From Wikipedia, the free encyclopedia, access 11/22/10\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Marcel Duchamp arrived in the United States less than two years prior to the creation of }{\i\hich\af1\loch\f1\fs28 Fountain}{\hich\af1\loch\f1\fs28 , and had become involved with Dada, an anti-rational, an anti-art cultural movement, in New York City. Creation of }{\i\hich\af1\loch\f1\fs28 Fountain}{\hich\af1\loch\f1\fs28  began when, accompanied by artist Joseph Stella and art collector Walter Arensberg, he purchased a standard Bedfordshire model urinal from the J. L. Mott Iron Works, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its normal position of use, and wrote on it, "R. Mutt 1917". \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The New York Dadaists stirred controversy about }{\i\hich\af1\loch\f1\fs28 Fountain}{\hich\af1\loch\f1\fs28  and its being hidden from view in the second issue of  }{\i\hich\af1\loch\f1\fs28 The Blind Man}{\hich\af1\loch\f1\fs28  which included a photo of the piece and a letter by Alfred Stieglitz, and writings by Beatrice Wood and Arensberg. The anonymous editorial (which is assumed to be written by Wood) accompanying the photograph, entitled "The Richard Mutt Case,}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28  made a claim that would prove to be important concerning certain works of art that would come after it:\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 He Chose It!\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Whether Mr Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view }{\loch\af1\hich\f1\fs24 \'96}{\hich\af1\loch\f1\fs24  created a new thought for that object.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 In defense of the work being art, Wood also wrote, "The only works of art America has given are her plumbing and her bridges." Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Shortly after its initial exhibition, }{\i\hich\af1\loch\f1\fs24 Fountain}{\hich\af1\loch\f1\fs24  was lost. According to Duchamp biographer Calvin Tomkins, the best guess is that it was thrown out as rubbish by Stieglitz, a common fate of Duchamp's early readymades.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs14 http://www9.georgetown.edu/faculty/irvinem/theory/appropriation-remix-dossier.html\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 San Francisco Museum of Modern Art, Duchamp, }{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 Fountain}{\loch\af1\hich\f1\fs20 \'94}{\b\hich\af1\loch\f1\fs20 \line }{\hich\af1\loch\f1\fs20 1917/1964\line sculpture | glazed ceramic with black paint }{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Conferring status is not the same as simply presenting for appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A plumbing salesman can present his wares for appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Duchamp's placing a urinal in a show (he called his work "Fountain") took place within the institution of the }{\hich\af1\loch\f1 artworld}{\hich\af1\loch\f1 . [Thus, the act made }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Fountain}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  a work of art.]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 A Urinal Salesman an Artist?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The salesman }{\i\hich\af1\loch\f1\fs28 could }{\hich\af1\loch\f1\fs28 turn his urinal into a work of art [but he would have to be the kind of artist Duchamp is, or he would have to be able to conceive of himself as an agent of the }{\hich\af1\loch\f1\fs28 artworld}{\hich\af1\loch\f1\fs28 :  this raises a problem about insane plumbing salesmen who think they are artists but are really just selling urinals].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 "Fountain" is a work of art (although not necessarily a good one).\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The }{\hich\af1\loch\f1\fs40 artworld}{\hich\af1\loch\f1\fs40  is an informal institution.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The }{\hich\af1\loch\f1 artworld}{\hich\af1\loch\f1  confers status at the level of customary practice:  a practice defines a social institution:  it need not have a formally established constitution, etc.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Every person who sees himself as a member of the }{\hich\af1\loch\f1 artworld}{\hich\af1\loch\f1  is an officer of it and may confer status in its name  [raises a problem with nut cases].\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Titles\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 Walter de Maria goes through the motions of a formal procedure of conferring status:  this shows that the act of naming works of art is significant.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 Giving a work a title makes clear that the object is a work of art:  any title is a badge of status.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Walter de Maria, }{\i\hich\af1\loch\f1\fs24 High Energy Bar,}{\hich\af1\loch\f1\fs24  1966,  certificate, 1970\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Nothing in the definition is said about actual appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We must not build into the definition of the classificatory sense of "work of art" value properties such as actual appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If we did we could not then speak of bad works of art.  We must be able to say that some works of art are bad.}{\hich\af1\loch\f1\fs36  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Appreciation\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Not all aspects of a work of art are included in candidacy for appreciation: not the back of a painting, usually.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 "Appreciation" means "in experiencing the qualities of a thing one finds them worthy or valuable":  there is no special kind of aesthetic appreciation implied here.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Chimps as artists?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Betsy the chimp's paintings are not art if the Field Museum of Natural History exhibits them:  but they are art if exhibited at the Chicago Art Institute by the director:  the one setting is congenial to conferring status, and the other is not.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The works would not be Betsy's but the work of person who conferred status:  Betsy cannot see herself as an agent of the artworld.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Congo the chimp\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Paintings by a chimpanzee netted more than }{\loch\af1\hich\f1\fs24 \'a3}{\hich\af1\loch\f1\fs24 14,000 today after going under the hammer alongside works by Renoir and Andy Warhol.}{\loch\af1\hich\f1\fs24 \'a0}{\hich\af1\loch\f1\fs24  The 3 abstract pieces up for auction at }{\hich\af1\loch\f1\fs24 Bonhams}{\hich\af1\loch\f1\fs24  in London were painted by Congo in 1957 and were estimated to fetch between }{\loch\af1\hich\f1\fs24 \'a3}{\hich\af1\loch\f1\fs24 600 and }{\loch\af1\hich\f1\fs24 \'a3}{\hich\af1\loch\f1\fs24 800.}{\loch\af1\hich\f1\fs24 \'94\'a0}{\hich\af1\loch\f1\fs24   June 20, 2005\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Work by Congo the chimp,1954-1964, painting 1956-8\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Congo the chimp, untitled, 1956-8\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Jackson Pollock }{\i\hich\af1\loch\f1\fs24 Number One 1948}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Franz Kline, }{\b\hich\af1\loch\f1\fs20 Untitled}{\hich\af1\loch\f1\fs20 , c. 1958\line Oil and collage on paper}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 BIRD RED SLICE by Koko\line 10 x 12 acrylic on canvas, 1984, koko.org}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Cheeta}{\hich\af1\loch\f1\fs24  the Chimpanzee, AKA }{\hich\af1\loch\f1\fs24 Jiggs}{\hich\af1\loch\f1\fs24  IV, acted in Tarzan TV shows, may have been born in 1960}{\hich\af1\loch\f1\fs48 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Works by }{\hich\af1\loch\f1\fs24 Cheeta}{\hich\af1\loch\f1\fs24 / }{\hich\af1\loch\f1\fs24 Jiggs}{\hich\af1\loch\f1\fs24  IV\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Robert Smithson Spiral Jetty, 1970, Heller, pg. 89\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\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\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Chris Ofili, The Holy Virgin Mary, 1996; Paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen; \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Damien Hirst}{\hich\af1\loch\f1\fs18 \line A Thousand Years\line 1990\line Heller,  pg. 103 Steel, glass, flies, maggots, MDF, insect-o-cutor, cow's head, sugar, water}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Julian Schnabel The Walk Home 1984-5\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Untitled (portrait of Ross in LA), 1991\line Felix Gonzalez-Torres\line 175 lbs Fruit Flasher Candy, size variable}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Damien }{\b\hich\af1\loch\f1\fs20 Hirst}{\hich\af1\loch\f1\fs20 , A Thousand Years,1990\line Steel, glass, flies, maggots, MDF, insect-}{\hich\af1\loch\f1\fs20 o-cutor}{\hich\af1\loch\f1\fs20 , cow's head, sugar, water}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Marc Quinn, }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Self,}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  1991\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 G}{\b\loch\af1\hich\f1\fs28 \'e9}{\b\hich\af1\loch\f1\fs28 ricault}{\b\hich\af1\loch\f1\fs28 , Heads Severed,}{\hich\af1\loch\f1\fs28  1819\par 
}
}