By Stephen David Ross
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Extra resources for A theory of art: inexhaustibility by contrast
Justus Buchler: The Main of Light: On the Concept of Poetry, New York, Oxford University Press, 1974. Page xii thoroughly than does Buchler's the nature of art and the relevant implications of the fundamental premises which we share. 5 Since I do not accept Whitehead's generalized theory of experience, I do not interpret intensity of contrast in terms of feeling, but in terms of the characteristics of both works of art and natural objects in the context of typical and historical human experience.
I will also discuss in some detail the functions and kinds of contrast to be found in other domains of experiencescience and philosophy. Finally, I will apply the theory to interpretation and criticism, delimiting a theory of illustrement in which our rational response to works of art is most completely fulfilled. Page 13 Chapter 2 Theories of Art As Theories of Contrast Theories of art tend to follow two streamsthat of the arts, articulating a particular genre or style, and that of philosophy, under epistemological and metaphysical constraints.
There can be no direct connection between a metaphysical theory and applications in other fieldsscience and artin the sense that they are deducible from it, entailed by it, grounded in it. Only in a very loose sense does a metaphysical theory explain science and art at all, though it certainly must contribute to our understanding of them. Analogously, a general theory of art cannot be expected to explain what is valuable in individual works, but only to contribute to our understanding of such works by defining their most general and pervasive traits.