Autor: Dunne, Tad

Buch: Internet

Titel: What do I do when paint?

Stichwort: Kunstwerk - Werturteil

Kurzinhalt: Like the judgment that it is good if I do X, the judgment that this artpiece is good includes a sense of authorship, attaching my name to the judgment, ...

Textausschnitt: 33 Then there's the final objectification. During the provisional objectifications, the artist may decide to scrap everything and start over, because the emerging pattern is ugly. But when beauty is emerging, there's a point where the artist clearly envisions the final objectified pattern. All that's left are the adjustments that eliminate distracting elements and strengthen important forms and relationships. Gradually, the questions diminish. The artist stands back, dabs a little here and there until it comes clear that any more dabs will diminish the beauty of it all. (Fs)

34 This final objectification involves the value judgment, 'This is good.' It's not a judgment made by rational consciousness - the third level that Lonergan speaks of -- because the artwork isn't about truth or the correctness of an explanation or a syllogistic deduction or the mere possibility of making something. Like the judgment that it is good if I do X, the judgment that this artpiece is good includes a sense of authorship, attaching my name to the judgment, claiming it as my own. Facts stay true whether or not I judge so, but the value of this artpiece isn't realized unless I judge it to be worth something. After all, I might throw it away. (Fs) (notabene)

35 Structurally, all artists work under a single condition: If the pattern of the painting is isomorphic to the pattern of an arresting aesthetic experience, then it's a good artpiece. The operator at the sensitive level that responds to beauty determines whether the artpiece meets the conditions. It's Robert Frost realizing that he could write no better ending to his poem than to say 'And miles to go before I sleep' -- and then say it again. But I think it's important to notice how naturally this happens, so naturally, in fact, that artists cannot recall any point where they made such a value judgment. Unlike getting insights, which seem to strike like lightning at a specific time and place, the value judgments that involve commitment often seem to just grow on us. The reason we often can't recall them is that it emerged -- from poor to good, from good to better, and from better to best available, as relevant questions were met and put to rest. (Fs) (notabene)