By Stephen David Ross
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Extra resources for A theory of art: inexhaustibility by contrast
45. Page 17 valueif usually a minor onebut it accords little with representation. Moreover, it cannot be valued unless it is known to be a trick, so that verisimilitude must be conjoined with disparity of means in order to be artistically valuable. In many cases of representationstill lifes, for exampleit is doubtful whether verisimilitude has any value whatsoever. 5 Moreover, his apples and pears are not appetizing. El Greco too is famous for his elongated and distorted representations. Faithfulness is of little value here.
258-59. Page 10 Goodman's view that what works of art mean is variable with conditions. It is also manifested in the principle that reference admits of increasing levels of complexity, symbolization upon symbolization. Yet even this richness is not sufficient: we need an inexhaustible richness of the being of works of art manifested in the changing relations of these works to human experience and the surrounding world. The ordinal theory provides a metaphysical theory in which works of art (certain kinds of orders) function differently and possess different properties in different contexts and locations.
4. 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.