_TERMINI_DI_ESTETICA_E_FILOSOFIA_DELL'ARTE_(INGLESE)
_DEFINIZIONI_(INGLESE)
ACQUAINTANCE, PRINCIPLE OF
WE MAY BASE OUR KNOWLEDGE CLAIMS ON TESTIMONY, NOT OUR AESTHETIC JUDGEMENTS. WE MUST BE ACQAINTED WITH AN WORK OF ART  TO JUDGE IT, BECAUSE IN ART APPRECIATION THE EMPATHETIC IMAGINATION ACTIVELY MAKES UP FOR A RESTRICTED ADDRESSING BY THE ARTWORK OF OUR SENSES. ONLY IN POLYMODALLY EMBODIED COHERENCE DO THE DATA OF OUR SENSES AMOUNT TO THE PERCEPTION &LT;PERC.HTML&GT; WHICH LIES AT THE BASIS OF OUR MORAL AGENCY. CF.WOLLHEIM; AESTHETIC EVALUATIONS, INTIMATION, AESTHETIC PROPERTIES.  
AESTHETIC EVALUATION
AESTHETIC EVALUATION REGARDS REFLECTIVELY THE POWER (IN THE WORK OF ART ) WITH WHICH THE EMPATHETIC , PRE-PERCEPTUAL IMAGINATION IS ACTIVATED TO RE-ENACT THE INTIMATED EXPERIENTIAL DIMENSION . KANT HAS CALLED THIS OUR PLEASANT REFLECTIVE AWARENESS OF THE FREE PLAY OF THE COGNITIVE FACULTIES . THE AWARENESS ALSO IS ONE OF A SENSUS COMMUNIS . IT, AND KANT'S 'IDEAL OF BEAUTY' SIGNIFY THE MORAL DIMENSION OF BEAUTY AND ITS COGNATES. CF. ALSO AESTHETIC IDEAS , AND PURPOSIVITY WITHOUT PURPOSE . (IV, V).
AESTHETIC IDEA
AESTHETIC IDEA IS KANT'S TERM FOR (REPRESENTED ) TERTIARY QUALITIES . HE DEFINES AN AESTHETIC IDEA AS &QUOT;.. THAT REPRESENTATION OF THE IMAGINATION WHICH INDUCES MUCH THOUGHT, YET WITHOUT THE POSSIBILITY OF ANY DEFINITE THOUGHT WHATEVER, I.E. CONCEPT, BEING ADEQUATE TO IT...&QUOT;. AESTHETIC IDEAS ARE RECOGNIZED BY A FREE PLAY OF THE COGNITIVE FACULTIES , I.E. NEITHER THE SENSES NOR THE UNDERSTANDING SUFFICE TO GRASP AN AESTHETIC IDEA--THESE FACULTIES MUST BE SUPPLEMENTED WITH AN IMAGINATIVE ACQUAINTANCE . AN AESTHETIC IDEA SUPPOSEDLY GIVES THE REPRESENTED A SOUL, AND ANIMATES THE MIND. I ARGUE THAT THIS MEANS THAT AN AESTHETIC IDEA ACTIVATES EMPATHETIC IMAGINATION . (V:1; VI). CF. IDEAL OF BEAUTY .
AESTHETIC JUDGEMENT
AESTHETIC JUDGEMENT REGARDS REFLECTIVELY THE POWER (IN THE WORK OF ART ) WITH WHICH THE EMPATHETIC , PRE-PERCEPTUAL IMAGINATION IS ACTIVATED TO RE-ENACT THE INTIMATED EXPERIENTIAL DIMENSION . KANT HAS CALLED THIS OUR PLEASANT REFLECTIVE AWARENESS OF THE FREE PLAY OF THE COGNITIVE FACULTIES . THE AWARENESS ALSO IS ONE OF A SENSUS COMMUNIS . IT, AND KANT'S 'IDEAL OF BEAUTY' SIGNIFY THE MORAL DIMENSION OF BEAUTY AND ITS COGNATES. CF. ALSO AESTHETIC IDEAS , AND PURPOSIVITY WITHOUT PURPOSE . (IV, V).
AESTHETIC PROPERTIES
AESTHETIC PROPERTIES ARE REPRESENTED TERTIARY QUALITIES . FOR THEIR PERCEPTION WE NEED PERCEPTUAL OR IMAGINATIVE EMPATHY . WITH THIS POSITION I ARGUE AGAINST FRANK SIBLEY--WHO SET THE STAGE FOR THE DISCUSSION ABOUT AESTHETIC PROPERTIES--ACCORDING TO WHOM AESTHETIC PROPERTY TERMS ARE DESCRIPTIVE IF ANY TERMS ARE. THEY ALLEGEDLY DIFFER FROM MORE NORMAL DESCRIPTIVE TERMS IN THAT APART FROM NORMAL PERCEPTION THEY PRESUPPOSE TASTE FOR THEIR RECOGNITION. ZEMACH THINKS AESTHETIC PROPERTIES (WHICH HE IDENTIFIES WITH TERTIARY QUALITIES) ARE SECONDARY QUALITIES SIFTED THROUGH A SET OF DESIRES; WOLLHEIM THINKS THEY ARE PROJECTIVE PROPERTIES. (II:2-3, VII:8-9).
ANTICIPATED EXEMPLIFICATION
ANTICIPATION (LIKE MEMORY, A POWER OF IMAGINATION) IS OF THE ESSENCE OF WORK OF ART'S EXTERNAL (REFERENTIAL) AND INTERNAL NATURE. THE INTERNAL IMPORTANCE OF ANTICIPATION IS MOST EVIDENT IN THE TEMPORAL ARTS. HOWEVER, EXTERNALLY, THERE IS ANTICIPATION OF RESEMBLANCE (IN CASE OF DEPICTION), OR TRANSPARENCY (IN CASE OF PHOTOGRAPHIC REPRODUCTION; AND EVEN EXEMPLIFICATION IN GENERAL IS AN EFFECT OF ANTICIPATORY IMAGINATION. REVERSEDLY, RESEMBLANCEA (THE A IS SHORT FOR 'ANTICIPATED'), TRANSPARENCYA, AND EXEMPLIFICATIONA FORM THE NATURAL PRESUPPOSITION FOR WHATEVER CONVENTIONALITY IS INVOLVED IN DEPICTION. WHETHER THE RESEMBLANCE, TRANSPARANCY, OR EXEMPLIFICATION ARE TO REAL OBJECTS IS IRRELEVANT FROM THE POINT OF VIEW OF DEPICTION--THIS IS WHY I STRESS THEIR ANTICIPATED NATURE. (I:3-6).
ANTICIPATION
ANTICIPATION (LIKE MEMORY, A POWER OF IMAGINATION) IS OF THE ESSENCE OF WORK OF ART'S EXTERNAL (REFERENTIAL) AND INTERNAL NATURE. THE INTERNAL IMPORTANCE OF ANTICIPATION IS MOST EVIDENT IN THE TEMPORAL ARTS. HOWEVER, EXTERNALLY, THERE IS ANTICIPATION OF RESEMBLANCE (IN CASE OF DEPICTION), OR TRANSPARENCY (IN CASE OF PHOTOGRAPHIC REPRODUCTION; AND EVEN EXEMPLIFICATION IN GENERAL IS AN EFFECT OF ANTICIPATORY IMAGINATION. REVERSEDLY, RESEMBLANCEA (THE A IS SHORT FOR 'ANTICIPATED'), TRANSPARENCYA, AND EXEMPLIFICATIONA FORM THE NATURAL PRESUPPOSITION FOR WHATEVER CONVENTIONALITY IS INVOLVED IN DEPICTION. WHETHER THE RESEMBLANCE, TRANSPARANCY, OR EXEMPLIFICATION ARE TO REAL OBJECTS IS IRRELEVANT FROM THE POINT OF VIEW OF DEPICTION--THIS IS WHY I STRESS THEIR ANTICIPATED NATURE. (I:3-6).
ART
I CHARACTERIZE ART AS HAVING THE TASK TO REPRESENT THE EXPERIENTIAL DIMENSION . THIS IS NOT A DEFINITION OF ART. INSTEAD OF SPECIFYING ART'S NECESSARY AND SUFFICIENT CONDITIONS, I DESCRIBE ARTWORKS IN TERMS OF FOUR ORDERS OF CHOICES. ONLY THINGS AND EVENTS COMPLIANT TO THIS CHARACTERIZATION MAY ANSWER TO ART'S TASK. (III:4, VIII:4). FROM A DIFFERENT POINT OF VIEW ART IS THREEFOLD , CONSISTING OF PRESENTATION , REPRODUCTION , AND REPRESENTATION . ARTISTIC PRESENTATION IS ART'S 'ANSWER' TO THE FACT THAT IN EVERY ART FORM A RESTRICTED NUMBER OF SENSE MODALITIES IS ADDRESSED. THE LESS THAN FULL ADDRESS OF OUR EMBODIED PERCEPTION EXPLAINS WHY OUR IMAGINATION SHOULD BE SO IMPORTANT IN THE AESTHETIC DOMAIN: IMAGINATION FILLS IN THE HOLES INTENTIONALLY LEFT OPEN. (VIII:2-4). CF. PRINCIPLE OF ACQUAINTANCE ; INTIMATION .
ARTISTIC (TECHNIQUES)
SEE: PRESENTATION
BEAUTY
BEAUTY (OR 'SUBLIME' OR 'AESTHETIC EXCELLENCE') IS NOT AN AESTHETIC PROPERTY, BUT A TERM WITH WHICH WE EXPRESS A POSITIVE REFLECTIVE JUDGEMENT OF THE IMAGINATIVE ACTIVITIES WE ARE ENGAGED IN WHEN PERCEIVING AN AESTHETIC PROPERTY BY EMPATHETIC IMAGINATION. (V:3). CF. AESTHETIC EVALUATION; IDEAL OF BEAUTY.
CONVENTIONS
CONVENTIONS MAY WORK ON A GENERAL LEVEL ONLY--AS IS THE CASE IN DEPICTION OR EXEMPLIFICATION--OR THEY MAY WORK ON THE LEVEL OF PARTICULAR INSTANTIATIONS AS WELL--AS IS THE CASE IN DISCOURSE. NOT ALL ASPECTS OF PICTURES ARE CONVENTIONAL, AS GOODMAN ALLEGES: THEIR REPRODUCTIVE ASPECT ISN'T. SPECIFICALLY, REPRODUCTION IS AN EFFECT OF RESEMBLANCE-A (OR THE OTHER WAY AROUND, DEPENDING ON THE BELIEF ABOUT PICTORIAL REALISM ADHERED TO), WHICH IS BASED IN NATURAL EMBODIED PERCEPTION AND PRESUPPOSES NO IMAGINATIVE ACTIVITIES FOR THEIR AWARENESS. (IN MUSIC REPRODUCTIVE ELEMENTS ARE MORE OR LESS BANNED (VII:7)). PRE-PERCEPTUAL, SPONTANEOUS IMAGINATION IS ACTIVATED BY NON-NATURAL MEANS OF STYLE, EDITING, AND ELLIPSIS. BEING IRREDUCIBLE TO NORMAL PERCEPTION , HOWEVER, DOESN'T TURN THESE NON-NATURAL MEANS INTO CONVENTIONS. CONVENTIONS PRESUPPOSE SOME SYSTEMATIC REGULATIONS--AN ELABORATE SYNTAX AND SEMANTICS, BUT THESE ARE ABSENT FROM THE ARTS (WITH THE EVIDENT EXCEPTION OF DISCURSIVE LANGUAGE, WHICH IS CONVENTIONAL THROUGHOUT (I:7)). (OBVIOUSLY SYMBOLIC SYSTEMS SUCH AS THE MEDIEVAL PICTORIAL ONE FORM NO PARADIGM). CF. GOODMAN'S CONVENTIONALISM (I).
DEPICTION
DEPICTION IS ACHIEVED BY THINGS THAT ANSWER CONVENTION D. THIS CONVENTION DOES NOT RULE OVER ALL ASPECTS OF PICTURES, NOR DOES IT APPLY TO PICTURES IN THEIR SINGULARITY--IT RULES IN A GENERAL SENSE ONLY. (I:4) D TELLS US TO LOOK FOR RESEMBLANCES-A AND TO TRY TO IMAGINATIVELY INTRODUCE THE MODALITIES THAT ARE ABSENT IN PICTURES, AND, IN THE END, THE EXPERIENTIAL DIMENSION OF THE PRESENTATION OR REPRESENTATION. BECAUSE PICTURES INVOLVE A REDUCTION OF MODALITIES OBJECTS IN PICTURES ARE PERCEIVED IN A DISEMBODIED AND INDIRECT WAY. D DOES NOT CONSTITUTE THE RESEMBLANCES-A INVOLVED--THESE FORM A NATURAL (NON-CONVENTIONAL) ELEMENT WITHIN PICTURES WITHOUT WHICH NO PICTURE DEPICTS. (PACE GOODMAN)
DIRECT REALISM
DIRECT REALISM, IN CONTRAST WITH REPRESENTATIONALISM , ASCRIBES DIRECT CONTACT WITH THE OBJECTS THAT ARE PERCEIVED . THE MOST CRUCIAL PART OF THE EXPLANATION OF DIRECT REALISM SHOULD LIE IN PERCEPTION'S EMBODIED NATURE. PUZZLE CASES ARE: THE PERCEPTION OF A LONG GONE STAR; PERCEPTION THROUGH A MIRROR; AND 'TRANSPARENT' PERCEPTION THROUGH A PHOTOGRAPH . THESE PUZZLES ARE SUPPOSED TO FORM A SLIPPERY SLOPE ARGUMENT PROVING THE CASE THAT ALL PERCEPTION IS INDIRECT, THROUGH A REPRESENTATION. TO ARGUE HEAD-ON AGAINST REPRESENTATIONALISM: SUPPOSING ALL PERCEPTIONS ARE OF A REPRESENTATION IN OUR HEADS, THEN HOW ARE WE TO UNDERSTAND THE DISEMBODIED NATURE OF OUR PERCEPTIONS OF THEM--CAN WE SEE THE REPRESENTATION ITSELF APART FROM ITS SUBJECT AS IS OF THE ESSENCE FOR ALL NORMAL PICTURES THAT WE KNOW OF. IF WE CANNOT--AS I AM CERTAIN THAT WE CANNOT--THEN, FOLLOWING OCKHAM'S RAZOR, THERE IS NO SENSE IN POSTULATING SUCH THINGS. CF. WALTON, FRIDAY, DANCY. (VIII:2)
EMBODIMENT
EMBODIMENT IS SHORT-HAND FOR THE POLYMODAL NATURE OF OUR SENSUOUS ACCESS TO THE WORLD. WE HAVE FIVE SENSES AND THESE STRUCTURE THE DATA OF PERCEPTION IN DISTINCT WAYS. THESE VARIOUSLY STRUCTURED DATA MUST BE 'TRANSLATED' INTO A COHERENT WHOLE. SUCH 'TRANSLATION' IS PROVIDED BY PERCEPTUAL IMAGINATION, WHICH AT THE LEVEL OF CONSCIOUSNESS CORRESPONDS TO PERCEPTION'S EMBODIMENT. CHANGING THE POSITION OF THE PERCEIVING BODY CHANGES THE PERCEPTION. REGARDING POLYMODALITY: WE EXPECT VISUAL CHANGES TO RECUR BY TOUCHING WHAT IS SEEN. IN THIS REPRESENTATIONS DIFFER ESSENTIALLY FROM OUR PERCEPTIONS. THIS IS AN ADDITIONAL ARGUMENT FOR DIRECT REALISM CONCERNING PERCEPTION: THE PERCEPTION OF A REPRESENTATION IS PARTLY DISEMBODIED: IT ACTIVATES THE MIND BUT DE-ACTIVATES THE BODY (WE OUGHT NOT RUN ONTO THE STAGE TO SAVE THE THREATENED HEROIN--THIS HAS LITTLE TO DO WITH SO-CALLED FICTIONAL EMOTIONS). CF. ALSO SECONDARY AND TERTIARY QUALITIES.
EMPATHETIC PERCEPTION
EMPATHY FORMS AN INTEGRAL PART OF EMBODIED PERCEPTION. IT IS UNDERSTOOD MOST ADEQUATELY AS A RE-ENACTMENT BY THE BEHOLDER OF THE FIRST-PERSON ACQUAINTANCE OF THE BEHOLDED PERSON'S EXPERIENCE. SYMPATHY IS DISTINGUISHED FROM EMPATHY IN THAT IT SUPPLEMENTS THE RE-ENACTMENT WITH A POSITIVE EVALUATION. EMPATHY WITH REPRESENTED PERSONS OR EVENTS BY BEING DISEMBODIED PRESUPPOSES PRE-PERCEPTUAL IMAGINATION AND MUST BE ACCOUNTED FOR SUBJECTIVISTICALLY. (VIII:2 AND 4)
EMPATHY
EMPATHY FORMS AN INTEGRAL PART OF EMBODIED PERCEPTION. IT IS UNDERSTOOD MOST ADEQUATELY AS A RE-ENACTMENT BY THE BEHOLDER OF THE FIRST-PERSON ACQUAINTANCE OF THE BEHOLDED PERSON'S EXPERIENCE. SYMPATHY IS DISTINGUISHED FROM EMPATHY IN THAT IT SUPPLEMENTS THE RE-ENACTMENT WITH A POSITIVE EVALUATION. EMPATHY WITH REPRESENTED PERSONS OR EVENTS BY BEING DISEMBODIED PRESUPPOSES PRE-PERCEPTUAL IMAGINATION AND MUST BE ACCOUNTED FOR SUBJECTIVISTICALLY. (VIII:2 AND 4)
EXEMPLIFICATION
EXEMPLIFICATION IS WHAT SAMPLES DO. ACCORDING TO GOODMAN, WHO INTRODUCED THE TERM INTO AESTHETICS, EXEMPLIFICATION IS POSSESSION OF A 'PROPERTY' PLUS REFERENCE TO THE LABEL WHICH DENOTES THIS 'PROPERTY'. HE THINKS EXPRESSION IS METAPHORICAL EXEMPLIFICATION, AND REPRESENTATION IS QUITE THE REVERSE OF IT. I ARGUE THAT THE NOTION OF EXPRESSIVE, OR METAPHORICAL, SAMPLES IS AN OXYMORON. (I:5). IF, INSTEAD, WE UNDERSTAND EXEMPLIFICATION AS BEING AN ANTICIPATION OF THE IMAGINATION--WE ANTICIPATE THE SAMPLE TO BE QUALIFIEDLY IDENTICAL TO SOME OTHER OBJECT--THEN IT MAY SERVE RATHER AS AN EXPLANATORY DEVICE FOR THE RESEMBLANCEA CENTRAL TO REPRODUCTION AND DEPICTION (CF. ARRELL) (I:5). EXPRESSION, ON THE CONTRARY, IS AN INTIMATORY ASPECT OF THE ARTISTIC PRESENTATION. (III:4; VII:4).
EXPERIENTIAL DIMENSION
MEANT IS THE ASPECT OF HAVING AN EXPERIENCE, NOT OF UNDERSTANDING ONE. IF PETER IS SAD AND ACTING LIKE IT (WE ALL KNOW HOW THAT IS) THEN AN ONLOOKER MIGHT EASILY PROVIDE AN UNDERSTANDING OF THE SADNESS THAT HIS PETER'S ACTS, GESTURES AND FACE EXPRESS THAT CAN COMPETE WITH PETER'S OWN UNDERSTANDING OF IT. AS SUCH MOST MENTAL EVENTS ARE AVAILABLE TO A THIRD-PERSON , DESCRIPTIVE APPROACH. NEVERTHELESS, PETER IS THE ONE EXPERIENCING THE SADNESS FROM A FIRST-PERSON POINT OF VIEW. WE CANNOT UNDERSTAND PETER'S SADNESS FROM A FIRST-PERSON POSITION, BECAUSE IT WOULD THEN BE OUR SADNESS, NOT HIS. WE CAN, HOWEVER, EMPATHIZE WITH IT--THAT IS, IN A NORMAL MORAL CONTEXT WE CAN BE IN A SECOND-PERSON COMMUNICATIVE ACQUAINTANCE WITH PETER. IF, HOWEVER, OUR PERCEPTION IS OF A REPRESENTATION OF PETER, AND IS, THEREFORE, PARTLY DISEMBODIED WE SHALL HAVE TO CONSTITUTE THE RELEVANT MORAL DIMENSION BY WAY OF OUR EMPATHETIC IMAGINATION . ART BY REPRESENTING (INTIMATING ) AN EVENT'S EXPERIENTIAL DIMENSION PROVIDES US WITH A SECOND-PERSON ACQUAINTANCE. CF. BAUMGARTEN (I:8; V:1; VI; VII:4; VIII).
EXPRESSION
EXPRESSION IS THE EXPERIENTIAL DIMENSION INTIMATED BY AN ARTISTIC PRESENTATION. EVERYDAY MENTAL STATES 'HIDING' BEHIND GESTURAL OR FACIAL EXPRESSIONS ARE ACCESSIBLE TO EMBODIED PERCEPTION. SUCH EXPRESSIONS WHEN REPRODUCED NEED A SUPPLEMENTARY ACT OF EMPATHETIC IMAGINATION FOR THEIR CONSTITUTION. DUE TO ART'S RESTRICTED ADDRESS OF POLYMODALITY A WORK OF ART'S EXPRESSION NEVER IS REDUCIBLE TO REAL LIFE EXPRESSION BECAUSE IT INVOLVES THE EXPERIENTIAL DIMENSION OF THE ARTIST'S MANIPULATIONS WITH THE MATERIAL OF HIS WORK. AS SUCH, BOTH THE RECOGNITION OF ARTISTIC EXPRESSION AND THE RECOGNITION OF REPRESENTED EXPERIENCE (ON THE BASIS OF INTIMATION) ARE THE BUSINESS OF EMPATHETIC IMAGINATION. CF. GOODMAN'S NOTION OF METAPHORICAL EXEMPLIFICATION; ELLIOTT.(I:7; VII:5).
EXTENSIONALISM
EXTENSIONALISM UNDERSTANDS THE MEANING OF A TERM AS ITS EXTENSION CLASS: THE MEANING OF 'RED' IS NOT SOME INCONCEIVABLE, UNIVERSAL INTENSION LIKE 'REDNESS', BUT: 'ALL RED THINGS'. EXTENSIONALISM FORMS THE SEMANTIC THEORY CONNECTED WITH NOMINALISM, WHICH CONSISTS OF THE ONTOLOGICAL THESIS THAT THERE ARE NO PROPERTIES IN THE WORLD BUT ONLY INDIVIDUAL THINGS AND THEIR PARTS. SO-CALLED PROPERTIES COME INTO BEING BY OUR ATTRIBUTING PREDICATES TO INDIVIDUALS. EXTENSIONALISM AND NOMINALISM, ESPECIALLY IN GOODMAN'S VARIETY, ARE UNDULY RESTRICTIVE, AS IS ILLUSTRATED BY HIS TREATMENT OF REPRESENTATION, EXPRESSION, EXEMPLIFICATION, AND THE ARTS AS CONSISTING OF SYMBOL SYSTEMS. (I)
EXTENSIVE KNOWLEDGE
EXTENSIVE KNOWLEDGE IS BAUMGARTENSS TERM FOR THE KNOWLEDGE PRODUCED BY THE SENSES . HE THINKS BEAUTY FORMS THE PERFECTION OF EXTENSIVE KNOWLEDGE. THIS KNOWLEDGE IS EXTENSIVELY CLEAR AND WEALTHY, AND IS DISTINGUISHED FROM THE DISCURSIVE--INTENSIVELY CLEAR--KNOWLEDGE OF SCIENCE. CF. OVERDETERMINATION .
FIRST-PERSON
INDEXICALS ARE TERMS WHOSE MEANING CANNOT BE DETERMINED BEFORE ONE KNOWS WHO IS SPEAKING. SUCH 'TOKEN-REFLEXIVE' TERMS INCLUDE PERSONAL PRONOUNS, SUCH AS 'I', AND 'SHE', AND PRONOUNS OF TIME AND PLACE SUCH AS 'HERE' AND 'THEN'. I DEMONSTRATE (IN VI) HOW BAUMGARTEN DEVELOPS THE IDEA THAT A BEAUTIFUL WORK OF ART INTRODUCES SECOND-PERSON RECIPROCITY IN OUR--FIRST-PERSON--APPRECIATIVE EXPERIENCE. I ELABORATE ON THIS IDEA IN THE THIRD PART, IN TERMS OF TERTIARY QUALITIES, EMPATHETIC IMAGINATION, AND INTIMATION. IT IS THE ARTISTICALLY INDUCED IMAGINATIVE SECOND-PERSON RECIPROCITY WHICH EXPLAINS THE PRINCIPLE OF ACQUAINTANCE: WE MUST BECOME A 'YOU' TO A WORK OF ART AND EMPATHIZE WITH THE ARTISTIC EXPRESSION OF ITS PRESENTATION OR WITH ITS REPRESENTED SUBJECT--IF WE ARE TO FULLY APPRECIATE IT. CF. RESPONSE-DEPENDENCE.
FREE PLAY OF THE COGNITIVE FACULTIES
KANT USES THIS NOTION TO UNDERSTAND AESTHETIC EXPERIENCE IN AS FAR AS IT LEGITIMATES OUR AESTHETIC JUDGEMENTS . IN PRACTICE, WHEN WE ARE APPRECIATING SOME WORK OF ART, OUR COGNITIVE FACULTIES WILL BE AT FREE PLAY--GUIDED BY THE IMAGINATION . HOWEVER, IN AESTHETIC ARGUMENTS NO REFERENCE TO ONE'S HAVING GONE THROUGH THE REQUISITE EXPERIENCE IS GOING TO PROVE A THING'S BEAUTY. BECAUSE OF THIS, THE FREE PLAY, THOUGH EMPIRICALLY REAL, MUST BE UNDERSTOOD AS TRANSCENDENTALLY IDEAL--IN KANT'S TERMINOLOGY. AS AN ARGUMENT IN AESTHETIC DISCOURSE THE AESTHETIC EXPERIENCE IS MERELY A REGULATIVE IDEAL : ALL PERSONS INVOLVED IN SUCH A DISCUSSION ACCEPT ITS REGULATIVE ROLE (OR ELSE THEY WOULDN'T BE TAKING PART IN AN AESTHETIC ARGUMENT), BUT NO-ONE WILL ACTUALLY WANT TO APPEAL TO IT. CF. DEMPSTER, SAVILE, SUBJECTIVISM , AESTHETIC EVALUATION , AND AESTHETIC IDEAS . (IV:4, V:1).
IDEAL OF BEAUTY
ACCORDING TO KANT AN IDEAL IS THE SENSUOUS PRESENTATION OF AN IDEA. SINCE BEAUTY IS NOT AMENABLE TO OBJECTIVE PURPOSIVITY --NOTWITHSTANDING THOSE WHO CLAIM THAT IT IS A CASE OF PERFECTION--IT IS NOT DETERMINABLE BY CONCEPTS OF WHAT THE OBJECT SHOULD BE LIKE (IV:3), AND THE PRODUCTION OF BEAUTY FOLLOWS NO DETERMINATE RULE. (IV:2). SINCE AN IDEAL FOLLOWS THE DETERMINATIONS INHERENT IN THE IDEA IT PRESENTS, THERE CANNOT BE AN IDEAL OF THE BEAUTY OF THINGS DETERMINABLE BY CONCEPTS WHICH SPECIFY THEIR CONFORMITY TO EXTERNAL GOALS. THERE CAN ONLY BE AN IDEAL OF THE BEAUTY OF AN ENTITY WHICH PRODUCES ITS OWN PURPOSES FROM WITHIN. ONLY MAN IN BEING MORAL CREATES HIS OWN MORAL PURPOSES AND EXPRESSES THIS IN THE WAY HE LOOKS AND ACTS. (V:2) KANT ALSO DISTINGUISHES BETWEEN REGULATIVE AND CONSTITUTIVE IDEAS, OR IDEALS. CONSTITUTIVE IDEALS &QUOT;SEEK TO BRING THE EXISTENCE OF APPEARANCES UNDER RULES A PRIORI&QUOT; AS SUCH THEY CONSTITUTE THESE APPEARANCES. (CPR A179, B221).
IDEALISM
IDEAL OF BEAUTY. ACCORDING TO KANT AN IDEAL IS THE SENSUOUS PRESENTATION OF AN IDEA. SINCE BEAUTY IS NOT AMENABLE TO OBJECTIVE PURPOSIVITY--NOTWITHSTANDING THOSE WHO CLAIM THAT IT IS A CASE OF PERFECTION--IT IS NOT DETERMINABLE BY CONCEPTS OF WHAT THE OBJECT SHOULD BE LIKE (IV:3), AND THE PRODUCTION OF BEAUTY FOLLOWS NO DETERMINATE RULE. (IV:2). SINCE AN IDEAL FOLLOWS THE DETERMINATIONS INHERENT IN THE IDEA IT PRESENTS, THERE CANNOT BE AN IDEAL OF THE BEAUTY OF THINGS DETERMINABLE BY CONCEPTS WHICH SPECIFY THEIR CONFORMITY TO EXTERNAL GOALS. THERE CAN ONLY BE AN IDEAL OF THE BEAUTY OF AN ENTITY WHICH PRODUCES ITS OWN PURPOSES FROM WITHIN. ONLY MAN IN BEING MORAL CREATES HIS OWN MORAL PURPOSES AND EXPRESSES THIS IN THE WAY HE LOOKS AND ACTS. (V:2) KANT ALSO DISTINGUISHES BETWEEN REGULATIVE AND CONSTITUTIVE IDEAS, OR IDEALS. CONSTITUTIVE IDEALS &QUOT;SEEK TO BRING THE EXISTENCE OF APPEARANCES UNDER RULES A PRIORI&QUOT; AS SUCH THEY CONSTITUTE THESE APPEARANCES. (CPR A179, B221).
IMAGINATION
IMAGINATION IS THE MENTAL POWER TO PRESENT THINGS TO THE MIND EVEN WITHOUT THEIR PRESENCE TO THE SENSES. ONLY THOSE DETAILS PERTAIN TO AN IMAGE OF IMAGINATION THAT HAVE BEEN PUT INTO THEM BY IMAGINATION--THIS STANDS IN SHARP CONTRAST WITH IMAGES OF PERCEPTION WHICH CAN BE FURTHER DETAILED BY TAKING IN MORE DETAILS THROUGH THE SENSES. PERCEPTUAL IMAGINATION PROVIDES THE INTERMODAL TRANSLATION OF THE VARIOUS SPATIO-TEMPORAL STRUCTURES PROVIDED BY THE SENSE MODALITIES NEEDED FOR PERCEPTION TO BE A COHERENT WHOLE. IT ALSO INTRODUCES A TEMPORAL DIMENSION INTO THE EXPERIENCES AT STAKE, MAKING PERCEPTION EMPATHETIC . FOR INSTANCE, IT IS PERCEPTUAL IMAGINATION WHICH INTRODUCES THE IDEA THAT SOME PERSON'S SADNESS SHOULD BE 'TRAGIC'--BY INTRODUCING MEMORIES AND ANTICIPATIONS. IN ALL THIS PERCEPTUAL IMAGINATION FORMS AN INTEGRAL PART OF PERCEPTION AND IS NOT SPONTANEOUS--WHICH IS WHY KANT CALLS IT REPRODUCTIVE AND UNDERSTANDS IT AS PART OF UNDERSTANDING. (VIII:3). PRE-PERCEPTUAL, EMPATHETIC, IMAGINATION IS ACTIVATED BY ART'S RESTRICTED ADDRESS OF SENSE MODALITIES AND RELEVANT INTIMATORY DEVICES. IN THE ARTS, THEREFORE, EMPATHY IS AN EFFECT OF THIS SPONTANEOUS--PRODUCTIVE--POWER OF IMAGINATION. THE OBJECTS OF EMPATHETIC IMAGINATION, REPRESENTED TERTIARY QUALITIES, CANNOT POLYMODALLY BE PROVEN TO EXIST, NOR EVEN CAN THEIR PHENOMENALITY BE EXPLAINED--THERE ARE NO SAMPLES OF TERTIARY QUALITIES. THIS IS WHAT EXPLAINS WHY IN THE AESTHETIC DOMAIN WE HOLD THE PRINCIPLE OF ACQUAINTANCE.
INDEXICALS
INDEXICALS ARE TERMS WHOSE MEANING CANNOT BE DETERMINED BEFORE ONE KNOWS WHO IS SPEAKING. SUCH 'TOKEN-REFLEXIVE' TERMS INCLUDE PERSONAL PRONOUNS, SUCH AS 'I', AND 'SHE', AND PRONOUNS OF TIME AND PLACE SUCH AS 'HERE' AND 'THEN'. I DEMONSTRATE (IN VI) HOW BAUMGARTEN DEVELOPS THE IDEA THAT A BEAUTIFUL WORK OF ART INTRODUCES SECOND-PERSON RECIPROCITY IN OUR--FIRST-PERSON--APPRECIATIVE EXPERIENCE. I ELABORATE ON THIS IDEA IN THE THIRD PART, IN TERMS OF TERTIARY QUALITIES , EMPATHETIC IMAGINATION , AND INTIMATION . IT IS THE ARTISTICALLY INDUCED IMAGINATIVE SECOND-PERSON RECIPROCITY WHICH EXPLAINS THE PRINCIPLE OF ACQUAINTANCE : WE MUST BECOME A 'YOU' TO A WORK OF ART AND EMPATHIZE WITH THE ARTISTIC EXPRESSION OF ITS PRESENTATION OR WITH ITS REPRESENTED SUBJECT--IF WE ARE TO FULLY APPRECIATE IT. CF. RESPONSE-DEPENDENCE .
INTIMATION
INTIMATION IS THE EFFECT OF A WORK OF ART UPON ITS BEHOLDER OF INDUCING HIM OR HER TO SPONTANEOUSLY SUPPLY THE EXPERIENTIAL DIMENSION NEEDED FOR AN EFFECTIVE ARTISTIC EXPRESSION OR REPRESENTATION . IT IS IRREDUCIBLE TO THE UNIMODAL, PERCEPTUAL AWARENESS OF REPRODUCTIVE ELEMENTS IN THE WORK, BUT INSTEAD, IS AN EFFECT OF THE WORK'S ARTISTIC PRESENTATION. IT SURPASSES MERE (THIRD-PERSON) RECOGNITION OF SOME EXPERIENCE'S PERCEIVABLE EXPRESSION, BUT INTRODUCES A SECOND-PERSON, EMPATHETIC ACQUAINTANCE WITH IT. CF. THREEFOLDNESS, POLYMODALITY, EMBODIMENT, MORAL DIMENSION. (VII:2-6).  
MEMORY
MEMORIES MAY CONTAIN IMAGES, BUT ONLY INSOFAR AS THE ORIGINAL PERCEPTION THAT IS REMEMBERED WAS CONSCIOUSLY UNDER A DESCRIPTION. WHAT IS REMEMBERED IS THE DESCRIPTION, AND IMAGINATION FILLS IN THE IMAGES THAT ARE SUPPOSED TO CORRESPOND TO THAT DESCRIPTION. THIS IS EASILY CHECKED BY ASKING FOR DETAILS THAT OUGHT NORMALLY TO HAVE FORMED AN INTEGRAL PART OF A PERCEPTION (WHAT SHOES DID HE WEAR, WITH WHAT LATCHES, ETC.). WITH REGARD TO MEMORY WE MUST BE INDIRECT REALISTS (ALBEIT NOT OF THE REPRESENTATIONALIST VARIETY). CF. DANCY
MORAL DIMENSION
MORAL DIMENSION OF ART IS ITS EXPERIENTIAL DIMENSION , WHICH IN EVERYDAY CONTEXTS IS ACCESSIBLE THROUGH NORMAL, EMBODIED , PERCEPTION. IT IS NOT AS AUTOMATICALLY ACCESSIBLE IN WORKS OF ART--DUE TO THEIR RESTRICTED ADDRESS OF SENSE MODALITIES. TO RECOGNIZE AN ART WORK'S EXPERIENTIAL DIMENSION FIRST POLYMODALITY MUST BE RESTORED AND THE EXPERIENTIAL BE REENACTED--WHICH IS DONE BY (EMPATHETIC) IMAGINATION. AS A CONSEQUENCE, ETHICAL EVALUATION OF ART IS NOT NECESSARILY INAPPROPRIATE--HOWEVER, IT MAY NOT BE AS STRAIGHTFORWARD AS CENSORS MAY HAVE US BELIEVE. THE ETHICAL DIMENSION OF ART IS EXPERIENTIAL, BASED ON INTIMATED SECOND-PERSON ACQUAINTANCE. (VI; VII:2,5,6,9; VIII:3,4).
NOMINALISM
EXTENSIONALISM UNDERSTANDS THE MEANING OF A TERM AS ITS EXTENSION CLASS: THE MEANING OF 'RED' IS NOT SOME INCONCEIVABLE, UNIVERSAL INTENSION LIKE 'REDNESS', BUT: 'ALL RED THINGS'. EXTENSIONALISM FORMS THE SEMANTIC THEORY CONNECTED WITH NOMINALISM, WHICH CONSISTS OF THE ONTOLOGICAL THESIS THAT THERE ARE NO PROPERTIES IN THE WORLD BUT ONLY INDIVIDUAL THINGS AND THEIR PARTS. SO-CALLED PROPERTIES COME INTO BEING BY OUR ATTRIBUTING PREDICATES TO INDIVIDUALS. EXTENSIONALISM AND NOMINALISM, ESPECIALLY IN GOODMAN'S VARIETY, ARE UNDULY RESTRICTIVE, AS IS ILLUSTRATED BY HIS TREATMENT OF REPRESENTATION, EXPRESSION, EXEMPLIFICATION, AND THE ARTS AS CONSISTING OF SYMBOL SYSTEMS. (I)
OBJECTIVE PURPOSIVITY
PURPOSIVITY (WITHOUT PURPOSE). THE IDEA THAT ART HAS A TASK DOES NOT GO AGAINST KANT'S ANALYSIS OF BEAUTY AS BEING (SUBJECTIVELY ) PURPOSIVE WITHOUT PURPOSE, BECAUSE THE TASK SET UPON ART IS AN EXPERIENTIAL ONE AND THERE ARE NO RULE-GOVERNED WAYS (NEITHER CONVENTIONAL NOR REPRODUCTIVE ) TO ACHIEVE IT--ONLY INTIMATION . WE CANNOT MAKE SENSE OF AN ARTISTIC 'OBJECTIVE PURPOSIVITY' BECAUSE THERE ARE NO GENERALIZABLE, OPERATIONALIZABLE AESTHETIC PROBLEMS IN ART. CF. IDEAL OF BEAUTY , FREE PLAY OF THE COGNITIVE FACULTIES , (III:2; VIII:5)
OVERDETERMINATION
OVERDETERMINATION IS THE CHARACTERISTIC OF HAVING MORE THAN ONE DETERMINING FACTORS. BECAUSE DESCRIBING A PERCEPTION INVOLVES A REDUCTION OF DETERMINATIONS (RATHER THAN A REDUCTION OF MODALITIES ) DESCRIPTIONS ARE UNDERDETERMINED BY THE DATA OF PERCEPTION (CF. QUINE). PICTORIAL REPRODUCTION REPLACES THE OVERDETERMINATION OF POLYMODAL , EMBODIED PERCEPTION WITH ONE THAT IS PARTLY DISEMBODIED AND REDUCED TO ITS MERELY VISUAL ASPECT. IN CONTRAST WITH DESCRIPTION PHOTOGRAPHIC REPRODUCTION IS NOT UNDERDETERMINED BECAUSE A PHOTOGRAPH COMES INTO BEING ENTIRELY CAUSALLY--MECHANICAL-CUM-CHEMICALLY. CF. SCRUTON, EXTENSIVE KNOWLEDGE , SENSES .
PERCEPTION
PERCEPTION IS THE DIRECT AND EMBODIED RECOGNITION OF THINGS AND EVENTS, UNDER A DESCRIPTION. AS EMBODIED PERCEPTION IS POLYMODAL AND OVERDETERMINED , AND DISCOUNTS NATURAL CAUSAL EFFECTS OF RELEVANT DISTANCES--THE SPEEDS OF LIGHT AND SOUND ARE APPROXIMATELY INCORPORATED IN THE CONCEPTS UNDER WHICH WE PERCEIVE. SEEING A MAN IS SEEING SOMETHING UNDER THE DESCRIPTION 'IS A MAN', WHICH INCLUDES A REALISTIC ESTIMATE OF HIS HIGHT AND LENGTH RELATIVE TO THE DISTANCE FROM THE VIEWER'S BODY. PERCEPTUAL IMAGINATION INTRODUCES THE 'DESCRIPTION' BY 'TRANSLATING' THE VARIOUSLY STRUCTURED DATA OF THE FIVE SENSE MODALITIES INTO THE COHERENT WHOLE THAT ANSWERS THE DESCRIPTION. (II:3; V:3).
PERCEPTUAL IMAGINATION
PERCEPTUAL IMAGINATION PROVIDES THE INTERMODAL TRANSLATION OF THE VARIOUS SPATIO-TEMPORAL STRUCTURES PROVIDED BY THE SENSE MODALITIES NEEDED FOR PERCEPTION TO BE A COHERENT WHOLE. IT ALSO INTRODUCES A TEMPORAL DIMENSION INTO THE EXPERIENCES AT STAKE, MAKING PERCEPTION EMPATHETIC . FOR INSTANCE, IT IS PERCEPTUAL IMAGINATION WHICH INTRODUCES THE IDEA THAT SOME PERSON'S SADNESS SHOULD BE 'TRAGIC'--BY INTRODUCING MEMORIES AND ANTICIPATIONS. IN ALL THIS PERCEPTUAL IMAGINATION FORMS AN INTEGRAL PART OF PERCEPTION AND IS NOT SPONTANEOUS--WHICH IS WHY KANT CALLS IT REPRODUCTIVE AND UNDERSTANDS IT AS PART OF UNDERSTANDING. (VIII:3).
PICTURE
DEPICTION IS ACHIEVED BY THINGS THAT ANSWER CONVENTION D. THIS CONVENTION DOES NOT RULE OVER ALL ASPECTS OF PICTURES, NOR DOES IT APPLY TO PICTURES IN THEIR SINGULARITY--IT RULES IN A GENERAL SENSE ONLY. (I:4) D TELLS US TO LOOK FOR RESEMBLANCES-A AND TO TRY TO IMAGINATIVELY INTRODUCE THE MODALITIES THAT ARE ABSENT IN PICTURES, AND, IN THE END, THE EXPERIENTIAL DIMENSION OF THE PRESENTATION OR REPRESENTATION. BECAUSE PICTURES INVOLVE A REDUCTION OF MODALITIES OBJECTS IN PICTURES ARE PERCEIVED IN A DISEMBODIED AND INDIRECT WAY. D DOES NOT CONSTITUTE THE RESEMBLANCES-A INVOLVED--THESE FORM A NATURAL (NON-CONVENTIONAL) ELEMENT WITHIN PICTURES WITHOUT WHICH NO PICTURE DEPICTS. (PACE GOODMAN)
POLYMODALITY
POLYMODALITY IS THE EMBODIED SUM OF THE VARIOUSLY STRUCTURED WAYS OF SENSUOUS ACCESS TO THE WORLD--PERCEPTUAL IMAGINATION PROVIDES THE TRANSLATION NECESSARY FOR PERCEPTION 'S COHERENCE. WE NEED SOME MEASURE OF POLYMODALITY TO PROVE A PERCEPTUAL OBJECT'S EXISTENCE. HOWEVER, POLYMODALITY DOES LITTLE TO SPECIFY ITS PHENOMENAL NATURE. PHENOMENALITY, BUT NOT PERCEPTION , BY DEFINITION IS RESTRICTED TO A SINGLE SENSE'S ACCESS, UNIMODALITY. CF. SECONDARY QUALITIES , RESPONSE DEPENDENCE . (II:3; VIII:2-3).
PRE-PERCEPTUAL IMAGINATION
PRE-PERCEPTUAL, EMPATHETIC, IMAGINATION IS ACTIVATED BY ART'S RESTRICTED ADDRESS OF SENSE MODALITIES AND RELEVANT INTIMATORY DEVICES. IN THE ARTS, THEREFORE, EMPATHY IS AN EFFECT OF THIS SPONTANEOUS--PRODUCTIVE--POWER OF IMAGINATION. THE OBJECTS OF EMPATHETIC IMAGINATION, REPRESENTED TERTIARY QUALITIES, CANNOT POLYMODALLY BE PROVEN TO EXIST, NOR EVEN CAN THEIR PHENOMENALITY BE EXPLAINED--THERE ARE NO SAMPLES OF TERTIARY QUALITIES. THIS IS WHAT EXPLAINS WHY IN THE AESTHETIC DOMAIN WE HOLD THE PRINCIPLE OF ACQUAINTANCE.
PRESENTATION
PRESENTATION IS ONE OF THE ELEMENTS OF AN ARTWORK WHICH TOGETHER WITH ITS REPRODUCTION , AND REPRESENTATION MAKE UP ITS THREEFOLDNESS . ARTISTIC PRESENTATION FORMS ART'S 'ANSWER' TO THE FACT THAT IN EVERY ART FORM A RESTRICTED NUMBER OF SENSE MODALITIES IS ADDRESSED. INTIMATION DERIVES ITS FORCE FROM ARTISTIC PRESENTATION.
PRIMARY QUALITIES
SECONDARY QUALITIES, DUE TO THEIR UNIMODAL PHENOMENALITY CANNOT BE EXPLAINED WITHOUT REFERENCE TO THE RELEVANT MENTAL ASPECT OF PERCEPTION--THIS IS AS TRADITION HAS IT. CERTAIN PHILOSOPHERS (SUCH AS LOCKE, AND MACKIE, NOT MCDOWELL) EVEN ARGUE THAT SECONDARY QUALITIES ARE ILLUSORY FOR THIS REASON. I ARGUE THAT THEY TOO ARE POLYMODALLY ACCESSIBLE--WITH THE HELP OF SAMPLES AND SCIENTIFIC DEVICES--BUT THAT THIS DOES NOTHING TO EXPLAIN THEIR PHENOMENALITY. HOWEVER, THE POLYMODAL ACCESS TO PRIMARY QUALITIES DOES LITTLE IN THAT AREA EITHER. POLYMODALITY DOES HELP PROVING A PROPERTY'S EXISTENCE, AND THEREFORE BOTH SECONDARY AND PRIMARY QUALITIES ARE ON EQUAL FOOTING IN THE LAST ANALYSIS. POLYMODALITY INVOLVES 'TRANSLATION' BY PERCEPTUAL IMAGINATION--DUE TO THE FACT THAT THE DIFFERENT SENSES STRUCTURE THE WORLD IN DISTINCT WAYS. THE PHENOMENALITY OF PRIMARY AND SECONDARY PROPERTIES IS RESPONSE-DEPENDENT, WHEREAS THE ESTABLISHMENT OF EITHER KIND'S ACTUALITY ISN'T. CF. TERTIARY QUALITIES. (II:2-3; VII:8-9).
PRODUCTIVE IMAGINATION
IMAGINATION IS THE MENTAL POWER TO PRESENT THINGS TO THE MIND EVEN WITHOUT THEIR PRESENCE TO THE SENSES. ONLY THOSE DETAILS PERTAIN TO AN IMAGE OF IMAGINATION THAT HAVE BEEN PUT INTO THEM BY IMAGINATION--THIS STANDS IN SHARP CONTRAST WITH IMAGES OF PERCEPTION WHICH CAN BE FURTHER DETAILED BY TAKING IN MORE DETAILS THROUGH THE SENSES. PERCEPTUAL IMAGINATION PROVIDES THE INTERMODAL TRANSLATION OF THE VARIOUS SPATIO-TEMPORAL STRUCTURES PROVIDED BY THE SENSE MODALITIES NEEDED FOR PERCEPTION TO BE A COHERENT WHOLE. IT ALSO INTRODUCES A TEMPORAL DIMENSION INTO THE EXPERIENCES AT STAKE, MAKING PERCEPTION EMPATHETIC . FOR INSTANCE, IT IS PERCEPTUAL IMAGINATION WHICH INTRODUCES THE IDEA THAT SOME PERSON'S SADNESS SHOULD BE 'TRAGIC'--BY INTRODUCING MEMORIES AND ANTICIPATIONS. IN ALL THIS PERCEPTUAL IMAGINATION FORMS AN INTEGRAL PART OF PERCEPTION AND IS NOT SPONTANEOUS--WHICH IS WHY KANT CALLS IT REPRODUCTIVE AND UNDERSTANDS IT AS PART OF UNDERSTANDING. (VIII:3). PRE-PERCEPTUAL, EMPATHETIC, IMAGINATION IS ACTIVATED BY ART'S RESTRICTED ADDRESS OF SENSE MODALITIES AND RELEVANT INTIMATORY DEVICES. IN THE ARTS, THEREFORE, EMPATHY IS AN EFFECT OF THIS SPONTANEOUS--PRODUCTIVE--POWER OF IMAGINATION. THE OBJECTS OF EMPATHETIC IMAGINATION, REPRESENTED TERTIARY QUALITIES, CANNOT POLYMODALLY BE PROVEN TO EXIST, NOR EVEN CAN THEIR PHENOMENALITY BE EXPLAINED--THERE ARE NO SAMPLES OF TERTIARY QUALITIES. THIS IS WHAT EXPLAINS WHY IN THE AESTHETIC DOMAIN WE HOLD THE PRINCIPLE OF ACQUAINTANCE.
PROJECTIVE PROPERTIES
PROJECTIVE PROPERTIES IS THE TERM USED BY WOLLHEIM TO ACCOUNT FOR EXPRESSION AND AESTHETIC PROPERTIES . ACCORDING TO WOLLHEIM &QUOT;WHEN SOME PART OF NATURE IS HELD TO CORRESPOND TO A PSYCHOLOGICAL PHENOMENON, THIS IS BECAUSE IT IS PERCEPTIBLE AS BEING OF A PIECE WITH THAT STATE OR AS SOMETHING ON TO WHICH WE MIGHT HAVE OR COULD HAVE PROJECTED THE STATE. THAT IT IS PERCEPTIBLE IN THIS WAY COMES ABOUT THROUGH TWO FACTORS WHICH MAKE THEIR INDEPENDENT CONTRIBUTIONS TO THIS RESULT: AN AFFINITY IN NATURE, AND OUR CAPACITY TO PROJECT INTERNAL CONDITIONS.&QUOT; (WOLLHEIM 1993, P. 154).  
PURPOSE, PURPOSIVITY (WITHOUT PURPOSE)
PURPOSIVITY (WITHOUT PURPOSE). THE IDEA THAT ART HAS A TASK DOES NOT GO AGAINST KANT'S ANALYSIS OF BEAUTY AS BEING (SUBJECTIVELY) PURPOSIVE WITHOUT PURPOSE, BECAUSE THE TASK SET UPON ART IS AN EXPERIENTIAL ONE AND THERE ARE NO RULE-GOVERNED WAYS (NEITHER CONVENTIONAL NOR REPRODUCTIVE) TO ACHIEVE IT--ONLY INTIMATION. WE CANNOT MAKE SENSE OF AN ARTISTIC 'OBJECTIVE PURPOSIVITY' BECAUSE THERE ARE NO GENERALIZABLE, OPERATIONALIZABLE AESTHETIC PROBLEMS IN ART. CF. IDEAL OF BEAUTY, FREE PLAY OF THE COGNITIVE FACULTIES, (III:2; VIII:5)
REGULATIVE IDEAL
IDEAL OF BEAUTY. ACCORDING TO KANT AN IDEAL IS THE SENSUOUS PRESENTATION OF AN IDEA. SINCE BEAUTY IS NOT AMENABLE TO OBJECTIVE PURPOSIVITY--NOTWITHSTANDING THOSE WHO CLAIM THAT IT IS A CASE OF PERFECTION--IT IS NOT DETERMINABLE BY CONCEPTS OF WHAT THE OBJECT SHOULD BE LIKE (IV:3), AND THE PRODUCTION OF BEAUTY FOLLOWS NO DETERMINATE RULE. (IV:2). SINCE AN IDEAL FOLLOWS THE DETERMINATIONS INHERENT IN THE IDEA IT PRESENTS, THERE CANNOT BE AN IDEAL OF THE BEAUTY OF THINGS DETERMINABLE BY CONCEPTS WHICH SPECIFY THEIR CONFORMITY TO EXTERNAL GOALS. THERE CAN ONLY BE AN IDEAL OF THE BEAUTY OF AN ENTITY WHICH PRODUCES ITS OWN PURPOSES FROM WITHIN. ONLY MAN IN BEING MORAL CREATES HIS OWN MORAL PURPOSES AND EXPRESSES THIS IN THE WAY HE LOOKS AND ACTS. (V:2) KANT ALSO DISTINGUISHES BETWEEN REGULATIVE AND CONSTITUTIVE IDEAS, OR IDEALS. CONSTITUTIVE IDEALS &QUOT;SEEK TO BRING THE EXISTENCE OF APPEARANCES UNDER RULES A PRIORI&QUOT; AS SUCH THEY CONSTITUTE THESE APPEARANCES. (CPR A179, B221).
REGULATIVE IDEALS
OFFER 'RULES' &QUOT;ACCORDING TO WHICH A UNITY OF EXPERIENCE MAY ARISE FROM PERCEPTION&QUOT; (CPR A180, B223). WHEN REGULATIVE IDEALS ARE USED CONSTITUTIVELY THEY CAUSE ILLUSIONS, BUT IF THEY ARE USED REGULATIVELY AS THEY SHOULD, THEY MERELY GUIDE THE MIND. I HAVE ARGUED (IN IV:6) THAT AESTHETIC EXPERIENCE IS THE REGULATIVE IDEAL OF AESTHETIC EVALUATION AND OF AESTHETIC DISCUSSION: IT MERELY GUIDES THE ARGUMENT. CF. AESTHETIC PROPERTIES, TERTIARY QUALITIES.
REPRESENTATION
REPRESENTATION IS ONE OF THE ELEMENTS OF A WORK OF ART WHICH TOGETHER WITH ITS REPRODUCTION , AND PRESENTATION MAKE UP ITS THREEFOLDNESS . A WORK OF ART IS A REPRESENTATION IF AND ONLY IF THROUGH INTIMATION IT MAKES THE BEHOLDER (OR READER, OR LISTENER, ETC.) RE-ENACT THE EXPERIENTIAL DIMENSION OF WHATEVER IS REPRODUCED OR PRESENTED. SUCH RE-ENACTMENT IS A DISEMBODIED , SPONTANEOUS PROJECTIVE ACT OF PRE-PERCEPTUAL EMPATHETIC IMAGINATION .
REPRESENTATIONALISM
DIRECT REALISM, IN CONTRAST WITH REPRESENTATIONALISM , ASCRIBES DIRECT CONTACT WITH THE OBJECTS THAT ARE PERCEIVED . THE MOST CRUCIAL PART OF THE EXPLANATION OF DIRECT REALISM SHOULD LIE IN PERCEPTION'S EMBODIED NATURE. PUZZLE CASES ARE: THE PERCEPTION OF A LONG GONE STAR; PERCEPTION THROUGH A MIRROR; AND 'TRANSPARENT' PERCEPTION THROUGH A PHOTOGRAPH . THESE PUZZLES ARE SUPPOSED TO FORM A SLIPPERY SLOPE ARGUMENT PROVING THE CASE THAT ALL PERCEPTION IS INDIRECT, THROUGH A REPRESENTATION. TO ARGUE HEAD-ON AGAINST REPRESENTATIONALISM: SUPPOSING ALL PERCEPTIONS ARE OF A REPRESENTATION IN OUR HEADS, THEN HOW ARE WE TO UNDERSTAND THE DISEMBODIED NATURE OF OUR PERCEPTIONS OF THEM--CAN WE SEE THE REPRESENTATION ITSELF APART FROM ITS SUBJECT AS IS OF THE ESSENCE FOR ALL NORMAL PICTURES THAT WE KNOW OF. IF WE CANNOT--AS I AM CERTAIN THAT WE CANNOT--THEN, FOLLOWING OCKHAM'S RAZOR, THERE IS NO SENSE IN POSTULATING SUCH THINGS. CF. WALTON, FRIDAY, DANCY. (VIII:2)
REPRODUCTION
REPRODUCTION IS ONE OF THE ELEMENTS OF A WORK OF ART WHICH TOGETHER WITH PRESENTATION , AND REPRESENTATION MAKE UP ITS THREEFOLDNESS . I UNDERSTAND REPRODUCTION IN TERMS OF AN ANTICIPATION OF UNIMODAL RESEMBLANCE COMPARABLE TO THAT OF EXEMPLIFICATION --THIS ANTICIPATION IS THE WORK OF IMAGINATION . THERE IS A VISUALLY REPRODUCTIVE ELEMENT IN ALL FIGURATIVE PICTURES, AND IT IS OPTIMAL--OVERWRITING THE PRESENTATIONAL AND, THEREFORE, REPRESENTATIONAL ELEMENT--IN MECHANICALLY REPRODUCED IMAGES SUCH AS PHOTOS AND FILM SHOTS. THERE IS A MEASURE OF DEPTH IN PHOTOGRAPHY WHICH INTRODUCES THE ELEMENT OF EMBODIED PERCEPTION, BUT WHEN WE MOVE OUR HEADS THE RELATIVE POSITION OF PHOTOGRAPHED THINGS--THOSE IN THE 'FRONT' AND THOSE IN THE 'BACK'--WILL NOT CHANGE. THEREFORE, PHOTOGRAPHS ARE NOT TRANSPARENT TO THEIR OBJECT: WE DO NOT SEE THEM DIRECTLY--AS WE DO IN PERCEPTION . (I:4-6; VII:3) CF. WALTON, FRIDAY.
REPRODUCTIVE IMAGINATION
IMAGINATION IS THE MENTAL POWER TO PRESENT THINGS TO THE MIND EVEN WITHOUT THEIR PRESENCE TO THE SENSES. ONLY THOSE DETAILS PERTAIN TO AN IMAGE OF IMAGINATION THAT HAVE BEEN PUT INTO THEM BY IMAGINATION--THIS STANDS IN SHARP CONTRAST WITH IMAGES OF PERCEPTION WHICH CAN BE FURTHER DETAILED BY TAKING IN MORE DETAILS THROUGH THE SENSES. PERCEPTUAL IMAGINATION PROVIDES THE INTERMODAL TRANSLATION OF THE VARIOUS SPATIO-TEMPORAL STRUCTURES PROVIDED BY THE SENSE MODALITIES NEEDED FOR PERCEPTION TO BE A COHERENT WHOLE. IT ALSO INTRODUCES A TEMPORAL DIMENSION INTO THE EXPERIENCES AT STAKE, MAKING PERCEPTION EMPATHETIC . FOR INSTANCE, IT IS PERCEPTUAL IMAGINATION WHICH INTRODUCES THE IDEA THAT SOME PERSON'S SADNESS SHOULD BE 'TRAGIC'--BY INTRODUCING MEMORIES AND ANTICIPATIONS. IN ALL THIS PERCEPTUAL IMAGINATION FORMS AN INTEGRAL PART OF PERCEPTION AND IS NOT SPONTANEOUS--WHICH IS WHY KANT CALLS IT REPRODUCTIVE AND UNDERSTANDS IT AS PART OF UNDERSTANDING. (VIII:3). PRE-PERCEPTUAL, EMPATHETIC, IMAGINATION IS ACTIVATED BY ART'S RESTRICTED ADDRESS OF SENSE MODALITIES AND RELEVANT INTIMATORY DEVICES. IN THE ARTS, THEREFORE, EMPATHY IS AN EFFECT OF THIS SPONTANEOUS--PRODUCTIVE--POWER OF IMAGINATION. THE OBJECTS OF EMPATHETIC IMAGINATION, REPRESENTED TERTIARY QUALITIES, CANNOT POLYMODALLY BE PROVEN TO EXIST, NOR EVEN CAN THEIR PHENOMENALITY BE EXPLAINED--THERE ARE NO SAMPLES OF TERTIARY QUALITIES. THIS IS WHAT EXPLAINS WHY IN THE AESTHETIC DOMAIN WE HOLD THE PRINCIPLE OF ACQUAINTANCE.
RESEMBLANCE
ANTICIPATION (LIKE MEMORY, A POWER OF IMAGINATION) IS OF THE ESSENCE OF WORK OF ART'S EXTERNAL (REFERENTIAL) AND INTERNAL NATURE. THE INTERNAL IMPORTANCE OF ANTICIPATION IS MOST EVIDENT IN THE TEMPORAL ARTS. HOWEVER, EXTERNALLY, THERE IS ANTICIPATION OF RESEMBLANCE (IN CASE OF DEPICTION), OR TRANSPARENCY (IN CASE OF PHOTOGRAPHIC REPRODUCTION; AND EVEN EXEMPLIFICATION IN GENERAL IS AN EFFECT OF ANTICIPATORY IMAGINATION. REVERSEDLY, RESEMBLANCEA (THE A IS SHORT FOR 'ANTICIPATED'), TRANSPARENCYA, AND EXEMPLIFICATIONA FORM THE NATURAL PRESUPPOSITION FOR WHATEVER CONVENTIONALITY IS INVOLVED IN DEPICTION. WHETHER THE RESEMBLANCE, TRANSPARANCY, OR EXEMPLIFICATION ARE TO REAL OBJECTS IS IRRELEVANT FROM THE POINT OF VIEW OF DEPICTION--THIS IS WHY I STRESS THEIR ANTICIPATED NATURE. (I:3-6).
RESPONSE-DEPENDENCE
RESPONSE-DEPENDENCE IS THE CHARACTERISTIC OF CERTAIN PROPERTIES OF BEING UNSPECIFYABLE WITHOUT REFERENCE TO SOME PHENOMENAL RESPONSE. PRIMARY QUALITIES SUPPOSEDLY CAN BE SPECIFIED WITHOUT SUCH REFERENCE, WHEREAS SECONDARY QUALITIES CANNOT--DUE THE UNIMODALITY OF OUR ACCESS TO THEM. I HAVE ARGUED CONTRARY TO THIS VIEW THAT THE PHENOMENALITY OF BOTH KINDS OF PROPERTY IS RESPONSE-DEPENDENT, WHEREAS THE ESTABLISHMENT OF EITHER KIND'S ACTUALITY IS NOT. THE EXISTENCE OF PRIMARY AS MUCH AS SECONDARY QUALITIES CAN BE PROVEN POLYMODALLY. (II:3). ONLY TERTIARY QUALITIES ARE TRULY RESPONSE-DEPENDENT IN THIS (DOUBLE) SENSE: THEY CAN NEITHER BE CHARACTERIZED NOR PROVEN TO EXIST BEYOND UNIMODAL ACQUAINTANCE . THEY ARE NOT POLYMODALLY ACCESSIBLE, BECAUSE FOR THEIR AWARENESS EMPATHETIC IMAGINATION (EITHER PERCEPTUAL OR PRE-PERCEPTUAL ) IS SINGULARLY RESPONSIBLE. BECAUSE EMPATHETIC IMAGINATION INTRODUCES PERSONAL ELEMENTS FROM MEMORY AND ANTICIPATION THE RECOGNITION OF TERTIARY QUALITIES IS 'FIRST PERSON' ONLY. CF. INDEXICALS ;WIGGINS, MCDOWELL, PETTIT.
SECOND-PERSON
INDEXICALS ARE TERMS WHOSE MEANING CANNOT BE DETERMINED BEFORE ONE KNOWS WHO IS SPEAKING. SUCH 'TOKEN-REFLEXIVE' TERMS INCLUDE PERSONAL PRONOUNS, SUCH AS 'I', AND 'SHE', AND PRONOUNS OF TIME AND PLACE SUCH AS 'HERE' AND 'THEN'. I DEMONSTRATE (IN VI) HOW BAUMGARTEN DEVELOPS THE IDEA THAT A BEAUTIFUL WORK OF ART INTRODUCES SECOND-PERSON RECIPROCITY IN OUR--FIRST-PERSON--APPRECIATIVE EXPERIENCE. I ELABORATE ON THIS IDEA IN THE THIRD PART, IN TERMS OF TERTIARY QUALITIES , EMPATHETIC IMAGINATION , AND INTIMATION . IT IS THE ARTISTICALLY INDUCED IMAGINATIVE SECOND-PERSON RECIPROCITY WHICH EXPLAINS THE PRINCIPLE OF ACQUAINTANCE : WE MUST BECOME A 'YOU' TO A WORK OF ART AND EMPATHIZE WITH THE ARTISTIC EXPRESSION OF ITS PRESENTATION OR WITH ITS REPRESENTED SUBJECT--IF WE ARE TO FULLY APPRECIATE IT. CF. RESPONSE-DEPENDENCE .  
SECONDARY QUALITIES
SECONDARY QUALITIES, DUE TO THEIR UNIMODAL PHENOMENALITY CANNOT BE EXPLAINED WITHOUT REFERENCE TO THE RELEVANT MENTAL ASPECT OF PERCEPTION --THIS IS AS TRADITION HAS IT. CERTAIN PHILOSOPHERS (SUCH AS LOCKE, AND MACKIE, NOT MCDOWELL) EVEN ARGUE THAT SECONDARY QUALITIES ARE ILLUSORY FOR THIS REASON. I ARGUE THAT THEY TOO ARE POLYMODALLY ACCESSIBLE--WITH THE HELP OF SAMPLES AND SCIENTIFIC DEVICES--BUT THAT THIS DOES NOTHING TO EXPLAIN THEIR PHENOMENALITY. HOWEVER, THE POLYMODAL ACCESS TO PRIMARY QUALITIES DOES LITTLE IN THAT AREA EITHER. POLYMODALITY DOES HELP PROVING A PROPERTY'S EXISTENCE, AND THEREFORE BOTH SECONDARY AND PRIMARY QUALITIES ARE ON EQUAL FOOTING IN THE LAST ANALYSIS. POLYMODALITY INVOLVES 'TRANSLATION' BY PERCEPTUAL IMAGINATION --DUE TO THE FACT THAT THE DIFFERENT SENSES STRUCTURE THE WORLD IN DISTINCT WAYS. THE PHENOMENALITY OF PRIMARY AND SECONDARY PROPERTIES IS RESPONSE-DEPENDENT , WHEREAS THE ESTABLISHMENT OF EITHER KIND'S ACTUALITY ISN'T. CF. TERTIARY QUALITIES . (II:2-3; VII:8-9).
SENSES
WE RECOGNIZE FIVE SENSES: TWO DISTANTIAL ONES--VISION AND HEARING--AND THREE TACTILE, OR PROXIMITY ONES--TASTE, TOUCH AND SMELL. EACH OF THESE STRUCTURE THE WORLD (TIME AND SPACE) IN SPECIFIABLY DISTINCT WAYS. TOGETHER THEY FORM OUR POLYMODAL, EMBODIED DIRECT ACCESS TO THE WORLD. (ARTISTIC) REPRESENTATIONS OF WHATEVER KIND (PICTORIAL, MUSICAL, OLFACTORY, TASTY ... SUPPOSING THESE CAN BE DEVISED (V:3)) PRESUPPOSE SOME RESTRICTED ADDRESS OF THIS POLYMODALITY. (VII:7; VIII:2).
SENSUS COMMUNIS
SENSUS COMMUNIS IS THE TERM KANT USES TO REFER TO HUMAN COMMUNICABILITY AS SUCH, THE SHAREABILITY OF EXPERIENCE. AESTHETIC EXPERIENCE IS SUPPOSED TO PROVIDE A PLEASANT AWARENESS OF IT. (IV:1, IV:5) CF. FREE PLAY OF THE COGNITIVE FACULTIES, REGULATIVE IDEAL, AESTHETIC EVALUATION.
SUBJECTIVE PURPOSIVITY
PURPOSIVITY (WITHOUT PURPOSE). THE IDEA THAT ART HAS A TASK DOES NOT GO AGAINST KANT'S ANALYSIS OF BEAUTY AS BEING (SUBJECTIVELY) PURPOSIVE WITHOUT PURPOSE, BECAUSE THE TASK SET UPON ART IS AN EXPERIENTIAL ONE AND THERE ARE NO RULE-GOVERNED WAYS (NEITHER CONVENTIONAL NOR REPRODUCTIVE) TO ACHIEVE IT--ONLY INTIMATION. WE CANNOT MAKE SENSE OF AN ARTISTIC 'OBJECTIVE PURPOSIVITY' BECAUSE THERE ARE NO GENERALIZABLE, OPERATIONALIZABLE AESTHETIC PROBLEMS IN ART. CF. IDEAL OF BEAUTY, FREE PLAY OF THE COGNITIVE FACULTIES, (III:2; VIII:5)
SUBJECTIVISM
SUBJECTIVISM AS DEFENDED HERE IS 'IMAGINATIVIST'. IT IS REALIST WITH REGARD TO TERTIARY QUALITIES, DIRECTLY SO REGARDING EVERYDAY TERTIARY QUALITIES OF ACTIONS AND PERSONS (BECAUSE EMPATHY IS PART OF EMBODIED PERCEPTION), AND INDIRECTLY SO WITH REGARD TO AESTHETIC PROPERTIES, WHICH I TAKE TO BE REPRESENTED TERTIARY QUALITIES (BECAUSE REPRESENTED TERTIARY QUALITIES MUST BE RE-ENACTED SPONTANEOUSLY BY IMAGINATION). REGARDING AESTHETIC EVALUATION MY BRAND OF SUBJECTIVISM IS IDEALIST. (II:4; IV:7; VIII:5).
SYMBOL
GOODMAN HAS ARGUED THAT WORKS OF ART ABOVE ALL ARE SYMBOLS. I ARGUE THAT THIS IS TRUE ONLY IF WE DO NOT TAKE SYMBOLISM TO BE BASED ON A SET OF SYNTACTIC AND SEMANTIC RULES. EVERY ART FORM INVOLVES SOME RESTRICTED ADDRESS OF OUR EMBODIED PERCEPTION'S POLYMODALITY WHICH MUST BE MADE UP FOR BY NON-NATURAL MEANS OF INTIMATION. HOWEVER, THESE MEANS ARE NOT CONVENTIONAL IN ANY STRICTLY REGULATED SENSE, ON THE CONTRARY. CF. WALTON. (I:2; VII:6; VIII:2).
TASTE
TASTE IS THE 'MENTAL FACULTY' WITH WHICH WE JUDGE REFLECTIVELY OUR PLEASANT MENTAL STATE OF HAVING A FREE PLAY OF THE COGNITIVE FACULTIES WHILE PERCEIVING IMAGINATIVELY AN AESTHETIC PROPERTY, I.E. A REPRESENTED TERTIARY QUALITY. PACE SIBLEY WHO SAW TASTE AS THE FACULTY WITH WHICH WE PERCEIVE AESTHETIC PROPERTIES.
TERTIARY QUALITIES
ARE THE EXPERIENTIAL ASPECTS OF PERSONS AND THEIR ACTIONS STRUCTURED TEMPORALLY BY IMAGINATION . THANKS TO PERCEPTION 'S EMBODIMENT THESE QUALITIES ARE FAIRLY EASILY RECOGNIZED UNDER NORMAL CIRCUMSTANCES WHERE PERSONS WHO ARE PERCEIVING PERSONS WHO ARE ACTING DO SO FROM A SECOND-PERSON PERSPECTIVE. NOT SO IN ART WHERE DUE TO A RESTRICTED ADDRESS OF SENSE MODALITIES EMPATHETIC IMAGINATION PLAYS A CONSTITUTIVE (INSTEAD OF MERELY A PERCEPTIVE) ROLE FOR THE AWARENESS OF TERTIARY QUALITIES--CALL THIS ROLE PRE-PERCEPTUAL, OR, AS KANT DID, PRODUCTIVE. CF. ZEMACH, WOLLHEIM, SECONDARY QUALITIES , AND AESTHETIC PROPERTIES . (II:3; VII:8-9; VIII:3).
THIRD-PERSON
INDEXICALS ARE TERMS WHOSE MEANING CANNOT BE DETERMINED BEFORE ONE KNOWS WHO IS SPEAKING. SUCH 'TOKEN-REFLEXIVE' TERMS INCLUDE PERSONAL PRONOUNS, SUCH AS 'I', AND 'SHE', AND PRONOUNS OF TIME AND PLACE SUCH AS 'HERE' AND 'THEN'. I DEMONSTRATE (IN VI) HOW BAUMGARTEN DEVELOPS THE IDEA THAT A BEAUTIFUL WORK OF ART INTRODUCES SECOND-PERSON RECIPROCITY IN OUR--FIRST-PERSON--APPRECIATIVE EXPERIENCE. I ELABORATE ON THIS IDEA IN THE THIRD PART, IN TERMS OF TERTIARY QUALITIES , EMPATHETIC IMAGINATION , AND INTIMATION . IT IS THE ARTISTICALLY INDUCED IMAGINATIVE SECOND-PERSON RECIPROCITY WHICH EXPLAINS THE PRINCIPLE OF ACQUAINTANCE : WE MUST BECOME A 'YOU' TO A WORK OF ART AND EMPATHIZE WITH THE ARTISTIC EXPRESSION OF ITS PRESENTATION OR WITH ITS REPRESENTED SUBJECT--IF WE ARE TO FULLY APPRECIATE IT. CF. RESPONSE-DEPENDENCE .  
THREEFOLDNESS
MICHAEL PODRO HAS ARGUED THAT WHEN A PICTURE DEPICTS IT DOES SO BY ARTISTIC OF TECHNIQUES PRESENTATION. I ENHANCE THE RELATED IDEA FROM RICHARD WOLLHEIM OF (PICTORIAL) ART BEING 'TWOFOLD' BY SUPPLEMENTING IT WITH ART'S EXPERIENTIAL DIMENSION. AN ARTWORK'S CHARACTERISTIC ONTOLOGY IN GENERAL IS THREEFOLD. IN A WORK THERE IS A MEASURE OF EXEMPLIFICATORY REPRODUCTION THAT WE RECOGNIZE BY ANTICIPATING UNIMODAL RESEMBLANCES. NEXT, THERE IS THE EXPERIENTIAL EFFECT OF THE WORK'S REPRESENTATIONAL EFFICACY, WHICH IS ACHIEVED, THIRDLY, BY THE ARTISTIC MEANS OF PRESENTING THE RESEMBLANCES. PRESENTATION IS WHAT INTIMATES THE EXPERIENTIAL DIMENSION OF THE REPRODUCED. (I:2-6; III:5; VII:3-4)
UNDERTERMINATION
OVERDETERMINATION IS THE CHARACTERISTIC OF HAVING MORE THAN ONE DETERMINING FACTORS. BECAUSE DESCRIBING A PERCEPTION INVOLVES A REDUCTION OF DETERMINATIONS (RATHER THAN A REDUCTION OF MODALITIES) DESCRIPTIONS ARE UNDERDETERMINED BY THE DATA OF PERCEPTION (CF. QUINE). PICTORIAL REPRODUCTION REPLACES THE OVERDETERMINATION OF POLYMODAL, EMBODIED PERCEPTION WITH ONE THAT IS PARTLY DISEMBODIED AND REDUCED TO ITS MERELY VISUAL ASPECT. IN CONTRAST WITH DESCRIPTION PHOTOGRAPHIC REPRODUCTION IS NOT UNDERDETERMINED BECAUSE A PHOTOGRAPH COMES INTO BEING ENTIRELY CAUSALLY--MECHANICAL-CUM-CHEMICALLY. CF. SCRUTON, EXTENSIVE KNOWLEDGE, SENSES.
