Saul suggests:

" Let us begin with a definition of  all "African art"..."

No, don't do that. I agree that certainly each of us should describe what we
have in mind with any key term with harmfully fuzzy edges. But clarity -- as
with so many of the notions in philosophy of art -- is always a matter of
degree. And there is a gross enough level at which the term 'African art' is
serviceable enough here. Besides, William did a good job of orienting us with
his
locution: "non-western art:  Prehistoric, African, Oceanic, Japanese, Chinese,
Indian and related topics". We don't need definitions to take advantage of
William's helpful line.

'African art', vague at the edges though it is, struck me as a helluva lot
less vague than Benjamin's ostensible notion of 'aura'. I'm not a Benjamin
scholar so I stayed out of that part of this thread. But then you, Saul, gave
by
far the best description of the notion -- only to have it ignored by every
other
lister. Your description of the "aura" of an "original" was interesting to
me: all the emotive trappings that accumulate almost reverentially, and which
are evoked when we're in the presence of the work.

I could imagine a useful discussion of the distinction between those
evocations and the feelings one might term purely aesthetic as we contemplate,
say,
the Mona Lisa. (I disagree with the lister -- or Artsy6 citation -- that
claimed
there's no "aura" in this sense when in the presence of the Mona Lisa.)   But
as I say your good attempt was ignored on the forum.

As I predicted, one of our listers -- William -- now dismisses Derek's "equal
footing" remark as "elementary". But even that at least concedes Derek had a
point.

I think I confessed how, when I was a young smarty-pants in philosophy,   my
first motive in reading any new paper was to find something wrong with it in
order to demonstrate that I was sharper than the guy who wrote it. With the
result that I regularly failed to take on board what was right in the paper.
Many listers -- and I admit this includes Derek -- display that "Yeah, but
--!"
impulse -- without the "Yeah" part.




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