Well, I agree that the impact of an artwork is immediate, which is almost the 
same as saying that a work of beauty is instantly felt.  So in general I would 
agree with Miller that we don't need to know anything secondary to the artwork 
to feel its effect on us, our perception, assuming that perception is a 
constructed response to sensory events.  Where I do disagree with Miller has to 
do with judging that perception in some public way, that is, in a way that 
another can share, not in feeling necessarily, but in reasonable terms.  Think 
that judging does not require the experience of beauty as the immediate 
emotional impact of a great artwork but is likely enhanced by it. The personal 
experience of beauty cannot be shared except through some analytic way and that 
is only "about" the experience and not a replication of it.
WC




________________________________
From: Chris Miller <[email protected]>
To: [email protected]
Sent: Friday, April 3, 2009 9:26:21 AM
Subject: Re: Judging the late Titian

Mr Asthetik asks:  >Could you explain, Mr Miller, why artworks _should_ be
immediately intelligible?


Ideas of 'work' and of 'beauty' are indeed theoretical contrivances -- but
beautiful things can be made and enjoyably experienced  without them.  (just
as birds can  fly without a knowledge of aerodynamics).

My own ideas of 'work' and 'beauty' are rather vaporous as theories go,  since
nothing is theoretically excluded.

BTW -- although I do claim that "no other evidence is required to judge a
painting other  than what is presented by the painting itself" --- I am  not
asserting that "everyone should everyone be able to immediately understand  a
work, be able to immediately feel its beauty"

I would like to substitute the word ' eventually' for 'immediately' in the
above sentence -- although our lives are too  short to understand and feel the
beauty of more than a limited range of things.

William and I disagree concerning what that project requires --  but I'll have
to respond to that on another day.




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