What is Art, Part II

I left you with a cliff-hanger yesterday as I began to venture into the second chapter of Denis Dutton's book The Art Instinct. The author was just about to give us his answer to What is art? when I stopped; I'll admit that I read sections of the book just before I write the posts, so I haven't read ahead at all. Anyway, Dutton proposes to answer this age-old question by identifying those characteristic features of art that move across cultural boundaries and find universal acceptance.

Dutton lists twelve core items that either describe features of works of art or qualities of the experiences of art. These twelve items apply across cultures and throughout history. Before listing these items, he specifies that his use of the terms "art" and "arts" mean artifacts (sculptures, paintings, and decorated objects, such as tools or the human body, and scores and texts considered as objects) as well as performances (dances, music, and the composition and recitation of stories). Dutton also mentions that many of the items listed may also apply to non-art experiences and capacities. Now, here's the list:

1. Direct pleasure - this is aesthetic pleasure enjoyed as layered experiences (example: pleasures derived from responses to various aspects of a painting like color, design, message).

2. Skill and virtuosity - this means skills that are developed in an individual (rather than a tribe) that stand apart because of the level of mastery and special talent of the artist. Dutton notes that high skill is a source of pleasure and admiration even in areas that aren't art-related.

3. Style - styles are created according to rules of form, composition, or expression according to Dutton. Styles may be derived from the traditions of cultures or original individual interpretations. He mentions that strictly adhered-to styles can imprison the artist, but that in more liberal cultures where artists are free to create a new style they fiind liberation.

4. Novelty and creativity - the value of art also derives from its novelty, creativity, originality, and capacity to surprise its audience. In other words, thinking "outside the box" to find creative and unpredictable solutions is central to individual genius in art.

5. Criticism - it seems that criticism exists wherever art exists. Here, "criticism" means the dialogue between artists, the writings of professional art critics and art scholars, and the expressed opinions of the audience. Apparently, criticism exists where criteria for success itself are complex and uncertain.

6. Representation - this includes either a representation or imitation of aspects of the real world and the imagination. Part of pleasure derived from representation comes from the skill of the artist and part from the subject matter.

7. Special focus - the work of art is set apart in society as something special that desesrves singular attention. Dutton notes that this item applies to special events outside of art as well.

8. Expressive individuality - the author writes: the potential to express individual personality is generally latent in art practices, whether or not it is fully achieved.

9. Emotional saturation - works of art are emotional expressions that the author divides into two categories: 1) emotions provoked by the content of the art, and 2) the emotional "tone" of a work of art apart from its content. I'll give you a personal example: the content Vivaldi's music The Four Seasons is the four seasons (duh!). So, when I listen to it I can hear or imagine the individual seasons in the music (that's content). But, the way the music flows, swells, and combination of notes creates feelings in me that have nothing to do with the seasons (that's emotional "tone).

10. Intellectual challenge - works of art appeal to both our perceptions and intellect, and challenge us in a way that enhances the aesthetic experience. For instance, part of enjoying a mystery novel is in challenging ourselves to solve the crime before the author reveals it. We derive enjoyment from the intellectual challenge. Paintings offer the same sort of challenge when they're well-executed.

11. Art traditions and institutions - works of art gain meaning by being produced in an art world, in what are essentially socially constructed art institutions.

12. Imaginative experience - art must produce an imaginative experience for the artist and the audience. Here, the author defines "imagination" through Kant's idea that it must be free of practical concerns and from the constraints of logicl and rational understanding.

Dutton summarizes this list in a way that helps us to decide "Is it art?" He urges us to ask non-technical questions like:
Does it show skill?
Does it express emotion?
Is it like other works of art in a known tradition?
Is it pleasurable?

Near the end of this chapter, the author emphasizes the importance of the artist's intention, which isn't part of the list. This is something that our friends Pam, Caroline, and Mary (did I leave someone out??) mentioned in their comments yesterday. Dutton writes: Works of art are fundamentally intentional artifacts, even if they possess any number of nonintended meanings. So, I Duchamp's urinal and other found objects would fall under the heading of "art" if they are intentionally selected and displayed.

Finally, Dutton recognizes that there's no specific number of items listed above that need to be present in order to call something "art." So, not every item applies to every work of art and some works of art include all items. It looks like there's still some "wiggle room" to debate What is art? Therefore, the author concludes that item 12, imaginative experience, is the most important item and must be universally applied when judging what is and isn't art.

I'll add one last comment about Dutton's book - it's worth reading! My brief synopsis doesn't do justice to the "meatiness" of this book and his ideas.
And now ... your ideas?