Paul Ziff's Antiaesthetics: An Appreciation of the Cow with the Subtile PDF

By Paul Ziff

Although numerous sections of this paintings were released individually in a number of journals and volumes their separate book is totally brought on by the exigencies of existence in academia: the paintings was once devised as and is meant to represent anything of an natural harmony. half II of 'The Cow with the Subtile nostril' used to be released lower than the name 'A inventive Use of Language' in New Literary heritage (Autumn, 1972), pp. 108-18. 'The Cow at the Roof' seemed within the magazine oj Philosophy LXX, No. 19 (November eight, 1973), pp. 713-23. 'A wonderful Forehand' seemed within the magazine oj the Philosophy oj activity, Vol. 1 (September, 1974), pp. 92-109. 'Quote: decisions from Our mind' seemed in views at the Philosophy oj Wittgenstein, ed. through I. Block (Oxford: Basil Blackwell, 1981), pp. 201-211. 'Art and Sociobiology' seemed in brain (1981), Vol. XC, pp. 505-520. 'Anything Viewed'appeared in Essays in Honour oj Jaakko Hintikka, ed. by means of Esa Saarinen, Risto Hilpinen, Illkka Niiniluoto and Merrill Provence Hintikka (Dordrecht, Holland and Boston, Massachusetts: D. Reidel Publishing Co., 1979), pp. 285-293. 'How I See Philosophy' seemed within the Owl oj Minerva, ed. by way of C. J. Bontempo and S. Jack Odell (New York: McGraw-Hill booklet Co., 1975), pp. 223-5. all of the final components also are imminent in numerous journals and volumes. i'm thankful to Bradley E. Wilson for the guidance of the index.

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Ingres too. Yet Ingres gave no sensuous quality to his pigment. Delacroix and his school thought that these painterly qualities were absolutely essential. Ingres and his school thought that contour was absolutely essential. A good critic like Baudelaire said they were both very interesting. A very sensible man. It's clear that art can evolve in either direction. German expressionists strongly emphasized the painterly qualities deemphasized Botticelli-type or Ingres-type contours. German expressionists really had no interest in draftsmanship though with Beckmann and people like that one finds very powerful lines but it is not the careful contour of Ingres but something else altogether.

A work that rejects all the qualities we can think of. I'll call it for very good reasons the mu work. Mu in honor of Joshu a zen master whose favorite form of zen was mu. Which means nothing. Literally nothing nothing. Suppose we have an artist who reveals confides that his great work of art is this. m. he didn't say anything he just thought mu. He then went back to sleep. That was his great work. Is that a work of antiart? It is not yet a work of art. That is clear enough. Is it a work of antiart?

He sits in the palm of your hand. 15 He's smooth he's soft. You can see that without touching him. But touching him is something else. Is that interesting? Put your hand to things. Let something be at your finger tips. Dog's breath a dripping tap a concrete wall old blackened smoothed by time. Perhaps if you go this way something will happen. A description need not distinguish. It may fail to capture. Words may reach out but there's no guarantee they'll touch. This 28 ANTIAESTHETICS cow this surface of the Dubuffet it's rough it's uneven it's jagged it's pigment piled up.

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