Theory and Esthetics

Major Assignment #1: Theory and Esthetics
I. Definitions of Art
1. What is a real definition according to Stecker?
For Stecker, a “real definition” is one that can distinguish all artworks from non-artworks.
It is a principle that encompasses necessary conditions sufficient for being an artwork. Stecker
believes that the definition of art should divorced from the philosophical sense. A philosophical
theory of art confines broader and indefinite boundaries. Robert Stecker, himself, constructed a
definition of art emphasizing an historically evolving set of functions. However, it is not done in
an, explicit way, relating art of a specific time to another. Instead, Stecker’s definition references
time-relative artworks and functions.
2. Is a theory the same as a definition?
Theory is not the same as definition. In the context of art, definition of art is composed of
necessary conditions and can be deposed by a counterexample. Theory of art, on the other hand,
is made in contrast to the former. A theory, according to Stecker, is more concerned with
questions of value rather than the issue of definition. It can be analogous to theory of natural
phenomenon, like gravity, for example. A theory of art might be concerned with interpretations
and any type of responses and attitudes towards art. A “definition” of art is formulable in terms
of the necessary and sufficient properties which a thing must have in order to be considered an
artwork.
3. What problems are found in definitions of art? Give two examples from the text/essay
(explain the issues in your own words).
Robert Stecker presented problems found in several definitions of art. These are some of the
problems he pointed out:
a.) ART AS REPRESENTATION

 There is too much focus on the express of the artist as well the experience of the
audience
 Excludes purely instrumental music as a work of art
b.) ART AS EXPRESSION
 It excludes genuine artworks that were not constructed as a way of clarifying an
emotion.
 It cannot be assumed that emotion the art exudes is intended by the artist
 It cannot be assumed that the emotion the art exudes is also felt by the artist during
the process of creation
 Nature can also possess expressive properties, it is not only art
c.) FORMALISM
 Everything can assume form
 The emphasis on significant form can rule out the possibility of bad artwork
d.) AESTHETIC DEFINITIONS
 Some art works are not made with the intent of depicting aesthetic expression
 There are things that convey aesthetic expression but are not artworks. An example
given is pills.
4. For Stecker, what is the best way to approach the problem of defining art?
Stecker posits that there two parties involved: One that is still interested in pursuing a unifying
definition for art (non-skeptical), another group that has declared it impossible to do so
(skeptical). He says that those in the skeptical camp should put in effort in developing more
arguments. On the other hand, those in the non-skeptical camp should start asking more basic
questions such as: What are we trying to define? Is it the concept of art, the property of being art,
or a classificatory/evaluative social practice, or something else?
THE COMEDIAN
What definition or theory of art best fits this piece?
Duchamp’s “fountain” in 1917 paved the way for a new meaning to art. It caused to change to
the boundaries of what art means. The $150,00 banana best fits Danto’s definition. Just like
Duchamp placing a urinal in the middle of an art gallery and refers to it as “art” as long as it
makes sense in the history of the development of art over the centuries.
II. Aesthetics
Molecular Beauty
1. What makes the molecules beautiful, according to Roald Hoffmann?
Dr. Roald Hoffman’s notion of beauty in chemistry is attributed to the the subtle symmetries and
asymmetries of electron "orbitals" in complex molecules. A molecule can be beautiful because of
its simplicity, a symmetrical structure. On the other hand, it can be beautiful because of its
complexity, an asymmetrical structure. However, Hoffman also makes mention of utility,
novelty, and surprise. He considers the three as a molecular aesthetic criterion. According to him,
science subscribes to the idea of innovation. Based on the set of criteria, although chemists do
not call a molecule ugly, some molecules are more beautiful than the other.
2. Discuss Hoffmann’s comparison of molecular beauty to traditional ideas of the

beautiful.
In the passage, Hoffman highlights the difference between aesthetic judgements in chemistry and
aesthetic judgements in the art. He says that a chemists criteria of aesthetics and beauty are
cognitively informed. He discusses the shape of molecules, utility, simplicity/complexity,
iconicity, archetypes/epitomes, and novelty. However, he says the traditional ideas of beauty
might reject the utilitarian perspective the most. But for chemists, utility is perhaps the most
crucial element of chemical beauty. He also says that like an artwork, molecular beauty can be
felt emotionally. However, what allows that emotion to be evoked is of seeing relationships. For
instance, Hoffman dismantled the sodium nibate (NaNb3O6) into chains of octahedra and layers.
He, then, related it to other materials and saw the catenane synthesis planned, which evoked in
him an emotion, of love, for the molecule.
3. Discuss the relation between use, pleasure and beauty. Are these one and the same things. Or
are there differences? Give examples to aid your discussion.
According to Kant, an object that is of utility but whose valuation required cognitive action
cannot be considered beautiful. However, Hoffman and other commentators have pointed out,
this definition by Kant puts a restriction on aesthetic judgement. Hoffman says the knowing the
origins, relations, and utility of something enhances pleasure. Use, pleasure, and beauty are not
one and the same thing. However, they are interconnected. An object’s utility can make it
beautiful. For instance, Hoffman emphasized the importance utility in aesthetic judgement.
Pleasure can be achieved by having the knowledge of utility.
List of References
Brown, L. B. (1969). Definitions and Art Theory. The Journal of Aesthetics and Art
Criticism, 27(4), 409. https://doi.org/10.2307/429427
Hoffmann, R. (1990). Molecular Beauty. The Journal of Aesthetics and Art Criticism, 48(3), 191.
https://doi.org/10.2307/431761

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Major Assignment #1: Theory and Esthetics

1. What is a real definition according to Stecker?

2. Is a theory the same as a definition?

a.) ART AS REPRESENTATION

What definition or theory of art best fits this piece?

1. What makes the molecules beautiful, according to Roald Hoffmann?

2. Discuss Hoffmann’s comparison of molecular beauty to traditional ideas of the

Criticism, 27(4), 409. https://doi.org/10.2307/429427

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