Aesthetics, experience, and discrimination

Journal of Aesthetics and Art Criticism 63 (2):119–133 (2005)
Abstract
Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting.
Keywords Aesthetics  Forgery  Experience
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References found in this work BETA
M. Pabst Battin (1979). Exact Replication in the Visual Arts. Journal of Aesthetics and Art Criticism 38 (2):153-158.
James Elkins (1993). From Original to Copy and Back Again. British Journal of Aesthetics 33 (2):113-120.
W. E. Kennick (1985). Art and Inauthenticity. Journal of Aesthetics and Art Criticism 44 (1):3-12.
Joseph Margolis (1976). Aesthetic Appreciation and the Imperceptible. British Journal of Aesthetics 16 (4):305-312.
Luise H. Morton & Thomas R. Foster (1991). Goodman, Forgery, and the Aesthetic. Journal of Aesthetics and Art Criticism 49 (2):155-159.

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Citations of this work BETA
Robert Hopkins (2006). Painting, History, and Experience. Philosophical Studies 127 (1):19 - 35.
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