A description of whether all art is appropriate

Board of Education of TopekaU. Education was an important aspect of the Civil Rights Movement. The years that led up to the formation of the Education for All Handicapped Children Act of were marked by strife in the United States, from the assassination of John F. Kennedy in to the Vietnam war ongoing from until

A description of whether all art is appropriate

Constraints on Definitions of Art Any definition of art has to square with the following uncontroversial facts: Two general constraints on definitions are particularly relevant to definitions of art.

First, given that accepting that something is inexplicable is generally a philosophical last resort, and granting the importance of extensional adequacy, list-like or enumerative definitions are if possible to be avoided.

Developmentally Appropriate Practice (DAP) Introduction | NAEYC

Whether any definition of art does account for these facts and satisfy these constraints, or could account for these facts and satisfy these constraints, are key questions for aesthetics and the philosophy of art.

Definitions From the History of Philosophy Classical definitions, at least as they are portrayed in contemporary discussions of the definition of art, take artworks to be characterized by a single type of property.

The standard candidates are representational properties, expressive properties, and formal properties. So there are representational or mimetic definitions, expressive definitions, and formalist definitions, which hold that artworks are characterized by their possession of, respectively, representational, expressive, and formal properties.

It is not difficult to find fault with these simple definitions. For example, possessing representational, expressive, and formal properties cannot be sufficient conditions, since, obviously, instructional manuals are representations, but not typically artworks, human faces and gestures have expressive properties without being works of art, and both natural objects and artifacts produced solely for homely utilitarian purposes have formal properties but are not artworks.

The ease of these dismissals, though, serves as a reminder of the fact that classical definitions of art are significantly less philosophically self-contained or freestanding than are most contemporary definitions of art.

Want to add to the discussion?

Relatedly, great philosophers characteristically analyze the key theoretical components of their definitions of art in distinctive and subtle ways.

For these reasons, understanding such definitions in isolation from the systems or corpuses of which they are parts is difficult, and brief summaries are invariably somewhat misleading. Nevertheless, some representative examples of historically influential definitions of art offered by major figures in the history of philosophy should be mentioned.

Artworks are ontologically dependent on, imitations of, and therefore inferior to, ordinary physical objects.

Physical objects in turn are ontologically dependent on, and imitations of, and hence inferior to, what is most real, the non-physical unchanging Forms. Grasped perceptually, artworks present only an appearance of an appearance of the Forms, which are grasped by reason alone.

Consequently, artistic experience cannot yield knowledge. Nor do the makers of artworks work from knowledge. Because artworks engage an unstable, lower part of the soul, art should be subservient to moral realities, which, along with truth, are more metaphysically fundamental and, properly understood, more humanly important than, beauty.

The arts are not, for Plato, the primary sphere in which beauty operates. The Platonic conception of beauty is extremely wide and metaphysical: Art for Kant falls under the broader topic of aesthetic judgment, which covers judgments of the beautiful, judgments of the sublime, and teleological judgments of natural organisms and of nature itself.

The deepest metaphysical truth, according to Hegel, is that the universe is the concrete realization of what is conceptual or rational. That is, what is conceptual or rational is real, and is the imminent force that animates and propels the self-consciously developing universe. The universe is the concrete realization of what is conceptual or rational, and the rational or conceptual is superior to the sensory.

So, as the mind and its products alone are capable of truth, artistic beauty is metaphysically superior to natural beauty.

Hegel, Introduction III p. A central and defining feature of beautiful works of art is that, through the medium of sensation, each one presents the most fundamental values of its civilization. Art and religion in turn are, in this respect, inferior to philosophy, which employs a conceptual medium to present its content.

Art initially predominates, in each civilization, as the supreme mode of cultural expression, followed, successively, by religion and philosophy. Skepticism about Definitions of Art Skeptical doubts about the possibility and value of a definition of art have figured importantly in the discussion in aesthetics since the s, and though their influence has subsided somewhat, uneasiness about the definitional project persists.

See section 4, below, and also KivyBrandand Walton Hence art is indefinable Weitz Against this it is claimed that change does not, in general, rule out the preservation of identity over time, that decisions about concept-expansion may be principled rather than capricious, and that nothing bars a definition of art from incorporating a novelty requirement.

A description of whether all art is appropriate

A second sort of argument, less common today than in the heyday of a certain form of extreme Wittgensteinianism, urges that the concepts that make up the stuff of most definitions of art expressiveness, form are embedded in general philosophical theories which incorporate traditional metaphysics and epistemology.

But since traditional metaphysics and epistemology are prime instances of language gone on conceptually confused holiday, definitions of art share in the conceptual confusions of traditional philosophy Tilghman A third sort of argument, more historically inflected than the first, takes off from an influential study by the historian of philosophy Paul Kristeller, in which he argued that the modern system of the five major arts [painting, sculpture, architecture, poetry, and music] which underlies all modern aesthetics … is of comparatively recent origin and did not assume definite shape before the eighteenth century, although it had many ingredients which go back to classical, mediaeval, and Renaissance thought.

As a matter of historical fact, there simply is no stable definiendum for a definition of art to capture.

Individuals with Disabilities Education Act - Wikipedia

A fourth sort of argument suggests that a definition of art stating individually necessary and jointly sufficient conditions for a thing to be an artwork, is likely to be discoverable only if cognitive science makes it plausible to think that humans categorize things in terms of necessary and sufficient conditions.

But, the argument continues, cognitive science actually supports the view that the structure of concepts mirrors the way humans categorize things — which is with respect to their similarity to prototypes or exemplarsand not in terms of necessary and sufficient conditions.

So the quest for a definition of art that states individually necessary and jointly sufficient conditions is misguided and not likely to succeed Dean Against this it has been urged that psychological theories of concepts like the prototype theory and its relatives can provide at best an account of how people in fact classify things, but not an account of correct classifications of extra-psychological phenomena, and that, even if relevant, prototype theory and other psychological theories of concepts are at present too controversial to draw substantive philosophical morals from Rey ; Adajian A fifth argument against defining art, with a normative tinge that is psychologistic rather than sociopolitical, takes the fact that there is no philosophical consensus about the definition of art as reason to hold that no unitary concept of art exists.Under LHAMA, all art material labels must include: (1) a statement that the product and its labeling overexposure, and a description of appropriate first aid and medical treatment to use in case of excessive exposure.

etermining whether an art material may cause harm depends not only on the toxicity of the. Disability art; Disability in the media (A-D) piece of American legislation that ensures students with a disability are provided with Free Appropriate Public Education (FAPE) that is tailored to their individual needs.

IDEA was previously known as the Education for All Handicapped Children Act (EHA) from to an assessment. classification of all AFRC ART positions. This instruction encompasses position management, Whether the position is ART or non-ART, additional duties assigned must be in assigned position.

Audits and Reviews (as appropriate): ART organizations and positions are subject to the same classification laws as all Title V Federal. Writing About Art. Visual Description Then comes the difficult job of finding appropriate words. In effect, writing a visual description consists of two separate acts of translation.

To say that a work of art shows a woman and a child, but not whether the representation is in two or . Appropriation in art is the use of pre-existing objects or images with little or no transformation applied to them. The use of appropriation has played a significant role in the history of the arts (literary, visual, musical and performing arts).

In the visual arts, to appropriate means to properly adopt, borrow, recycle or sample aspects (or the entire . Examples and Observations "A description is an arrangement of properties, qualities, and features that the author must pick (choose, select), but the art lies in the order of their release—visually, audibly, conceptually—and consequently in the order of their interaction, including .

The Definition of Art (Stanford Encyclopedia of Philosophy)