High art versus low art
Abstract
Poetry - 3
AI snapshot
Written from the paper’s full text.
TL;DR
John A. Fisher surveys philosophical accounts of the high art/low art distinction, arguing that it is fuzzy and not reducible to the art/non-art or good/bad art distinctions. He examines hierarchical, conventionalist, mass-art, and entertainment-based theories, especially Carroll’s mass art conditions and the unresolved problem of identifying which mass-culture products are art.
Key findings
- The high/low distinction is not the same as art/non-art or good/bad art: high art can be mediocre, while low art can include successful art such as recordings or performances by the Beatles, Bob Dylan, and Jimi Hendrix. Gans distinguishes five taste publics: high culture, upper-middle culture, lower-middle culture, low culture, and quasi-folk low culture.
- Several overlapping distinctions underlie ordinary uses of “high art” and “low art”: between media or art forms (traditional modern-system arts versus mass media), between genres or works within a form, and between serious art and entertainment. Historical ranking persists, from Leonardo’s claim that painting is supreme to classical rhetorical divisions of high, middle, and low styles, and to contemporary rock subgenres.
- Positions surveyed include Kaplan’s “tolerant hierarchicalism,” “intolerant hierarchicalism,” Cohen’s “pluralistic hierarchicalism,” and Novitz’s “conventionalist” view that there are no substantive aesthetic differences between popular and high art and that the distinction serves a political function.
- Carroll proposes three individually necessary and jointly sufficient conditions for mass art: it must be (1) a multiple instance or type artwork, (2) produced and distributed by a mass technology, and (3) designed toward accessibility with minimum effort for the largest number of untutored audiences. Fisher questions how to identify which mass-culture items are mass artworks, noting that talk radio, TV ads, board games, and automobiles may meet some conditions without obviously being art; Shusterman rejects the implied value hierarchy and defends pleasure and entertainment.
Methods
- Philosophical/conceptual analysis and critical survey; no empirical sample, data, or formal experiment is reported.
- Engages historical and theoretical sources including Kristeller, Levine, Benjamin, Adorno, Gans, Kaplan, Cohen, Novitz, Carroll, and Shusterman to map and evaluate positions on high/low art.
- Analyzes definitions and necessary/sufficient conditions, using counterexamples and conceptual distinctions such as mass art versus popular art and art versus entertainment.
Limitations
- The paper states that Carroll’s theory raises many questions: the first condition is troubling, and the analysis gives no guidance on identifying which mass-culture items are mass artworks; a list of media forms will not suffice, and an account is needed that differentiates mass-culture artworks from non-artworks.
- The paper notes that a conventionalist historical account may not support works produced after the eighteenth- and nineteenth-century development of contrasting high art and low art contexts, since those contexts may have shaped genuinely different classes of works.
- Evident from the text: this is a conceptual survey without empirical testing, and it leaves unresolved the challenge of grounding art’s extension to popular and mass-culture products while excluding non-art mass artifacts.
Model-written summary. Check it against the paper before relying on it.
Integrity signals
Registry
Cites
Statistics
Claims the paper makes
0 of 11 cited sources checked · 0 supported · 0 flagged
- Interpretationreasoning§ A paradoxical distinction
If rock music is low art, then some recordings or performances by the Beatles, Bob Dylan, and Jimi Hendrix are successful and important examples of art.
“If rock music is low art, then some recordings or performances – for example, by the Beatles, Bob Dylan and Jimi Hendrix – are surely successful and important examples of art.”
Quote in the paperSubstantial claim - Interpretationreasoning§ A paradoxical distinction
It is not plausible that all low art could merit the status of art but be all bad.
“Conversely, it does not seem plausible that all 'low art' could turn out to merit the status of art but be all bad.”
Quote in the paperNot a substantial claim - Premisenone given§ A paradoxical distinction
Much high art is uninspired, mediocre, minor, or derivative.
“there is much high art - paintings, poems, chamber music - that is uninspired, mediocre, minor, derivative and so forth.”
Quote in the paperSubstantial claim - Interpretationreasoning§ A paradoxical distinction
The high/low art distinction should not be equated with the good/bad art distinction.
“we should not equate the high/low distinction with a third distinction, that between good and bad art.”
- Also stated in: § A paradoxical distinction · plain
“Thus we cannot equate high art with good art and low art with bad art.”
Quote in the paperNot a substantial claim - Also stated in: § A paradoxical distinction · plain
- Interpretationcitation§ Mass art
While formally simple, rock songs may make greater demands on listeners in terms of the extreme emotions expressed and the sheer power and discordance of the sounds than the average piece of chamber music.
“Moreover, while being formally simple, rock songs may make greater demands on listeners in terms of the extreme emotions expressed and the sheer power and discordance of the sounds than the average piece of chamber music (Gracyk 1996).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Gracyk 1996
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationcitation§ Mass art
The alleged difference between mass art and high art in making demands is not as obvious as many assume.
“But this alleged difference with high art is not as obvious as many assume.”
Quote in the paperSubstantial claim - Interpretationreasoning§ Mass art
In each such form, many if not most instances are not plausibly regarded as art at all.
“Hence these instances would be mass art, but in the case of each form, many if not most instances are not plausibly regarded as art at all.”
Quote in the paperSubstantial claim - Interpretationreasoning§ Mass art
Length differences between the average rock song and the average piece of classical music do not necessarily imply aesthetic value.
“There are, of course, obvious differences that do not necessarily imply aesthetic value, such as the difference in length between the average rock song and the average piece of classical music.”
Quote in the paperNot a substantial claim - Premisecitation§ A paradoxical distinction
Leonardo argued that painting was the supreme art, superior to poetry, music, and sculpture.
“Leonardo, for instance, argued that painting was the supreme art, superior to poetry, music and sculpture (Kemp 1989).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Kemp 1989
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationreasoning§ A paradoxical distinction
The high/low art distinction appears to presuppose questionable traditional ideas about the value of various mental states and attitudes.
“As such, it appears to presuppose questionable traditional ideas about the value of various mental states and attitudes.”
Quote in the paperNot a substantial claim - Interpretationreasoning§ A paradoxical distinction
The history of rock and roll music illustrates the continuing tendency to subdivide and rank genres.
“The history of rock and roll music illustrates the continuing tendency to subdivide and rank genres.”
Quote in the paperSubstantial claim - Interpretationreasoning§ Mass art
There are many multiply instanced artifacts that appear to meet conditions (2) and (3) but are not obvious examples of art, such as talk radio shows, TV ads, designer table-settings, board games, and automobiles.
“There are many multiply instanced artifacts that appear to meet conditions (2) and (3) but are not obvious examples of art: talk radio shows, ads on TV, designer table-settings, board games and automobiles.”
Quote in the paperSubstantial claim - Interpretationreasoning§ Is the high/low distinction real?
Even if there is some truth to the historical account, it does not support conventionalism for works produced after the social development in the eighteenth and nineteenth centuries of contrasting high art and low art ways of treating works.
“Even if there is some truth to this as an historical account, it does not support conventionalism for works produced after the social development in the eighteenth and nineteenth centuries of contrasting high art' and low art' ways of treating works.”
Quote in the paperNot a substantial claim - Premisereasoning§ A paradoxical distinction
There has always been a tendency to rank and divide art forms into higher and lower.
“However, there has always been a tendency to rank and to divide art forms into higher and lower.”
Quote in the paperSubstantial claim - Premisecitation§ A paradoxical distinction
Eighteenth-century thinkers first grouped painting, sculpture, architecture, music, and poetry into a separate and coherent group of activities and artifacts with a distinctive character.
“According to Kristeller (1992), eighteenth-century thinkers for the first time grouped the arts together into a separate and coherent group of activities and artifacts with a distinctive character.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Kristeller (1992)
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationreasoning§ Mass art
Since Carroll wants to say some ads, TV programs, or web pages are art, a list of media forms will not suffice to capture mass art.
“Yet, since he wants to say that some are, it appears that a list of media forms will not suffice to capture mass art.”
Quote in the paperSubstantial claim - Interpretationcitation§ A paradoxical distinction
The high/low art distinction as a distinction between media or forms is an offspring of the modern system of the arts.
“This suggests that the distinction is an offspring of the modern system of the arts.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Kristeller (1992)
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Premisecitation§ A paradoxical distinction
The classical rhetorical tradition distinguished high, middle, and low styles.
“Equally important was the influential distinction in the classical rhetorical tradition between high, middle and low styles.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Wimsatt and Brooks 1957
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationreasoning§ Mass art
There are many mass artifact types that have some instances that can reasonably be regarded as art, such as video games, commercial photography, and TV ads.
“Clearly there are many mass artifact types that have some instances at least that can reasonably be regarded as art: video games, commercial photography (journalistic, fashion), ads on TV and so on.”
Quote in the paperSubstantial claim - Premisecitation§ Attending to low/mass art
Crafting a theory to fit avant-garde artworks has been the major preoccupation of art theorists in the twentieth century.
“It is no exaggeration to say that crafting a theory to fit avant-garde artworks, such as Duchamp's urinal, Fountain, has been the major preoccupation of art theorists in the twentieth century (see Dickie 1969).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Dickie 1969
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationreasoning§ A paradoxical distinction
The value difference implied by the high/low art distinction has been influenced by our tendency to grade the types of cognition and character involved in appreciating various genres and forms.
“It is plausible to conclude that the value difference implied by the high/ low art distinction has been influenced by our tendency to grade the types of cognition and character involved in appreciating various genres and forms.”
Quote in the paperSubstantial claim
- Classified as probably not a substantial claim. 38
- May combine two claims. 13
Classified as probably not a substantial claim. May combine two claims.
Premisenone given§ 41 HIGH ART VERSUS LOW ARTThe high/low art distinction is fuzzy, and there are many different intuitions about what the general contrast is.
“In spite of its familiarity, however, there are many different intuitions about what the general contrast is.”
- Also stated in: § 41 HIGH ART VERSUS LOW ART · plain
“The fuzziness of the distinction raises a number of basic questions”
Quote in the paperSubstantial claim- Also stated in: § 41 HIGH ART VERSUS LOW ART · plain
Classified as probably not a substantial claim.
Premisenone given§ A paradoxical distinctionIn typical use, high art refers to paradigms of art such as Hamlet, The Waste Land, Eroica, Swan Lake, Cézanne's paintings, museum paintings generally, classical music generally, and poetry generally.
“In typical use it certainly refers to paradigms of art: Hamlet, Eliot's The Waste Land, Beethoven's Eroica, Swan Lake, the paintings of Cézanne – indeed, museum paintings generally, classical music generally, poetry generally and so forth.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S2 (checkable).
Premisenone given§ A paradoxical distinctionHigh art is the clearer half of the high/low art contrast.
“'High art' is the clearer half of the contrast.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing), S4 (based).
Premisenone given§ A paradoxical distinctionAt first movies were regarded as a low art form compared to theater.
“For example, at first movies were regarded as a low art form compared to theater.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim. May combine two claims.
Interpretationreasoning§ EntertainmentIn both sorts of cases it is natural to view the product as art but also take account of the influence of entertainment in its construction.
“In both sorts of cases it is natural to view the product as art but to also take account of the influence of entertainment in its construction.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.
Interpretationnone given§ Mass artSeinfeld was one of the most popular shows on television even though it was based on imaginative, even absurdist premises that were arguably as original as the average new play or literary novel.
“was one of the most popular shows on television even though it was based on imaginative, even absurdist premises (e.g. the backwards episode) that were arguably as original as the average new play or literary novel.”
Quote in the paperNot a substantial claimMay combine two claims.
Interpretationnone given§ Mass artBoth techno pop music and minimalist art music pieces tend to be long with slowly evolving repetitive structures, yet neither would be regarded as difficult.
“But length is not everything anyway: both techno pop music and minimalist art music pieces tend to be long with slowly evolving repetitive structures, yet neither would be regarded as difficult.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.
Interpretationnone given§ Mass artMost of our culture's creative products and some of its best are to be found in popular culture and mass entertainment.
“It seems equally clear, however, that most of our culture's creative products and some of its best, are to be found in popular culture and mass entertainment.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationreasoning§ A paradoxical distinctionA second way of framing the high/low distinction classifies works within a pre-existing medium or art form.
“The second way of framing the distinction is more fine-grained; it is a distinction that classifies works within a pre-existing medium or art form.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based).
Interpretationreasoning§ Is the high/low distinction real?It is plausible to expect that high and low contexts and patterns of behavior have greatly influenced the aesthetic character of subsequent works deliberately created for one context or the other, making possible genuinely different classes of works, most prominently avant-garde art.
“It is plausible to expect that these high and low contexts and patterns of behavior have greatly influenced the aesthetic character of subsequent works deliberately created for one context or the other, thus making possible genuinely different classes of works, most prominently avant-garde art.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim.
Interpretationnone given§ Mass artIt is unclear that typical speakers possess a concept of mass art for which the claim that all mass artworks are art is true.
“However, it is unclear that typical speakers possess a concept of mass art for which this strong claim is true.”
Quote in the paperSubstantial claimMay combine two claims.
Interpretationcitation§ A paradoxical distinctionSuch hierarchies may function to create a distinctive identity and provide a means for fans to distinguish themselves from others who prefer a different type of music.
“Such hierarchies may function to create a distinctive identity and to provide a means for fans to distinguish themselves (Bourdieu 1984) from others who prefer a different type of music.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bourdieu 1984
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S4 (based). May combine two claims.
Interpretationreasoning§ A paradoxical distinctionIn the twentieth century, the most sophisticated instances of an art form tend to become much more difficult, while other works within the same art form appeal to a very broad audience.
“In the twentieth century this has fueled a tendency for the most sophisticated instances of an art form to become much more difficult (as in the work of Joyce and Pynchon) as other works within the same art form appeal to a very broad audience (e.g. mass-market romance and gothic horror novels).”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim.
Interpretationcitation§ Mass artIt can be questioned whether serious art forms on average make more demands on their audiences than popular art forms.
“Undoubtedly, each genre makes different demands, but it can be questioned whether serious art forms on average make more demands on their audiences than popular art forms (Gould 1999).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Gould 1999 source
Classified as probably not a substantial claim.
Premisenone given§ A paradoxical distinctionComedy has always been cast into the realm of lower art.
“Comedy, as a stimulus to laugh, has always been cast into the realm of lower art.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationreasoning§ A paradoxical distinctionUnder the forms/genres reading, the high/low art distinction seems closely related to the art/non-art distinction.
“Under this reading, it becomes clear why the high/low art distinction seems so closely related to the art/non-art distinction.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
Interpretationnone given§ A paradoxical distinctionThere are several overlapping but different distinctions that can underlie ordinary uses of 'high art' and 'low art'.
“It is plausible to think that, in fact, there are several overlapping but different distinctions that can underlie ordinary uses of high art' and low art.'”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.
Interpretationreasoning§ A paradoxical distinctionRelative to classical music and its audience, all pop genres may seem low art, whereas to fans of electronica, mainstream rock may seem hopelessly naive and common.
“So, relative to classical music and its audience, all pop genres may seem low art, whereas to fans of electronica, mainstream rock may seem hopelessly naive and common compared to their music.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based).
Interpretationreasoning§ Mass artHaving left the realm of traditional high art, it becomes difficult to understand how we ought to assign the status of artwork to artifacts.
“It is clear that having left the realm of traditional high art it becomes difficult to understand how we ought to assign the status of artwork to artifacts.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.
Interpretationnone given§ Mass artAlthough there is always more to analyze in any Hollywood movie or pop song, the average viewer does not have to think about those levels to enjoy it.
“Although there is always more to analyze in any Hollywood movie or pop song, the average viewer does not have to think about those levels to enjoy it.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S4 (based).
Interpretationnone given§ Attending to low/mass artEntertainment and mass culture are being taken more and more seriously by artists and art theorists.
“Whether it is justified or not, entertainment and mass culture are being taken more and more seriously by artists and art theorists.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationreasoning§ EntertainmentLow art cannot be equated with entertainment.
“The claim is not that low art can be equated with entertainment.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.
Interpretationnone given§ EntertainmentThere are different sorts of pleasures: the valuable pleasures of great art and intellectual life, the necessary pleasures of biological and social life, and the frivolous pleasures of entertainment.
“But there are different sorts of pleasures: the valuable pleasures of great art and intellectual life, the necessary pleasures of biological and social life and then there are the frivolous pleasures (fun) of entertainment.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).
Interpretationnone given§ EntertainmentPleasure per se is not necessarily bad.
“Of course, pleasure per se is not necessarily bad.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
Interpretationcitation§ EntertainmentArguably the most illuminating way to understand the distinction between high and low art is to see it as a reflection of the distinction between serious art and entertainment.
“In the end, arguably the most illuminating way to understand the distinction between high and low art is to see it as a reflection of the distinction between serious art and entertainment (Shusterman 2003: 290).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Shusterman 2003
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S4 (based).
Interpretationnone given§ EntertainmentAlthough utilizing the same mental capacities and skills as high art, the goals of entertainment, from the perspective of the audience, are primarily pleasure and diversion.
“Although utilizing the same mental capacities and skills as high art, the goals of entertainment, from the perspective of the audience, are primarily pleasure and diversion.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
Interpretationcitation§ EntertainmentIf Shusterman is right, the implied value difference between high and low art (entertainment) does not survive philosophical scrutiny.
“If Shusterman is right the implied value difference between high and low art (entertainment) does not survive philosophical scrutiny.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim.
Interpretationreasoning§ A paradoxical distinctionHigh/low construed as a distinction between groups of forms or genres holds that certain traditional forms associated with the modern system are thought of as high art, whereas new forms tend to be thought of as low.
“High/low construed as a distinction between groups of forms or genres, comes to this: certain traditional forms, those associated with the modern system, are thought of as high art, whereas the new forms tend to be thought of as low.'”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S4 (based).
Interpretationnone given§ Mass artWorks of popular art have several levels.
“First, works of popular art have several levels.”
Quote in the paperNot a substantial claimMay combine two claims.
Interpretationreasoning§ A paradoxical distinctionThis led to the development of new sub-forms such as penny novels and romance novels, as well as genres of standing art forms that appealed to popular taste.
“This led to the development of new sub-forms (penny novels, romance novels) as well as genres of standing art forms that appealed to popular taste (naive/folk painting of the nineteenth century, motel painting of the twentieth).”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationreasoning§ Mass artThe first condition of Carroll's analysis gives no guidance on how to identify the particular items of mass culture that are mass artworks.
“The problem is that the first condition of the analysis gives no guidance on how to identify the particular items of mass culture that are mass artworks.”
Quote in the paperNot a substantial claimMay combine two claims.
Interpretationnone given§ EntertainmentMuch art is not entertainment and much entertainment is not art.
“Much art is not entertainment and much entertainment, for instance, amusement rides, slot machines and professional sports, is not art.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S2 (checkable).
Interpretationreasoning§ Mass artTo have an informative explanation of what mass art is, we need a way of identifying which mass-produced multiple artifacts count as mass art.
“To have an informative explanation of what mass art is it appears that we need a way of identifying which mass-produced multiple artifacts count as mass art.”
Quote in the paperNot a substantial claimMay combine two claims.
Premisenone given§ A paradoxical distinctionYoung consumers of rock music today distinguish many genres within electronic pop music and embrace some and reject others.
“Young consumers of rock music today distinguish many genres just within electronic pop music: jungle, house, deep house, tech house, drum and bass, ambient, breakbeat, downtempo, trance, and they do so to embrace some and reject others.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).
Interpretationcitation§ Mass artCarroll's theory raises many questions.
“Carroll's theory raises many questions (Fisher 2004).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Fisher 2004
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
Interpretationnone given§ A paradoxical distinctionThe high/low art distinction is narrower than the high/low culture distinction.
“The distinction between high and low art is narrower than a distinction between high and low culture.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S4 (based).
Interpretationnone given§ Mass artEven Carroll would concede that not all ads or TV programs or web pages are art.
“A greater difficulty is that even Carroll would concede that not all ads or TV programs or web pages are art.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S4 (based).
Premisereasoning§ A paradoxical distinctionWith wide distribution and accessibility of cultural artifacts, the taste and values of popular audiences came to play a significant role in the various art forms already in place.
“Starting with the contrast between folk or popular culture and aristocratic culture before the eighteenth century, consider that with wide distribution and accessibility of cultural artifacts the taste and values of popular audiences came to play a significant role in the various art forms already in place.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationnone given§ Mass artThe property of mass art that most closely fits stereotypes of low art is the third condition requiring undemanding accessibility.
“The property of mass art that most closely fits stereotypes of low art is the third condition requiring undemanding accessibility.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
Interpretationreasoning§ A paradoxical distinctionOne distinction underlying high/low art is between two classes of media or art forms.
“One is a distinction between two classes of media or of art forms, for instance, between oil painting and television (media) or abstract paintings and television situation comedies (forms).”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
Interpretationcitation§ A paradoxical distinctionComedy is arguably as important and valuable as other more elevated forms of performance or writing.
“Yet comedy is arguably as important and valuable as other more elevated' forms of performance or writing (Cohen 2001).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Cohen 2001
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
Interpretationreasoning§ Mass artThe conceptual situation of mass art is not parallel to that in which a philosopher proposes an analysis of the concept of art.
“The conceptual situation is not parallel to that in which a philosopher proposes an analysis of the concept of art.”
Quote in the paperSubstantial claimClassified as probably not a substantial claim.
Premisenone given§ A paradoxical distinctionSince the eighteenth century, new media have developed for a mass society, including mass-produced books, visual prints, photography, motion pictures, radio, television, sound recordings, computers, and the Internet.
“Since the eighteenth century new media have developed for a mass society: mass-produced books and visual prints, photography, motion pictures, radio, television, sound recordings, computers, the Internet and so on.”
Quote in the paperSubstantial claim
The paper relies on this without support.
The intuitions of typical speakers are relevant to evaluating a philosophical analysis of mass art.
“However, it is unclear that typical speakers possess a concept of mass art for which this strong claim is true.”
Cites
High and Low Thinking about High and Low Art
Cohen, T. (1993) · Journal of Aesthetics and Art Criticism · doi:10.2307/431380 · Cited by 79
FORM AND FUNK: THE AESTHETIC CHALLENGE OF POPULAR ART
Shusterman, R. M. (1991) · The British Journal of Aesthetics · doi:10.1093/bjaesthetics/31.3.213 · Cited by 20
Gould, T. (1999) · The Journal of Aesthetics and Art Criticism · doi:10.2307/432307 · Cited by 3
Babbitt, M. (1958) “Who Cares If You Listen?,” High Fidelity 8: 38–40; repr. in The Collected Essays of Milton Babbitt (Princeton: Princeton University Press, 2003).
(n.d.)
Unresolved
Flagged first, then by citations
1 of the 1 references couldn’t be matched to a known paper.
- Authors
- Lamarque, P.
- Corresponding author
- Peter Lamarque
- Venue
- The Routledge Companion to Aesthetics
- Publisher
- Routledge
- Published
- 2013-04-17
- Pages
- 495-506
- OpenAlex
- W4231175229
- Cited by
- 0
- References
- 1
- FWCI
- 0.00
- Type
- book chapter
- Language
- en
- Open access
- closed
- Locations
- Routledge eBooks (publishedVersion)
- Topics
- Social Sciences › Arts and Humanities › Literature and Literary Theory › Poetry Analysis and Criticism
- Social Sciences › Arts and Humanities › Philosophy › Ethics, Aesthetics, and Art
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Artistic and Creative Research
- Keywords
- high art, low art, poetry
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