Meaning, perception, and works of art
Date
2012
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Abstract
The meaning of artworks is found where conventions, intentions and perception informed by knowledge meet. In this work I present a picture of how this intersection in the conceptual landscape is best understood. I begin by offering an account of conventions that draws on Ruth Millikan's model of leader-follower conventions. I then give an account of intentions and intentional actions where the connection between intentions and intentional actions is 'loose' enough so that we can talk about artworks as being intentionally made, without having to say that a particular feature of artworks is intentional by virtue of having been intended by the author of the work. In order to explain the role of perception in how agents attribute meaning to artworks, I rely on Michael Polanyi's account of tacit knowledge, and Alva Noe's theory of perception as active engagement with the world. An agent's perception of artworks is informed by knowledge. Most of that knowledge is tacit. In both making and experiencing works of art, agents make use of perception informed by tacit knowledge and knowledge of sensorimotor laws that hold between the content of our experience and the external world. The way we attribute meaning to artworks is conditioned by this kind of perception and knowledge. This model of perception can also explain how we are aware of conventions when making or appreciating works of art. Instead of addressing the question 'what is a work of art?' this thesis addresses the question, 'how do we attribute meaning to works of art?' The answer is that we do so by being the knowledgeable perceivers we are, and by being able to have the kind of experience to which interpretable objects give rise.
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Bibliography: p. 195-202
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Citation
Dagsson, J. (2012). Meaning, perception, and works of art (Doctoral thesis, University of Calgary, Calgary, Canada). Retrieved from https://prism.ucalgary.ca. doi:10.11575/PRISM/4930