This chapter focuses on the implications that such a turn would have for global education and, more specifically, for the related issues of curatorial practices and the writing of art history. Nick Zangwill's moderate formalism seeks to characterize his theory in terms of aesthetic/non-aesthetic determination. If something has aesthetic properties, he argues, it is in virtue of those properties supervenience on certain non-aesthetic properties. Some philosophers, such as Kendall Walton and Jerrold Levinson, hold that aesthetic merit is hardly, if at all, derived from narrow aesthetic properties; rather, aesthetic merit derives mainly from the broad properties of artworks within the context of the history of their production. The concept of the Kantian sublime in relation to engagement with artworks from different cultures and time periods takes them beyond Western/non-Western dichotomies and art-historical discourses of contestation to make possible art histories and museum practices that could promote new and more just conversations among and about artworks from around the world.
|Original language||English (US)|
|Title of host publication||Neuroscience and Education|
|Subtitle of host publication||A Philosophical Appraisal|
|Editors||Clarence W. Joldersma|
|State||Published - Mar 2 2016|
|Name||Routledge International Studies in the Philosophy of Education|