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Generative Theory of Tonal Music by F. Lersahl, R. Jackendoff

By F. Lersahl, R. Jackendoff

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This means that definition /, It, I't, properly understood, will be viewed as adequate to revolutionary (as well as evolutionary) art. VII The view presented so far suggests the following picture of art's evolution. Artworks are objects projected for regard, at least in part, in ways past artworks have been standardly regarded. These artworks, if at all original, will differ from those of the past more or less markedly, and will therefore optimally call for ways of regard (which the artist has 18 Art and History usually envisaged) somewhat different from ones already in practice.

12. This is the distinction, difficult to grasp firmly, between: (i) what it means at present for something to be art at the time of its creation, and (ii) what it meant at the time of its creation for something to be art at that time. 17 Whereas concept-of-art1977 associates The Night Watch with former stainless steel bars, coat racks, cardboard cartons, and goats' heads, concept-ofart1777 served in part to differentiate The Night Watch from such things. This major conceptual changeover occurred, as we know, around 1920 as a result of the Dadaist movement.

They are not comfortably denominated paintings, because their irregular, nonrectilinear, attentiondemanding boundaries are contrastandard for paintings and not comfortably considered sculptures because of features—flatness, onesidedness, wall-mounting—which are contrastandard for sculpture. Nor, on any natural division, do they contain parts that are straightforwardly paintings or sculptures, although they can be aptly described as partly paintings, partly sculptures. Painting and sculpture are fused in the genre of shaped canvases—as one could argue they are fused in a different manner in collage or assemblage (Schwitters, Rauschenberg, Johns)—and not simply added together.

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