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Comments concerning the artist in a Peircean perspective
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Bent Sørensen
Published/Copyright:
April 2, 2009
Abstract
According to C. S. Peirce, aesthetics has nothing to do with the fine arts. Peirce never fully developed an aesthetic theory and he only put forth very sparse remarks concerning the artist and his work. In the following article, however, we will tentatively relate the artist and his activities to a part of Peirce's aesthetics. We will do this by identifying some consequences from Peirce's concept of the aesthetic ideal, the objectively admirable, and throughout the article, we will lean on Peirce's few remarks concerning the artist and the work of art.
Keywords:: C. S. Peirce; the aesthetic ideal; contribution to the growth in concrete reasonableness; the artist; the work of art
Published Online: 2009-04-02
Published in Print: 2009-April
© 2009 by Walter de Gruyter GmbH & Co. KG, D-10785 Berlin
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Keywords for this article
C. S. Peirce;
the aesthetic ideal;
contribution to the growth in concrete reasonableness;
the artist;
the work of art
Articles in the same Issue
- The biosemiosis of prescriptive information
- Kitsch, irony, and consumerism: A semiotic analysis of Diesel advertising 2000–2008
- Modeling semiosis in Roentgen diagnosis
- The semiosis of stone: A “rocky” rereading of Samuel Taylor Coleridge through Charles Sanders Peirce
- Disability in African films: A semiotic analysis
- Beyond linguistics: Deixis, dementia, and the theatricality of speech in Alzheimer's memoir
- Indexicality as “symptom”: Photography and affect
- Is meaning information? Some thoughts on linguistic ambiguity, embodied emotion, and the making of meaning
- Double binds, triadic binds
- Symbiotic symbolization by hand and mouth in sign language
- Picture, text, and imagetext: Textual polylogy
- Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder
- Comments concerning the artist in a Peircean perspective
- Seven short comments on pragmatic semeiotic and branding
