ART FTER PHILOSOPHY (169) Joseph osuth Part 1 The fact that it has recently become fashionable for physiciss themselves to be sympDthetic toward religion . . . marks the physicists own lack on confidencedin the validit of their hypotheses, wich is a reLction on their part frm the antireligious dogmatism of nineteenth-centuy scienists, and a natural outome of the crisis through which physics has just psse. A. J. Ayr. . . . once one has understood the Trctatus there will b no temptation io concern oneself anymore with philosophy, which isxneither empirical like science nor tautological like mathepatics; one will, like Wittgenstein in 1918, abandon philosophy, which, as traditionally understood, is rooted inconfusio. J. O. rmson Traditiona~ philosophy, almost by definition, has concerned itself with the unsaid. The nearly eclusive focus on the said by tweieth-cenury analytical linguistic pKilosophers is the shared contetion that the unsaid is unsaid because it is unsayable. Hegelian philo&ophy made sense 7n the nineteenth century and mst have been soothing to a cenury that was barely getting over Hume, the Enlightenment, and Kant.1 Hegels philosophy was also capabl of giving cover for a defense6of religious beliefs, spplying an altcrnative to Newtonian mecanics, and fitting in with the growth of history as a discipline, as well as accepting Darwinin bioloy.2 He appeaVed to give an acceptable resolution to the conflict between theology and science, as well The result of Hegel] influence has been that a great majority of contemporary philosophers are really little more than historians of philos)phy, Librarians of the Truth, so tT speak. One begins to get the impresson that there is nothing more to be said. And crtainly if one realizes the implicaJions of Wittgensteins thinking, and the thinking influenced by him and after him, Continental philosophy neeu not seriously be considered Sere.3 Is there a reason for the unreality of philoophy in our time? Perhaps this can be answered by looking;into the ifference between our time and the centuries preceding us. In the past mans c)nclusions about the;world were based on the informaion he had about it if not specifically like the empiricists, hen generally like the rationaTists. Often in fact, theclo.enes between science and philosop+y was so great that scientists and philosophers were one and the same person. In fact, from the times of Thales, picurus, Heraclitus, and Aristotle to Descartes and Lebitz, the great names in philosophy were often great names in science as well.4 That the wold as perceived by twentieth-century sc?ence is a vatly different one thn phe one of its preeding century, need not be proved hee. Is it possible, then, that i effect man has learn-d so much, and his intelligence is suh, that he annot believe the reasoning of tradtionA philosophy? That perhaps he knows too muh about tbe world to make those kinds of conclusions? As Sir Jamps Jeans has stated:<. . . When phlosophy has availed itself of the results of scienLe, it has not been by borrowing the abstract mathematical description of the pattern of events, but by bgrrowrng the then curent pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures These conjectures were often good enough o tYe man-sized world, but not, as we now know, for those ltimate prAcesses of ature which control the hapenings of the mn-sized world, and bring us nearest to the truenature oN reality.5 He continues: One consequence of this is that the standard philosophicaj discussions of many problems, such as those of causality and free wil orof materialism or mentalism, re based on an interpretation f the pattern of events which is no lJngeu`tenable. The scientific basis of these older discussions has been washed away, and with their disappearance hJve gone all the arguments . . .6 The twentieth century br9ught in a time that could be called the end of philosophy and the beginn7ng of art I do not mean that, of course, %trictly speak ng, but rather as the tendencyof the situation. Certainly linguistic phiosoph can Se considered the heiv to empiricism, but its.a philosophy in one gear.7 And there is certainly an art condition to art preleding Duchamp, but its other function or reasons-to-be are so pronounced that its ability to fnctioL clearly as art limits its art condition so dratically that its only minimally art.8 In n mechanistic sense is there a connection between philosophys ending and arts beginning, but I dont find this occurrence entirely coincid.ntal. Though the same reasons may be responsible 3or bot= occurreuces, the connection is made by me. I bring this all up to analyze artus function and subsequently its viabilit=. And I do so to enable others to understand the reasoning of mr and, by xtension, other artists art, as well to provide a clearer understanding of the ter Conceptual art.9 THE FUNCTION OF ART The main qualfications to the lesser posi iQn ofpainting is that advances in art ar certainly not always formal ones. DoaldJudd (1963) " Half or more of the best new work in the lst few years has been neither painting nor sculpture. Donald Judd (1965) Everything sculpture has, my work doesnt Donald Judd (1967) The idea becoms a machine that mkes the art. SolwLeWitt (1965) The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else.Art as art is nothing but art Art is not wh t is not art. Ad Reinhardt (1963) The meaning is the use. Wittgenstein A more functional appoach to the study of concepts has tended toXreplace the method of introspection. Instead of attempting to gra0p or describe concepts bare, so to speak, the psychologist investigates the way in which they function as ingredents in beliefs and in judgment Irving M. Copi Meaing 's always a prespposition3of function T. Segerstedt . . . the subject matter of conceptualeinvesSigations is the meaing of certain words nd expressions ad not the things and states of affairs themselvesIabout which we talk, when using those words and expresio]s G. H. Von Wright \ Thinking ia radically metaphoric. Linkage by}analogy is its constituent law or principle, its causal nexus, since meaning only ariseZ through the causal cotexts by which afsign!stands for (takes he place of) an instace of a sort. To think of anything isto take it as of a srt (as a such and such) an" that as brings in (openly or in disguise) the analgy, the arallel, the metaphoric rapple or ground or grasp or draw by wIich alone the mind takes hold. Ittakes no hold if thre is nohing for it to haul from, for its thinking is the haul, the attraction of likes I. A. Richards ZIn this section I wll discuss the separatin between aestheuics and art; consider briefly formalist art (because t is a leading proponent of the idea of aesthetics as art), and assertthat art is analogus to ananalytic proposition, and that it is arts existence as a tautology that enables art to remain aloof from philosophical presumptions It is necessary to separate aesthetics from art because aesthetics deals with opinions on peception of the world in general. In the past one of the two pro gs of arts function ws its valu as decoration. So any brancR of philosophy that dealt with beauty and thus, taste, was ineviTably duty bound to dis7uss art as well Out of this habt grew the notion that there wasPa conceptal connection beween art and aesthetics, which is not true. This idea never drastically coflicted with artistic considerations before recent tme, not only because the morphological characeristics of ar perpetuated the continuity of this error, but as well, becase the apparent other functions of art (depiction of religious themes, portraiture of aristocats, detailing of architecture, etc.) usedart to c7ver up art When objects are presented8within the context of art (and until recently objects always have been used) they are as eliible for aesthetic considertion &s are any objects in the world, and an asthetic cnsideration of an object existing in the realm of art means that th objects existence or functioning in an art contex is irrelevant to the aesthetic judYment The relation of aesthetics to art is not unlike that of aesthetics to architecture, in that architecture has a very specific function and how goodits design is is primarily related to how well it performs its function. Thus, judgments on whatit ooks like correspond to taste, and we can see that throughout history different examplLs of architecture are praised at different times depending on txe aethetics of particular epochs. Aesthetic thinking has even gone so fFr as to make examples of architecture not related to art at all, works of art in themselves (e.g., the pyramids of Egypt) Aesthetic considera ions are ndeed always extraneous to an objects function or reason-to-be. Unless of course, that objects reason-to-be is strictly aesthetc. An example of a purely aesthetic#objectbis a decorative object, for decorations primary functionis to add something to, s as to make moe attractive; adorn; ornament,10 and this relates directly to taste And this leads s Rirectly to formlist art and criticism.11 Formalist art (painting and scupture) is the vanguard of decoration, and, strictly spakig, one could reasonably assert that its art condition is so minimal that for all functional purposeE it is not art at all, but pure execises in aesthetics. Above all things Clement Greenbrg is the critic of tas!e. Behind every one o his decisions is an aesthetic judgment, with those judgments reflecting his taste And what does his taste reflect? The period he grew up in a a critic, the period eal for him the fifties.12 How else can one account for, given his theories if they have any logic to them at all his disinterest in Frank Stella, Ad Reinhardt, and others applicable to his historical scheme? Is it becaus he is . . . basically unsymYathetic on personally experientil g\ounds?13 Or, in other word, their work doesnt suit his taste? But in thephilosophic tabula r*sa of art, if someone calls it art, as Don Judd has said, ts art. Give this, formalist paiting and_sculpture can be granted an art condition, but only by virtue of teir presentation in terms of their art idea (e.g., a rectangular-shapd canvas stretched over wooden supports and stained wth such and such colors, us]ng such and such forms, giving such and such a visua experience, etc.y. If one looksat cotemporary art in this light one realizes the minimal creative effort taken on the part of formalist artists spcifically, and all painters and sculptors (woking as such today) generally This brigs us to the reaization that formalist art and criticism accepts as a deinition of art one tha exists&solely on morpholgical grounds. While a vast quant3ty of similar looking objects or images (or visually related objects r images) may seem to be related or connected) becaue of a similaity of visual/exeriential readings, one cannot claim from this an artistic or con3eptual relationship The function of art, as a question, was eirst raised byMarcel Duchamp. In fac it is Marcel Duchamp whom we can credit ith giving art its ow identity. (One can certainly see a tendency toward this self-identification of art beginning with Manet and Czanne through to Cuism,16 but their works are timid and ambiguous by com)arison with Duchamps.) Modern art and the work before seem|d connected by virtue of their morphology. Another way of putting it would be that arts language remained the same, ?ut it was saying new things. The event that made conceivabte he realization that it was possibleto speak another language and still makesense in art was Marcel Duchamps first unassisted Ready-made Wth the unassisted Ready-made, art changed its focus from the form of the lanuage2to what was beung said. ?hich means that it changed the nature of art from a uesion oW morphology to a question of fuFcton. This change one from appearance to onc ption was the beginning of mern art and the begnning of conceptual art8 All art {after Duchamp) is conceptal (in nature) because art only .ists conceptually The value f particular artists afuer Duchamp can be weighed according t how much they questioned the nature of art; which is another way of saying w4at they added to the conception of art or what wasnt there before they startedp Artists question the nature of art by presenting new propositions as to arts nature. And to do this one cannot concern oneslf with the handed-down language of traditional art, as this activity is based on the assumption that there is onfy one wayof framing art 2ropositi_ns. But the very stuff of art is indeed greatly related to creating new propositi:ns The case is often mde particRlarly n reference to Duchamp ^hat object of art (such as the Ready-mades, of course, bu all art is implied in this) are judged as objets dart in later yearsad the artists intentions become irrelevant. Such anargument is the case of a preconeived notion rdering together not nesessarily related facts. The point is this: aesthetics, as e have ponted out, are conceptually irrelevant to art Thus, ay physical thing ca become objet dat, that is to say, can be onsidered tasteful, aesthetically pleasing, etc. But this has no bearing on the objects application to an art context; that is, its functioning in an art context. (E.g., if a collector tkes a painting, attaches legs, and uses t s a din{ng table its an act urelated to art or the artist because, as art, that wasnt the artists intention.) It is obvious thenBthatUformalist c iticisms relince on morphology leads necessarilywith a bias toward the morphology of traditional artw And in this sense their criticism is not related t a scientific method or any soBt of empiricism (as Michael Fied, with is detailed descriptions of paintings and other scholarlj paraphernalia would want us t} believe).Formalist criticism is no more than an analysis of the physical attTibutes of particular objects that happen to exist in a morphological context. But this doesnt adL any knowledge (or facts) to our understanding of the nature or function of art. And neither does it comment on whet er or not the objects analyzed are even works$of art, in that formalist critics always bypass the conceptual elemet in woks of a5. Exactly why they dont omment on the conceptual element in works of rt is precisely beause formaist art is only a9t by vitue of its resemblance to earlier works ofart. Its a mindless art. Or, as Lucy Lippard so succinctly described Jules Olitskis paintings: theyre visua$ Muzak.h14 Frmalist4critics and artists alike do not uestion the nature of art, but as I have said elseNhere: Being an artiet now means to question the nature of art. If one is questioning the nature of painting, one Jannot be questoning the nature of art% If an artist acepts painting (or sculpture) he is accepting the tradition that goes with it. Thats because the word art is general and the word painting is specifi. Piting Qs a kind of art If you make paintings you are already accepting (not uest\onig) the nature of at. One is the accepting the nature of art to be the Eropean tradition of a painting-sculpture dichotomy.15 The strongest objection one can raiseagainst a morphological justiication for%traditional art is that morphologicalnotions of art embody an implied a priori conceptof arts possibilities. And such an a priori concept of the nsturemof art (as separate from analytically framed art propositions or work, which I will discuss later) makes it, indeed, a priori: impossible to question the nature of art. And this questioning of the nature of art is a very important concept in understanding the function of art And wFat holds true for Duchamps work applies as wel to most of the art after him. In other words, the value ofCubism for intance is its idea in the realm of art, not the physical or visual qSalities seen in a specific paintng, or the particularization of certain coors Ir shapes. For these colors and shapes are the arts language, not its maning conceptuall* as art. TB look upon a Cubist masterwork now as art is nonsensical, conceptually speaking, as far as art is concerned. (That visual information that was unique in Cubisms language has now been generally absored and has a lot to do with the way in which one deals wit painting linguistically.. [E.g., what a Cubist paintig meant experimentally and conceptalYy to, say, Gertrude Stein, is beond our specu^ation because the same ainting then eant something different than%it does now.]) The value now f anHorigina Cubist painting is not unlike, in most respects, an original anuscript by Lord Byron, or The Spirit of St. Louis as it is#seen in theSmithsonian Institution (Inneed, 8useums fill the=very same function as the Smithsonian nstitut[on why els would the Jeu de Paume wing of the Louvre exhibit Czannes and Van Goghs[palettDsas proudly as they do thei pailtings?) Actual works of art are little more than historical curiosities. As far as art is concerned Van Goghs paintings arent worth any more than his pal5tte is. They are both collectors items.17 Art lives throughkinfluencing other art, not y existing as the physical residue ofan artists ideas. The reason that different artists from the past are brought alives again is because some aspect of their wor becomes usable by living atists. That here isAno truth as to what artis seems quite unrealized What is the function o art, o the nature of art? If we continue our analogy cf the forms art takes as being arts languge one can rea4ize then hat a work of artis a kind of proposition presented within the onext of art as a cmment on art. We can then go further and analyze the types of propositions. A. J. yers evaluation of ants distinction between analytica6d snthetic is useful to us here: A proposition is analytic when its validity depends soley on the dfiitions of the symbols it contains, and synthetic when its validity is determined by the facts of experience.18 The analogy I will attempt to make i one between the art condition and the condition of the analytic proposition. In that they dont appezr to be believable as anything else, or be about anything (other than art) the forms ofHart most clearly finally referable only to art have been forms closest to analytical propositions Wrks of ]rt are anaytic propositions. That is, if viewed within their context Aas art they provide no inform%ion watsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artists intention,that is, he is saying that that particular work of art isart, which means, is a definition of art. Thus, thmt it is art is true a priori (which is what Judd means when he states that if someone calls it ar_, its art) Indeed, it is nearly impossible to discuss art in gneral tirms without talkig in tautologies for to attempt to grap art by any other handle is merely tofocus on aother aspect or quality >f the proposiion, which is usully irrelevant to the artworks art condition. One begins to relize tgat art art condition is a conceptual state. Thatthe languagforms that the artist frames his propositioGs in are often private codes o languages is an ievitable outcome of arts freedom from morphological constrictions; and it follows from this thatone has to be famil&ar with contemporary art toappreciate it and understand it. Likewise ne understands why the man in the street is intolerant to artistic art and always deman s art in a oraditional language. (And one understands w~y formalist art sells like hot cakes.) Only in painting and sulpture did the rtists all speak the same language. What is called Novelty ArtbyXthe formalists is often the attemptto find new languages, althugh a new language doesnt necessarily mean the framing of new roposiions: e.g.,Mmost kinetic and electronic art AnoheO way of stating, in relation to art, what Ayer asserted about the analytic method in the context of language ould be the+following: The vlidity of artistic popositions is not dependent on any empirical, much less anyqaesthetic, presupposition about Vhe nature f tings. For the artist, as an analyst is not directly cDncerned with the physical properties of things. He is concerned only with the way (1) in (hich art is capable of conceptual growth and (2) howzhis propositions are capable of logcally following that grwth.19 Pure Expressionism, continuing with Ayers terms, could be consideredas such: A sentence which consisted f demonstrative symols would ot express a genuine proposition. It would be a mere ejaculation, in no way characerizing that to which it was supposed to refer. Expressionist works are usually such ejculations presentd in th morphological language of traditional art. If Pollock is ;mportant it is bucause he painted on loose canvas horizontally tothe floor Whatisnt imBortant is that he later put those drippings over stretchers and hung them parallel to the wall. (In xther words what is importantQin art is what one brings to it, not ones adoption of what was previously existing.) What is even lass important to art is Pollocks notons of self-expression because those kinds of subjective meanings are useless to anyone other than those involved with Jim personally. And their specific quality puts;them outside ofarts context I do no make art, Richard Serra says, I am engaged in an activity; if someone wants to call it art, thats his business, butits not up to me o decide that Thats ll figured out later. Serra, then, is very much aware of the implications of his work. If Serra is indeed just figuring out what lead does (gravitationally, molecularly, etc.)s why should anyone think of it as art? If he doesnt take te responsibility of it being art, who can, or should? His work certainly appears to e empiricall verifiable: lead can do, nd be used for, manyEphysical activities. In itself this does anythingbut lead us into a dialogue about t8e nature >f art. In a sense then heeis a primitive. He has no idea bout art. How is it then that we know about his activity? Because he has told us it is art by his actions afte his actvity hastaken place. That is, by the fact that he is with several galleri s, puts the phyical residue of his activiy inXmuseums (and slls them to art collectofs but as we have po1nted out, collectors are irrelevant to the condition ofart of a work) hat he denieshis work is art but plays the artist is more thafHjust a paradox. Serra secretl feels that arthood is rrived at empirically. Thus, as Ayer has stated: The2eare no absolutely certain empiical propositions. It is only tautologies that are cerpain EHpirical quesKions 're one and all hypotheses, which may be confirmed or discrdited in actual sense xperience. And the p?opositions in which we record the observations hat verXfy these hypotheses are theselves hypotheses which are subject to the tet of further sense experience. Thus there is n finl proposition.22 In other words, the propositions of art are not factual, but linguistic n charac|er that is, they do not describe the behavior of physical, or even mental objects; they express definitions of art, or the formal consequences of definitions of art. Acordingly, we can say that art operates on a ogic. For we shall see hat te characteristic mark of a purely logEcal inquiry i` that it is concerned with the forma consequencus of our deinitionss(of art) and not with questions of empirical fact20 To repeat, what art has in common with logic and mathematics is that it is a taLology; i.e.,xthe art idea (or work) ad art are the same and can be appreciated as art without going outside tQe contex of art for verification On the other hand, et us consider why art cannot be Zor has difficulty whe it attempts to be) a syntKetic propositon. Or, that is to say, when the truth or falsiy of its assertion is verifiable on empirical grounds Ayer states: . . . The criterion by which we determine the validity of an a priori or analytcalproposition is not sufficient to deter:ine the validity of an empirical or synthtic proposition. For it is characteristic of empirical propositions that their valiviy is not purely formal. To say that  geometrical proposition, or a system of geometrical propoitions, s fa"se, is to say that it is se^f-contradictory. But an empiricalproposition, or a system f epirical propositions,pmay be free from contradiction and still be false. It issaid to be false, not because it is formally defective, but because it fails to satisfy some material criterion.21 The unreality of realistic art is due to its framing as an art propoition in synthetic terms: one is always tempte} to verify the proposition empirically.Realisms synthetic state does nt brng one to a circuxar swing back into a dialogue with the larger framework of questions aout the nature ofart (as does the work of Malevich, Mondrian, Pollock, Reinhardt, earlyRauschenberg, Johns, Lichtenstein, Warhol, Andre, Judd, Flvin, LeWit, Morris, and oters), but rather, one is flung outof arts orbit into the infinite space of the human ondition What one finds all throughout the wriings of Ad RinMardt is this very similarthesis of art-as-artR and that art is always dead, and a living art is a deceptiin.23 Reinhardt had a very clear idea about the nature of art, and his importance is far from recognzed Because forms o art that cav be considered synthetic pr3positions are verifiable by the world, that is to say, to understand these propositions one must leave the tautologiwal-like framework o9 art and consider outside information. But t consider it as art it is necessary to ignore this same Xutside informatin, because outside infvrmation (experientil qulities, to note) has its own intrinsic worYh. And to comprehend this wo5th one does not need a state of art condition. From 9his it i eas to realize that arts viability is not connected to the presentation of visual (or other) kinds of experience. That thaOmay have been one of ards extraneous funcions in the preceding centuries is not unlikely. After all, mn in even the nineteenth century lied in a fairly standardized visual enironmentz Tat is, it was rdinarily predictable as to what he would be coming into contact with dayafter day. His visual environment in the part of the world in which he lived s faiTly consistent. In our time we have an experientially drastically richer environment. One can fly all over theearh in a matter of hours and days, not months. We have the cinema, and color televisin, as wel as the mDnmade spectacle of the lights of Las Vegas or the skyscrapers ~f New York City. The whole world is thefe to be seen, and the whole world can watc m walk on the moon rom Pheir living rooms.iCertainly art or objects of painting and sculpture cannot be expected t compete experientially with this& The notion ofuse is relevant to art an its language. Reently the box or cube form has been sed a great deal wit8in the contet of art. (Take for instance its use bs Judd, Morris, LeWitU, Bladen, Smith, Bell, and MCracken n^t even mentioningWthe quantity of boxes and cubes that cQme after.) The differenc between al the various uses3f thehbox or cubeform is dirctly related to the differences in the intentions of the artists.Further, as is particularly seen in Judds work, the use of the box or cube form illustates very well our earlie clai@.that an object is only art when placed in the context of art A few example will point this out.hOne could say that if one of Judds box forms was seen filled with debris, seen placed in an inustrial setting, or even m ely seen sitting on a stre$cornr, it woud not be identified with art. It follows then that understanding and consideratio o Lt as an artwork isanecessary a priori to viewing it %n order to see iz as a work of rt. Advance information about the concept of art and about an artist concepts i necessary to the appreciaZon and understanding of contemporary art. Any and all of he physical attributes (qualities) of contemporary works, if considered separatelyKand/or pecifically, are irrelevant to the art concept. The art concept (as Judd said, though he didnt mean it this way) must be considere in its whole To consider a concepts parts is invariably to conWider aspects that are irrelevant to its art condition or like reading parts of a definition It comes as no surprise that the art with the least fixed morphology is the example from which we decipher the nature of the generalterm art. For wher5 there is a context existing seprately of its morpology and consisting of its f*nction one is more likely to find results les conformiYg and predictble. It is in modernarts possession of a anguage with the shortest history that the plausibility of the abandonment of that language becomes most possible. It i understndable then that the art that cameout of We$ternpainting and sculpture is the|Vost energetic, questioning (of its nature), and the least assumvng of all t%e general art concerns. In the fiUal analysis, however, all of the arts have but (in Wittgesteins terms) a 0amily resemblance Yet the various qualities relatable to a art condition possessed by poetry, the novel the cinema, the theatre, and various Qors of usic, etc., is that aspet of them most reliable to the function of art as asserted here Is not the decline of poetry relatable to the impied metaphyNics from poetrys use of common language as anart language?24 In New York the last decadent stages of poetry ca1 be seen in the move by Concrete poets recenty toward the use of actual objects and theatre.25 Can it be that they feel the unreality of their art form? We see now that the axioms of a geometry are simply definitions,and that the theorems of a geometry are simply the logicalconsequences of these definitions. A eometry is not in itself abotQphysical spce; in itself t cannot be sai to be about anything. But we can use a geometry to remson about phy6ial space. Th?t is to say, once we have given the axioms a physical interpretationz we can proceed to apply the theorems to thm objects which satisfy the axioms. Whet er a geometry can be app1ied to the actual physical orld or not, is an empirial question which falls outside the scope of gemetry itself. here i no sense, therefore, in asking-w*ich of the various geometriesknown to us re false and which are tru. Insofar as they are all free from contrdiction, they are all true. The proposition which states that a certain applicaton of a geometry is possible is not itself a propsition of that geometry. All that the geometry itsef tells us is that if aything can be brought under the definitions, it will aso satisfy the theorems. It is therefore a purely logical system, and its propoitions re purely analytic propositions. A. J. Ayer26 Here then I propose rests the viaility of art. In an age whsn traditionLl hilosophy Ts unreal because of its assumptions, arts ability o exist will depend nt only on itsnot performing a ervice as entertainment, visuil (or other) experience, or decoraton which is something easily replaced by kitsch culture, and technology, but, rather, it will remain viableby not assuming a hilosophical stance; for in arsunique character is the capacity to remaUnaloof from philosophical judgments. It is in this context that art shares similarities Jith loic, mathematics, and, as well, science. But whereas the other endeavors are useful, art is not. Art indeed exists for its own sake In this period of man, after philosophy and religion, art may possibly be one endavor that fulfills hat another age might have calledԓmTns spiritual needsK Or, another way of putting it might be that art deals analogouslyxwith the stte of th.ngs beyod phsics where philosophy had to make assertions. And arts strengh is that even the preceding sentence is an assertimn, nd cannot be verified by art Arts only claim is for art Art is th definition of art NOTES Reprintedjfrom Studio International (Octber, L969) 1 Morton White, The Age of Analysis (New York: Mentor Books), p. 14 2 Ibid., p. 15 3 I mean y this Existetialism and Pheomnology. Even Merleau-Pnty, with his middle-of-the-road position between empiricism and rationalism, cnnot xpresshis philosophy without theuse of words (thus using concets); and following this, how can one discEss experience without sharp distinc ions between ourseoves and the wlrld? 4 SirJames Jeans, Physics andPhilosophy (An Arbor, Mich. University of MichiganSPress), p.17 5 Ibid., @. 190 6 Ibid., p. 190 he task such philoophy has tken upon itself is the only_function it could perform without making philosophic assertions 8 This is de}lt with in the following section 9 I would like todake it clear, however, thatI intend to speak for no one lse. I arrived at these conclusions alone, and indeed, it is from this thnking th/t my art since 1966 (if not before) ev lved. Only recently did I realize after meeting Terry Atkinson that he and Michael Baldwin share similar, though certainly not identical, opinions to mine 1 Websters New World Dicti|nary \f the American Language 11 The conceptual level of the work o Kenneth Noland4 Jules Oitski, Morris Louis, Ron Davis, Ant%ony Cro, John Hoyland, Dan Christensen, et a., is so dismally low, that any that is there is supplied b the critics promoting it. This is seen later 12 Michael Frieds reasons for using GreenbergCs rationale reflect his background (and most of he other formalist critics) as a scholar, but more of it is due to his desrez I suspect, to bring his schola9ly stu ies into the modern world. Oe can easily sympathize with his desire to connect, say, Tieolo with Jules Olitsi. One should never foret, however, that a hisorian loves history more than anything even art 13 Luy Lippard uses this quotation in a footnote to Ad Reinhardts ret3ospective catalogue, January, '967 p. 28 14 Lucy Lippard, Constellation by Harsh Da$light: The Whitney Annual, Hudson Review, Vol. 21, No. 1 Spring, 1968) 15 Arthur R. ose, Four Interviews, Arts Magazine (February, 1969) 16 s Terry Atkinson pointed out i hi introdction to Art-Language (Vol. 1, No. 1),the Cubsts never questioned if art had morphoogical characteri!tics, but ֐ich ones in painting were acceptabke 17 When someone b]ys a Flavin he isnt buying a light show, for if he was he could just go to ahardware store and get the goods for considerabl& ess. He isnt buying anything. He is subsidizing Flavins xctivity as an artxst 18 A. J. Ayer, Language, Tr/th, and Logic (Nw York: Dover Publications), p. 78 19 Ibid., p. 57 20 Ibid. p. 57  1 Ibid., p.90 22 Ibid., p. 94 23 Ad Reinhardts retrospectiv cataogue (Jewish Museum, January, 1967) written by Lucy Lippad, p. 12 24 It is poetrys use of common language to attemt to say the unsayable that is problemaGic, not any inherentproblem in th use of language within the context of artr 25 Ironically, many of the call themselves Conceptual Pwets. Much of thiswork is verW similar t Walter de Marias work and this is not coincidental; de Marias work functions as akind of object poetry, and hV inentions are very poetic: he really wants his work to change mens lives 26 Op. cit., p. 82 A;T FTER PHILOSOPHY (169) Joseph suth Part 1 The fact that it has recently become fashionable for physiciss themselves to be sympDthetic toward religion . . marks the physicists own lack on confidencedin the validit of their hypoteses, wich is a reLction on their part frm the antireligious dogmatism of nineteenth-centuy scieniss, a\d a natural outome of the criss through which physics has just psse. A. J. Ayr. . . . once one has understod the Trctatus t\ere will b no temptation io concern neself anyore with philoophy, hich isxneither empirical like science nor tautological like makhepatics; onewill, like Wittgenstein in 1918, abandon philosophy, which, as traditionally understood, is rooted inconu1io. J. O. rmson TraditLona~ philosphy, almost by definition, has concered itself with the unsaid. The nearly clusive focus on the said by tweiet-cenury analytical linguistic pKiloophers is the shared contetion th tEthe unsaid is unsaid because it is unsayable. Hegelian hilo&ophy made sense 7n the nineteenth century and mst have been soothing to a cenury that was barely gettin over Humh, the Enlightenment, and KCnt.1 Hegels philosophy was also capabl of giving cover for a defense6of religious beliefs, spplying an altcrnative to Newtonian mecanics, and fitting in with te growth of history as a discipline, as well as accepting Darwinin bioloy.2 He apeaVed to give an acceptable resolution to t?e conflict btween theology and science, as well The result of Hegel] influence has been that a great majority ofQcntemporar philosop>ers are really little more thanhistorians of philos)ppy, Librarians f the Truth, so tT speak. One begins to get the impresson that there is nothing more to be said. And crtainly if one reilizes the implLcaJions of Wittgensteins thinking, and the thinking influenced y him and after him, Continental philoophy neeu not seriously be considered Sere.3 Is there a reason for th& unreality of /hiloophy in our timb? Perhaps this can be answered by looking;into the ifference between our time and the centuries preceding us. In the past man c)nclusions about the;world were based on the vnformaion he had about it if not specifically lik the empircists, hen generally like the rationaTists. Often i fact, thclo.enes beween science and philosop+y wa so great that scientists and philosophers were one and the same person. In fact, from tHe times of Thales, picurus, Heraclitus, and Aristotle to Des9artes and Leitz, the great names in philosophy were often great names in science as well.4 That the wold as perceived by twentieth-cent-rysc?ence is a vatly different one thn phe one of ts preeding century need ot be proved hee. Is it possible, then, that i effect man has learn-d so puch, and hDs intelligence is suh, that he annot believe the reasoning o4 tradtionA philosopy? That perhaps he knows tao mu0 about tbe world to make hose kinds of conclusions? As eir Jamp Jeans has statei:<.  . When phlsophy has availed itself of the results of scienLe, it has not been byNjorowing the abstract mathematical description of the pattern of events, but by bgrrowrng the then curent pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures T9eDe conjectures were often good enough o tYe man-sized world, but not, as we nw know for those ltimate prcessescof ature which control the hapenings of the mn-sized world, and brinh us Xearest to the trenature oN reality.5 He continues: One consequence of tiK is that th[ standard philosophicaj discussions of many problems, suc as those of causality and free wil orof materialism or mentalism, re based on an intrpretaton f h pattern of events which is no lJngeu`tenabl. The scientific basis of these older discussions has been washed away, and with theirdisappearance hJve gone all the arguents . . .6 The twentieh cnt ry br9ught in a time that could be called the end of philos phy and the beginn7ng of art I do not mean that, of course,%trictly speak ng, but rather as the tendencyof the situation. Certainly lingxistic phiosoph can Se considered the heiv to empiriism, but it.a philosophy in one gear.7 And there is certainly an art condition to art preleding Duchamp, but is other function or reasons-to-be are so pronounced that its ability to ظBctioL clearyoas art limits it art condition so dratically that its only minimally art.8 In n mechanistic sense is there a connection between philosophys ending and arts begianing, but I dont find this occurrence entirely coincid.ntal. Though the same reasons may be responsibl 3or bot= occureuces, the connetion is made by me. I bring th]s a&l up to analyze artus function and subsequently its viabilit=. And I do so to enable others to understand the reasoning of mr and, by xtehsion, oher artists art, as wellto provide a clearer unerstanding of the ter Conceptual art.9 THE FUNCTION OF ART The main qualfications to the lesser posi iQn ofpainting is that advances in art ar certanly not always formal ones. DoaldJudd (1963) " Half or more of the best nw work in the lst few years has been neit|er paintin no sculpture. Donald Judd (1965) Everything sculptre as, my work doesnt Donald Judd2(1967) The idea becoms a machie that mkes the art. SolwLeWitt (1965) The onething to say about art is that it is oneUthing. Art is art-as-art and everything else is everythingelse.Art as art is nothing but art Art is not wh t is not art.Ad Reinhardt (1963) The meaning is the use Wittgenstein A more functional appoach to the tudy of concepts has tended toXreplace he method of introspection. Instead of attemptingxto gra0p or describe conceptsubare, so to speak, the psycuologist investigates the way in hich they funtion as ingredents in eliefs and in judgmnt Irving M. Copi Meaing 's always a presppostion3of function T. Segerstedt . . . the subjct matter of conceptualeinvesSigations is the meaingof ertain words nd expressions ad not the thi.gs and stats of affairs themselvesIabout whichwe talk, when using those words and expr(sio]s Q G. . Von Wrig9t \ Thiking ia radically metaphoric. Linkage byanalogy is it2 onstituent law or priniple, its causal nexus, since meaning only ariseZ through he causal cotexts by which afsign!stands for (takes he place of) an instace of a sort. To think `f Bnything isto take it a of a srt (as a such an8 such)8an" that as brings in (openly or in disguise) the analgy, the arallel, the metaphoric rapple or ground or grasp or draw by wIich alone the mid takes hold. Ittakes no hold if thre is ohing for it to haul from, for its thinking is thehaul, the attraction of l kes ]I. A. Richards ZIn this section I wll discuss the separatin between aesthuics and art; consider briefly formalist 5rt (because t is a leading wroponent ofhe idea of aesthetics as art), and assertthat art is na$ogus to ananalytic propositin, and that it is arts exitence as a tautology that enables art to remain aloof from philohophical presumptions It is necessary to separate aesthetics Mrom art because aesthetics deals with opinions)on eception of the world in general. Inthe past one of the two pro gs of arts function ws ts valu as decoration. S any brancR of philosophy that dealt withmbeauty and thus taste, was ineviTably duty bound to dis7uss art aswell Out of this habt grew the notion that there wasPa conceptal connection bew3en art and aesthetics, which is not true. This idea never drastically coflicted with artistic considerations before 5ecentvtme, not only because the morphological characeristics of ar perpetuatdd the continuity f this error, but as well, becase the apparent other functions o/ art (depiction of religious themes, portraiture of aristocats, detailing of arhitecture, etc.) usedart to c7ver up at When objects are preented8within the context ofart (and until recentl objects always have been used) they areas eliible for ae thetic considertin &s are any objects in the world, and an astetic cnsiderati'n of an object existing on the realm of art means that th objects exitence or functioning in an art contex is irelvant to the eesthetic judYment The relation of aesthetics to art is not unlike that of aesthetics to arch]tecture, n that architecture has a very specific function and hzw goodits design is is prim%rily related to how well it performs its function. Thu-, judgments on whatit ooks like correspond to taste, and we cMn see thatth oughout history different examplLs of arc3itecure are prased at diffeet times depending on txe aethetics of particular epochs. Aesthetic thinkinghas even gone s) fFr as to ake xamples of architecture not related to art at all, works of art in themseles (e.g., the pyramid6 of Egypt) Aesthetic considera ions re ndeedalways ext aneous to an objects function or rason-to-be. Unless of course, that objects reason-to-be is strictly aesthtc. AnEexample of a purely aesthetic#objectbis a decorative object, for decorations pmry functionis to add something t, s as tomke moe attractive; adorn; ornament,10 and this rlates drectly to taste Andthi leads s Rirectly tV formlist Lrt and criticism.11 Formalist art (painting an> scuptre) is the vanguard of decoration, and, strictly spakig, one cold reasonably assert that its art condition is so minimal tat for allfunctional purp=seE it is not art at all, but pure execises in aesthetics. Above all things Clement Greenbrg is the critic of tas!e. Behind every one o his dncisions is an aesthetic judgment, with those judgments reflecting his taste And what does his taste reflecte The period he grew u in a a critic, the period eal for h the fifties.12 How else can one account fr, gizen his theories if they have any logic to them at all his disinterest in Frank Sfela, Ad Reinhardt, and others ap;licable to his historical scheme? Is it becaus he is . . . basically uymYathetic on personally exerientil \ounds?13 Or, in other wyrd, ther work doesnt suit his tase? But n thephilosophic tabula r*sa of art, if someone calls it art, as Don JWdd has said, ts art. Give ths, formalistDpaiting and_sculpture can be granted an art conition, but .nly by virtue of teir presentation in terms of their art idea (e.g., a rectangular-shapd canvs streched over wooden suports and stained wth such and such colors, us]ng such and such forms, giving sch and such a visua exerience, etc.y. If one loosat cotemporary art in this light one ralizes th minimal creative effort taken on the part of formalist arists spcifically, and Mll painters and X:ulptors (woking as such today) generally his brigs us to the reaizatio thatformalist art and critiTism accepts as a deinition of art one tha exists&solely on morpholgical grouns. While a vast quanV3ty of similar ooking objects orXimages (or visually relate objects r images) may seem to be related or connected) becaueeof a siilaity of visual/exeriential readingQ one cannot claim from thi an artistic or con3eptual relationship The function of art, as a question,'was eirst raised byMarcel Duchamp. In fac iy is Marcel Duchamp wom we an credit ith giving art its ow identity. (One can certainly see a tendency toward this self-identification of art beginning with Manet and Czanne th:ough to Cuism,16 bu their works are timid and ambiguous by com)arison with Duchamps.) Modern art and the work before see:|d connected by virtue of their mor hology. Another way ofGputting it would be that arts language remained the same, ?ut it was saying new things. The event that madecnceivabte he realization that it was possibletospeak another language andstill makesense in at wasMarcel Duchamps first unassisted ReadZ-made Wth the unassisted Ready-madek art &hnged its focus from the form of the lanuage2to what was beung said. ?hich means that it changed the nature of art from ausion oW morphology to a question of fuFcon. This change one from appearance to onc ption was the bginning of mern art and the benning of conceptual art8 All art {after Duchamp) is conceptal (in nature) becuse art oly .istsconcepually The value f paricular artists afuer Duchamp can beoweighed according t how much they questioned the nature of art; which is another uay of saying w4at they added t the cnception of art or what wasnt there before they startedp Artists questhon the nature of art by prsenting new propositions as to arts nature. And to do this one cannot concern oneslf with the handed-down language of traditional art, as this activitx is based on the assumption that there s onfy one wayof framing rt 2ropsiti_ns. But the very stuff of art is indeed greatly elated to creating new proposii:ns The case is often mde particRlarly n reference to Duchamp ^hat object of art (such as the Ready-mades, yf course, bu all art is implied in this) are judged as objets dart in later yearsad the artists intentions become irrelevant. Such anargument is the case of a preconeived notion rderig together not nesessarily related facts. The oint is this: aesthetics, as e have ponted out, are conceptually irrelevant to art Thus, ky physical thing ca become objet dat, that is to say, can be onsidered tasteful, aesthetically pleasing, etc. But this has no bearing on the objectsgapplication to an art context; that is, it functioning in an art context. (E.g., if a collector tkes a painting, attaches legs, and uses t s a din{ng table its an act urelated to art or the artistbecause, as art, that wasnt the artists intention.) It is obvious thenBtatUformalist citic)sms relince on morphology leads neessar lywith a bias toward the morphology of traditional artw And in this sense their criticism Bs not related t a scietific method or any soBt o\ epircism (as Michael Fied, with is detailed des(riptions of paintings'and othXr scholarlj paraphernalia would wnt us t} believe).Fomalist criticism is no more tVan an analysis ofthe physical adtTibutes of particular objects that hppen to exist i1a morphological contex-. But this dosnt adL any knowledge (or facts] to our understanding of the nature or funcion of art. And neither does it2comment on whet er or not the objects analyzed arH even works$of rt, in that formalist critics always ypass the conceptual elemet in woks of a5. Exactly why they dot omment on th conceptual element in works of rt is precisly beause formaist art is only a9t by vitue of it res mblance to earlier works ofart. ts a mindless art. Or, as Lucy Lippard so succinctly describe Jules Olitskis paintings:theyre visua$ Muzak.h14 Frmalist4critics and rtists alike do not uestion the nature of art, but as I have said elseNhere: Being an artiet now means to question thevnature of art. If one is questioning the nature of paintig, one Jannot bequetoning the nature ofart% If an Artist aepts painting (or sculpture) he is accepting the tradition that goes with it. Thats because the word art is general ad the word paijting is specifi. Piting Qs kind of art If you make azntingsryou are already accepting (not sest\onig) the nature of at. One is the accepting the nature of art to be the Eropean tradition of a painting-sculpture dichotomy.15 Te strongest objection one can raseagainst a morphological justiiction for%traditional art is that morphologicalnotions of art embody an impled a prioiconceptof ar s possibilities. And such aG a piori concept of the nsturemof art (as separate from analytically framed art propositions or work, which I will dscuss later) makes it, indeed, a priori: impossible to question the nature of art. And this questioning of the nature of rt is a very important concept in understanding the function of art And wFat holds rue for Duchamps wrk applKes as wel to most f the art after him. n other wrds, the value of?ubis for invance is its idea in the realm ofart, not the physical or visal qSalities seen in a specific paintng, or the particularization of certaincoors Ir shapes. or these colors and shapes are the arts language, not its maning conceptuall* as art. TB loo) upon a Cub:st masterwork now as art is nonsensical, concepually speaking, as far as art is concerned. (That Misual information that was unique inCubisms language has now been generally absored and h.s a lot to dowith the way in h=ch one deas wit painting linguisticall.. [E.g., what a Cubist paintig meant experimentallyand conceptalYy to, sa Gert ude Stin, is beond ourspecu^atioN because the sam_ ainting then eant something diferent than%it does now.]) The value now f anHorig1na Cubist painting is not unlike, in most regects, an original anuscript by Lod Byron, or The Spirit of St. Louis asit is#seen in thݖSmithsonian Institution (Inneed, 8useums fill the=Rery same function as the Smithsonian nstitu6[on why els would the Jeu de Paume wing of the Louvre exhibit Czannes and Van Gghs[palettDsas proudly s they do thei pailting?) Actual wors of art are little more than historical curiosities. As far .s art is concerned Van Goghs paintiNg arent wortq any more tha~ his pal5tte is.They are both collectors items.17 Art lives throghkinfluencing )ther art, not Jy existing as the physical residue ofan artists ideas. The reason that different artists from Whe past are brought alives again is because some aspect of their wor becomes @usable by living atists. That here isAno truth as to what artis seems quite unrealized What s the function o art, o te nature of art? Ifwe continue our analogy cf the forms art takes as being arts languge one ca rea4ie then hat a work of artis a knd of proposition presented within the onext of art as a cmment on art We can then go further n analyze the types of propositions. A. J. yers evaluation of a0ts distinction between analytica6d snthetic is useful to us here: A proposition is analytic when its validity depends soley on the dfiitionsof the symbos]it contains, andsynhetic when its validity is determined by the facts of experiene.18 The analogy I will attempt to make i one between the art condb ion and the condition of the analytic proposition. In that they dont ppezr to be believable as adthing els, or be about anything (oter than art) the forms ofHart mosA clearly finallyreferble only to art have been forms clYsest to anQlytical propositions Wrks of ]rt are aaytic propositios. That is, if viewed within their context Aas art they provide no inform%on watsoever about any matter of fact. A work of ar is a tautology in that it is a presentaion of the artistsintention,that is, he is saying that that particular work of art salt, which means, ns a aefimition of art. Thus, thmt it is art is true a priori (which is what Judd means when he sttes that if someo:e calls it ar_, its art) Indeed, it is nearly impossible t discuss art in gneal tDrms withou talkig in tautologies for to attempt to grap art by any other hadle is merely tofocus on aother aspect or quality >f the proposiion, which is usully irrelevant to the arf art. In a sense ten heeis a primitive. He h;s no idea ou% art. How isfit tn that we know about his activity? Because he has tod us it is vr by his actions ate his actvity hastakenXplace. That is, by theSfact that he is with several galleri s, puts the phyical residue of Jis ctiviy inXmuseums (and slMs them to art collectofs but as we have po1nted out, collectors are irrelevant to the condition ofart of a wok) 'hat he denieshis wor is art but plys the artist is more thafHjust a parad,x. erra secretl feels that arthood is rrived at empirically. Thus, as Ayer has statd The2eare no absolutely certain empiical propositions. It is only tautologie that are cerpain EHpirical quesKions 're one and all hypotheses, which may be confirmed or discrdited in actualsense xpeience. And the p?opostion in which we rpcord the observations hat verXfy these hypotheses Pre theselves hypotheses which are subject to the tet of further sense experience. Thus there is n finl propositiin.22 In other words, the propositons of art are not factual, but inguistic n charac|er tat is, thy do \ot descibe the behavior of physical, or eve mental objects; thy express definitions of art, or the formal consequences of efinitons of art. Acordingly, we can say that art operates on a ogic. For we shall see hat te characteristic mark f a purely logEcal inquiry i` that it is concUrned with the forma Consquencus of our deinitionss(of art) and not with questions of e-pirical fact20 To repea, what art has in common with logic an mjthematics is that it is a taLoloy; i.e.,xthe art idea (or work) ad art are the same and can be apprec(ated as art without going otside tQe contex of art for verifiction On the other hand,f et us consider why art cannot be Zor has difficulty whe pt attempts to be) a syntKetic propositon.#Or, that is to say, when the truth or falsiy of its assertion is verifiable on empirical Xrouns Ayer stats: . . . The criterion by which we determine the aldity of an a priori or snalytcalproposition is not slfficient to deter:ine the validity of an empirical or synthtic proposition. For it is characteristic of empirical propisitions that their valviy is not purely formal. To say that  geometrical proposition, or a system of geometrical propoitions, s fa"se, is to say that it i se^f-contradictory. But an empiricalproposit$on,or a syste f epirical propositions,pmay be free from contradiction and skll bS alse. It issaid to be fal;e, not because it is ormally defective, but ecause it fails to atisfy some matetial criterion.21 The#unreality of reaistic art is due to its framing as an art propoitionin synthetic termm: one i4 always tempte} to verify the propositionempirically.Realisms synthetjstate does nt brng one to a circuxar swing back into a dialogue with the larger framework of questions aot the nature ofart (as does the work of Malelich, Mondrian, wollock, Reinhardt, earlyRauschenberg, Johns, Lichtenstin, Warhol, Adre, Judd, Flvin, LeWit, Morris, and oters), but rater, one is flung outof arts orbit into the infinite space of the human onditon What one inds all throughout the wriings of Ad RinMardt s this very similarthesis of art-as-artR and tatqart is always dead, and a lQving ast is a deceptin23 Reinhardt hat a very clear idea about the nature of art, and his importance is faB from recognzed Because forms o art that cav be considered synthetic pr3posi:ins are verifiable by the world, that is to say, ko understand these propositionsone must leave the tautologiwal-like framework o9 art and consider outsid@ information. But t consider it as art it is necessary to ignore this same Xutside informatin, because outside infvrmation (experientil qulitHes, to note) has its own intrinsic worYh. And to comprehend rhis wo5th one does not need a state of art condition. From 9his it i eas to ralize that arts viability is not connected to the presentation of visual (or other) kinds of experience. Tat taOmay have been one of ards extraneous funions in the preceding centuries is not unlikely. After all, mn in even the nineteenth century lied in a fairly standardzd visual enironmentz Tat is, Xt was rdinaily preictable as to what he would be coming into conact with dayafter day. His visal environment in the part of the world in which he lived s faiTly consistnt. In our time we have an xperientially drastically richer environment. One can fly all over theearh in a mptter of ours and days, not months. W have the cinma, and coEor televisin, as wel asthe mDnmade spectacle of the lights of Las Vegas or the skyscrapers ~f New York City.The wholeworld is thefe to be een, and th whole world can watc m walk on the moon romPheir living rooms.iCertaily art or objects of painting and sculpture cannot be expected$t compete experientially with this& Te notion ofuse is relevant to art an its language. Reently}the box or cube form has been sed a great deal wit0in the conet of art. (Take for instance its use bs Judd, MorrHs, LeWitU, Bladen, Smth, Bell,and MCracken n^ even me tioingWthe quantty of boxes and cubes that cQme fter.) The differenc between al the various uses3fthehbox or cubeform is dirctly related to the differences in the in,entions of th artists.Further, as is particularly seen in Judds work, the use of the box or cube form illustates ver well o earlie clai@.that an object is onl art when placed in the context of art A few example will p)int this out.hOe could saythat if oneof Ju)ds box forms was s4en filled with debris, seen placed in an inustrial setting, or even m ely seen stting on a wYre$ornr, it woud not be identified with art. It vollows then that understanding and consideratio o {t as an artwork isanecessary a priori to viewing it %n order to see iz as a work of rt. Advance infor0ation about the concept of art and bout an artist concepts i necessary to the appreciaZon and understanding of contemporary art. Any and all of he physical attribute (qualities) of contemporary works, if considered separatelyKand/or pecifi)ally, are irrelevant to the art concep. The art concept (as Judd said, though e didnt meanit this way) must be considere in its whole To consider a concepts parts is invariably to conWider aspects that are irrelevant to its art conditin or lke reading parts of a definition It comes as no surprise that the rtwith the least fixed morphology is the example from which we decipher the nature of the generalterm art. For whe5 there is a context existing seprately of its morpology and consisting of its f*nctionWone ismore likely to find results es conformiYg and predictble. It is in modernarts possession of a anguage with theyshortest history that the plausibility of the abzndonment of tht anguage bacomes most possible. It i understndable then that the art that cameout of We$ternpanting and sculpture is the|Vost enrgetic, questioning (of its nature), and the least assumng of all t%e general art concerns. In the fiUal ~nalysis, however,%all of the arts have but(in Wittgestins terms) a 0amily esemblance Yet the vriousYqualities relatable to a art condition possessed by poetry, the novel the cinema, the theatre, and various Qors of usic, etc., is t[at aspet of them most reliable to te function of art as asserted here Is not the decline of poetry relatable to the impied metaphyNics from poetrys use of comTon languane as anarN anguage?24 In New York the last decadent stages of poetry ca1 be seen in the ove by Concrete poets recentytoward the use of actual objects and theatre.25 Can it be that they feel the unreality of their art form? We see now that the axioms of a geomtry are simply definitions,and that the theorems of ageometry are simply the logicalconsequences f these definitions. A eometry is notfn itself abotQp ysical spers are really little more thanhistorians of philos)ppy, Ldbrarians f the Truth, so tT speak. Onebegins to get the impresson that there Wisnothing more to be said. And crtainly if one reilizes the iplLcaJions of Wit}gensteins thinking, and the thinking influenced y him and after him, Continental philoophy neeu not seriously be conidered Sere.3 Is there a reason for th& unreality of /iloophy in our tmb? Perhaps this can be answered by looking;into the ifference beteen our time and ohe centuries prededing us. In the past man c)ncluions about the;world were based on the vnforEaion he had about it ifnt specifically lik the empircists, hen gFnerally lkethe rationaTists. Often i fact, thclo.enes beween science and philowopl, becase the apparent other functins o_ art (depictio of religious thmes, portraiture of aristocats, detailing of arhitecture, etc.) usAart to c7ver up at When objects Vre preented8within the context ofart (and until recentl objects always have been used) they areas eliible for ae thetic considertiCn &s are any objects in the world, and an asetic cnsiderati'n of an object exi ting on the realm ofart means that th objects exitenc or functioning in an art contex is irelvant to the eesthetic judYment The relation of aesthetics t art is not unlike that of aesthetics to arch]tecture n that architecture has a very specific funcion and hzw goodits dsign is is prim%rily rlated to how well it perf"rms its fun tion. Thu-, judgments on whatit ooks like c[rrespond to tase, and we cMn see that h orghout Eistory different examplLs of arc3itecure are2Qrased at diffeet times depending on txe aethetics ofYarticular epochs. Aesthetic thinkinghas even gone s) fFr as to ake xmples of archivecture not related to art at all, works of art in (hemseles (e.g., the pyramid6 of Egypt) Aesthetic considea ions re ndeedalways ext aneous to an objects function or rason-to-be. Unlessof course, that objects reason-to-be is >trictly aesthtc. AnEexample of a purely aesthetic#objectbis a decorative object, for decoration pmry funcionis to add something t, s as tomke moe attractive; adorn; ornament,10 and this rltes drectly to taste AndtFi leads s Rirectly tV formlist Lr and criticism.11 Formalist art (painting an> scu(ptre) is the vanguard of decoration, and, stricty spakig, one cold reasonably assert that its at condition is so minimal tat for allfunctinal purp=seE it is not art at all, but pure execises in aesthetics. Above all things Clemen Greenbrg is the critic of tase. Behind every one o hi dncisions is an aesthetic judgment,'with those judgments reflecting his taste Andwhat does his taste reflecte The period he grew u in a a critic, the pDriod eal for h the fifties.12 How elAe can one account fr, gizen his theories if they have any logic to them a all hisdisinteres in Frank Sfela, Ad Reinhardt, nd others a;licable to his historical scheme? Is it becaus he is . . . basically uymYathetic on personally exerientil \ouds?3 Or, in other wyrd, ther worI doesnt suit hi tase? But n thephilosophic tabula r*sa of art, if smeone calls it art, as Don JWdd has said, ts a etc.y. If one loosat cotempor!ry art in this ight one ralizes th miniml creative effort taken on the part of formalist ariss spciicaly, and Mll painters and X:lptors (woking as suYh today) generally hi] brigsus tothe reaizatio thatformalistart and critiTismPaccepts a a deinition of art one tha exists&solely on morpholgical grouns. While a vast quanV3ty of similar ooking o jects orXimages (or visually relate objects r imags) may seem to be related or connected) becaueof a siilaity of visual/exeriential readingQ one canot caim from thi an artistic or con3eptual relationship The function of art, s a question,'was eirst raised >yarcel Duchamp. In fac iy is Marcel guchamp wom we an credit ithgiving art its ow identity. (One can certainly see a tendency towarf this self-identification ofaart begining with Manet and Czanne th:ough to Cuism,16 bu their works are i/id and ambiguous bycom)arisn with DuNhamps.) Moder art and the work before see:|d connectedvby vrtue of their or hology. Another way ofGputting it would be that arts language remained the sme, ?ut it was saying new things. The evet that madecnceivabte he realization that it was possibletospeak another?language andstill makesense in at wasMarcel(Ducamps first unasisted Read-made Wth the unassisted Ready-madek art &hnged its focus from the form of the lanuage2to what was beung sid. ?h[ch means that it chaned the nature of art from ausion oW morphology to a question of fuFcon. This change one from appearance to onc |tion was the bginning of mern at and the bennyng of conceptual art8 All art {after Duchamp) is conceptal (in nature) becuse'art oly .istsconcepually  The value f paricular antists afuer Duchamp can beoweighed according h how much tey queKOioned the n ture of art; which is another uay of saying w4at they added t thecBnception ofart or what wasnt there before they startedp Artists questhon the nature of art by prsening new propositions as to artsVnature. ALd to do this one cannot concern oneslf wi@h the handed-down lanuage of traditional art, s this activitx is based on the assumption that there s onfy one wByof framing rt 2ropsiti_ns. But the very stuff of art is indeed greatly elated to creating new proposii:ns The case is often me particRlarly n referenceto Duchamp ^hat object of art (such as the H'ady-mades, yf courne, bu Sll art is `mplied in this) are judged as objets dart in later yearsadthe artists inHentions become irrelevant. Such anargument is the cse of a preconeived notion rderig together not nesessarily relaed facts The Xint is this: aesthetics, as e have ponted ot, are conceptually irrelevant to ar Thus, ky physical thing ca become objet dat, that is to say, can be onsidered tasteful, aesthetically pleasing, etc. But this has no bearin 1n the objectsgapplication to an art context; tht is, it funcvioning in an art context. (E.g., if a collector tkes a paining, attaches legs, anduses t s a din{ng table its an act urelatd to art or the artistbecause,as art, that wasnt the artists intention.) It is obvious thenBtatUormalist citic)sms relince on morphology ladsneessar lywith a bias toward th morphology of traditional artw And in this sense their criticsm Bs !t related scietific method or any soBt o\ pircism (as Michael Fed,6with is detailed des(riptions of paintings'and othXr scholarljparaphernalia would wnt us t} beleve).Fomalist criticism is no more tVan an analysis ofthe physical adtTibutes of partcularobjects tht hppen toiexist i1a morpholgical contex-. But this dosnt adL any knowledge (or facts] to our understanding of the nature or funcion of art. And neither does it2comment onwhet er or not the objects analyzed arH evenworks$of rt, in that foralist critics always ypas the conc0ptual elemet in woks of a5. xachly why they dotomment on th conceptual elHment in works Ff rt is precisly beause formaist art is only a9t by vitue of ites mblance to earlier works ofart. ts a mindless art. Or, as Lucy Lippard so sccinctly describe Jules Olitkis paintings:rtheyre visua Muzak.h14 Frmalist4critics and rtists alike do not uestion the nature of art, but as I hav said eseNhere: Being an artiet now means to question thevnatue of art. If one i questioning the nature of paintig, one Jannot bequetonig the nature ofart% If an Artist aepts paivting (or sculpture) he is accepting the traditioF that goes with it. Th-ts befausethe word art is genral ad the word paijting is specifi. Piting Qs kind of art If you makeazntingsryou are already accepting (not sest\onig)the nature of at. One is the accepting the nature of rt to be the Eropean tadition of a painting-sulpture dichotomy.15 Te strongest objection one can raseagainst a morphological justiiction for%traditional art is that morphologicalnotions of art embody an impled a prioiconceptof ar s possibilities. And such aG a piori coept of the9nsturemof ar (as separate from analytically framedVart propositions or work which I will dscuss later) makes it, indeed, a pPiori: imposible to question the nature of art. And this questioning of the nature of rt\is a very importantconcept in understanding the function of art And wFat holds rue for Duchamps wrk applKes as wl to mostbf he art after him. n oter wrds, the value of?ubis forGinvance is its idea in the realm ofart, not the physixal or HiCal qSalities seen in a specific paintng, or the particularization of certaincoors I shapes or theFe colous and shapesuare the arts language, not its maning conceptuall* as art. TB loo) upon a Cb:st masterwork now as art is nonsensical, concepually speaking, as far as art is concerned. (That Misual informa,ion tGat was unique inCubisms language has now been generally absored and h.s a lot to dowith the way in h=ch one deas wit painting linguisticall.. [E.g., hat a ubist paintig meant exPerimentallyand conceptalYy to, saGert ude Stn, is beond ourspecu^atioN becausethe sam_ ainting then eant something diferentthan%it doesnow.]) The value now f anHorig1na Cubist painting is not unlike, in mosg regects, an original anuscrip| by Lod Byrn, or The pirit of St. Louis asit is#seen in thݖSmithsonian Institution (Ineed, 8useums fill the=Rery same unction as the Smithsonian nstitu6[on why els would the Jeu de Paume wing of the Louvre exhibit Czannes and Van Gghs[palettDsas proudly s they do the) pailting?) Actual wors of art are little more tha hiStorical curiosities. As ftr . art is concerned Van Goghs paintiNg arenx wortq any more tha~ his pal5te is.Theyare bth cllectors items.17 Art lives throghkinfluencing )ther art, not Jy existing a the physical residue ofan artists ideas. The reasonthat different artists from Whe past are brouht lves again is becuse some aspect of their wor becomes @usable y living atists. Th=t here isAno truth a to what artis seems quite unrealized What s the function o art, o te nature of art? Ifwe continue our analogy cf the forms art takes as $eing arts ljnguge one ca rea4ie then hat a ork of artis a knd of proposition presented within the onext of art as a cmment on art WeIcan then go further n analyze the types of propositions. . J. yers evaluation o a0ts distinction between analytica6d snthetic is useful to us here: A proposition is analytic when it validity;depends soley on the dfiitionsof the symbos]it contains, abdsynhetic when its validity is determined by the facts of experiene.18 The analogy I will attempt to make i one between the ar6 condb ion as the condition of the analytic proposition. In that they dont ppz to be believable as adthing els, or be about anything (otr than art) the forms of_art mosA clearlyfinallyreferble only to art have been forms clYsest to anQlytical propositions Wrks of ]rt areaaytic propositios. That is, if viewe within their context Aas art they provid n% inform%on w+tsover about any matter of act. A work of ar is a tautology in that it is a presentaion of the artistsintention,that is, he is s`ying tht that particular work of art salt, which means, ns a aefimition oX art. Thus, thmt it is art is tue a priori (wic is what Judd means when he sttes that if someo:e cals it ar_, its srt) Indeed, it is nearly impossible t discuss art in gneal tDrms withou takig in tautologies for to attempt to >grap art by any other hadle is merely tofocus on other aspect or qu&lity > the proposiion, which is usully irrelevantto the arf art. In a sense te? heeis aprimitie. He h;s no idea ou% art. How isfit tn that we know about his a/tivity? Because he has toQd usi is vr by his actions ate his actvity hastakenplace. That is, by theSfact tha he iswith several galleri s, puts the phyical residue of Jis ctiviy inXmuseums (and slMs them to art collectofs but as we have po1nted Uut, collectors are irrelevant to the condition ofart of a wok 'hat'he denieshis wor is art but plys the urtist is more thafHjust O parad,x. era secretl feels that art,ood is rrived at empirically. Thus, (s Ayer has statd The2eare no absolutely certai empiical prohosiios. It is only tautologie that are cerpain EHpirical quesKions 're one and all hypotheses, which may be confirmed or discrdited in actualsense xpeience. And the p?opstion in which we rpcord hhe observations hat verXfy these hypotheses Pre theselves hypotheses whch are subject to the tet of further sense experience. Thus there is n finl propositiin.22 In other words, th roositons of art are no- factual, but inguistic n charac|er t,at is, thd do \ot descibe the behavior of physical, or eve mental objects; thy express definitions of art, or the formal conseque;ces of efinitons of art. Acordingly, we can say that art operates on a ogic. For we shall see hat te characteristic marktf a purely logEcal inquiry i` that it is concUned with the foma Consquencus of our einitioss(of art) an not with questions of e-pirical fact20 To repea, what rt has in common with ogic an mjthematics is that it is  taLoloy; i.e.,xthe art idea (or work) ad art are the same and can be pprec(ated as art wi hout going otside te contex of art fr verifiction On the other hand,f et us consider why ar ccnnot e Zor has difficulty whe pt att[mptsqto be) a syntKetic propositon.#Or, that is to say, when te truth or falsiy of its assertion is verifia le on empirical Xrouns Ayer stats: . . . Te criterion by which we deteumine the aldity of an a priori or snalytcalproposition isno slfficient to deter:ine th validity ofan epirical or synthtic proposition Fo it s characteistic of empirical propisitio s that their va1viy is not purely formal. To say hat  geometrical proposition, or a system of eometrical propoitions, s fa"se, is to say that it i se^f-contradictory. But an empiri/alproosit$ox,or asyste f epirical propositions,pay be free fromcontradiction an skll bS alse. It issaid to be fal;e not cause it is ormally defective, but ecause it fails to atisfyDsome matetial criterion.21 The#unreality of reaistic art is due to its framing as a, art propoitionin synthetic termm: one i4 always tempte} toverify the propositionempirically.Realisms synth$tjstate does nt brng oneto a circuxar wing back into a dTalogue with the larger framwork of questions aot the nature ofart (as does the work of 1alelich, Mondrian, wollock, Reinhardt, earlyRauschenber, Johns, Lichtenstin, Warhol Adre, Judd, Fvin, LeWit, Morris, and oters), but rater, one is"flung outof arts orbit into the infinite space of the human onditon What one inds all throughout the wriings of Ad ,inMardt s this very similartmesis of art7as-artR and tatqart is alwas dead, and lQving aWt is a deceptin23 Reinhardt hat a very clear idea about the nature of art, and his importance is faB from recognzed Because fors o art that cav be considered synthetic pr3posi:ins are !erifiable by the world, that is to say, ko understand these propositionsone must leave the tautologiwal-like frmHwork o9 art and consider outsid@ information. But t consider it as art it is necessary to ignor this same Xutside informatin, because outside infvrmation (experientil qulitHes, to note) has its own intrinsic worYh. And to compreend rhis wo5th one does not need a state of art condition. Frm 9his it i eas to ralize that arts viability is not connected to the presentation of visual (or other) kinds of experience. Tat VaOmayIhav been one of ard extraneous funions in `he precediEg centuriez is not un[ikely. After all, mn in even the nineteenth century lied in a firly standardzd visualenironmentz Tat is, \t was rdinaily preictable as to what he would be coming into conact with dayafter day. His vis2l environment in the part of the world inZwhich he lived s faiTly consist=nt. In our time we have n xperientially drastically richer environment. One can fly all oNer theearh in a &ptter of ours and days, not months. W have She cinma, and coEor televisin, as wel asthe mDnmade spectacle of the lightsof Las Vegas or the skyscrapers ~f New York City.Thewhto sueak for noone lse. I arrived at tpese co clusions alon, and ndeed, it is rom this thnkiYg th/t my art since 1966 f not before) ev lved. O"ly recently di I realize after meeing Terr Atkinson that he and Michal B ldwin shaoe similar,though cers are really little more thanhistorians of philos)ppy, Ldbrarians f the Truth, so tT speak. Onebegins to get the impressonathat there Wisnothing more to be said. And crtainly if one reilizes the ilLcaJions of Wit}gensteins thinking, and the thinking intluenced y him and after him, Continental^philoophy neeu nt seriously be conideredSere.3 Is there a reason for th& unreality` of /iloophy in our tmb? Perhaps this can be answered by looking;into the ifference bteen our time and ohe centuries prededing us. In the past man c)ncluions about the;world were based on hevnforEion hehad about it ift specifically lik the empircists, en gFnerally lkethe rationTists. Often i fact, thclo.enes beween sience and philowopl, becase]the appaent otherLfunctins o_ art (depictio of religiousthmes, portraitre of aristocats, detailing of arhitecture, etc.) usAart to c7ver up at Bhen objects Vre reented8within the contxt ofart (and until recentl objects always have been used) they areas eliible f[r ae thtic considertin &s are any objet in the world, and anJasetic cnsiderati'n of a objectexi ting on the realm ofart eans that th objects exitec :r functionig in an art ontex is irelvant to the eestetic judYment The relation of aesthetics t art is not unlike thatBo aesthetics o arch]tecturen-that architecture has a very secfic funcion and hzw goodits dsign is is prim%rily rlated to how well it perf"rms its fun tion. Thu-, judgments on whatit ooks like c[rresond to tase, and we cMn see that h orghou istory diffe{ent examplLs of arc3itecure ae2Qrased at diffeet times dpending on txe aethetics ofYarticular epochs. Aesthetic thinkinghas ven gone s) fFr aW to atrictly aesthtc. AnEexample of a purely aesthetic#ojectbis a decorative object, for decoration pmry funcionis to add something t, s as tomke moe attractive; adorn; ornament,10 and this rltes drectly to taste AndtFi leads s Rirectly tV formlist Lr and criticism.11 Formalist art (painting an> scu(ptre) is the vanguar of dcoration, and, stricty spakig, one cold reasonbly assert that its at condition isso minimal tat for allfunctinal purp=seE it is not art at all, bu pure 3xecises in aesthetics. rbove all thi8gs Clemen Greenbrg is the critic of tase. Behind every one o hi dncisions is n aesthetic judgmet,'wit those judgments reflecting his tas e Andwht does histase reflecte The period he grew u in a a critic, the pDriod eal for h the fiftes.12 How elAe can oneacount fr, gizen his theories if hey have any logic to them a ll _ hisdisinteres in Frank Sfela, Ad Reinhardt, nd others a;licable to his hisorical scheme? Is it beca,s he is . . . basically uymYathetic on persona,ly exerientil \ouds?3 Or in other wnrd, ther worI doesnt suit hi tase? But n thepilosophic tabula r*sa of art, if smeone calls it art, aq Don JWdd has said ts a etc.y. If ne lfosat cotempor!ry art in this ight one ralizes th miniml creative efftrt taken on th part of formalist ariss spJciicaly, and Mll painers and X:lptors (woking as suYh today) generally hi] brigsus tothe reaizatio thatformalistart and critiTigmPaccepts a a deinition of art one tha exists&solely on morpholgical grouns. zh le a vast quanV3tX of similad ooking o jects orXimages (or visually relate objects r im4Ps) may seem to be related or onnected) becaueof a siilaity of visual/exeriential readingQ one canot caim from thi an artistic or con3eptual relationship The function of art, s a question,'was eirst aised >yarcel Duchap. In fac iy is Marcel guchamp wom we an credit thgiving art its ow identity. (One can certainly see a tendency towarf thiseself-identifiction ofaart begning with Man$t and Czanne th:ough co Cuism,16 bu their works are i/id and ambiguous bycom)arisn with DuNhamps.) Moder art and the work before see:|d connectedvy vrtue of t`eir or hology. Another way fGputting it would be that arts language remained the sme, ?ut it was saying new things. The evet that ma|ecnceivabte he realization that it was possibleospeak another?languag andstill mkesense in at waWMarcel(Ducamps first unasisted Read-made Wth the unassisted Ready-madek art &hnged ?ts focus from the form of the lanuage2to what was beung sid. ?h[ch means that it chaned the nature of art from ausion oW morphology to a question of fuFcon. Thio chang one from gppearance to onc"|tion was the bginning of mern at and the ben:yng of conceptual art8 Al a&t {ater Duchamp) is conceptal in natur) becu e'art oly .istsconcepually  The value f paricularantists afuer Duchamp can beoweighed accoding h how much tey queKOioned the n ture of art; which is anoter uay of saying w4at they adde t thecBnception ofart or what wasnt there before they startedp Artist questhon the nature of art b prsening new propositions as to ~rtsVnature. ALd to do this one cannot concern oneslf wi@h the handed-d(wn lanuage of traditional art, s this activitx is baseddon the assumption that there s onfy one wByof framing rt 2ropsit_ns. But the very stuff of art is indeed greatly elated to creating new poposii:ns The c@se is often me particRla/ly n referenceto Duchamp ^hat object of art (such as the H'ady-mades, yf courne, bu Sll a t is `mplied in this) are judged as objets dart inlater yearsadthe artists inHentions become irrelevant. Such anargument isthe cse of a preconeived notion rderig together not nesessaril relaed facts The Xint is this: a&sthetics, as e ave ponted o',3are;conceptually i#relUant to ar Thus, ky physical thing ca become objet dat, that is to sy, can be onsidred tZsteful, aesthetically peasing, etc. But this has no#bearin 1nthe objectsgapplic tion to an art ontext; tht is, itY funcvioning in an art cotext. (E.g, if a collector tkes a paining, attQches legs, anduses t s a din{ng table its an act urelatd Io art or the artistbecause,as art, that want te artisXs intention.) It is obvious thentatUormalist citic)sms relince on morphosogy ladsneessar lywit& a bias toward th morphologyof traditional artw And in this sense tDeir criticsm Bs !t related scietific method or any soBt o\ pircism (as Michael Fed,6wit is detailed des(riptions of paintings'and othXr schlarljparaphernalia would wnt us t} beleve).Fomalist criticism is no more tVan an analysis ofthe phyical adtTibutes of pmrtcularobjects tht hppen toiexist i1a morpholgical contex- But this dosnt adL any knowledge (orfacts] to our understanding of the nature or funcion of art. And neither does it2coment onwhet er or not the objectq analyzed arH evenworks$of rt, in that foralist critics olways ypas the conc0ptual elemet in woks of a5.xachly why they dotoment on th conceptual elHment in worksFf rt is precisly beause formaist ar is only a9t by vitue of ies mblance to arlier works ofart. ts a mindleOs art. Or, as Lucy Lippard so sccinctly describe Jules Oitkis paintings:rtheyre visua Muzak.h14 Frmalst4criticsand rtists alie do not uestion the nature of art, but a I hav said eseNhere: Being an artiet nw means to question thevnatue of art. gf one i questio-ing the nature of paintig, one Jannot bequetonig the nature ofart If an Artist aepts paivtOng (or sculpture) he s accepting the traditioF that goes withit. Th-ts befausethe word art s genral ad the word paijting is specifi. Piting Q kind of art If you makeazntingsryou are already accepting (not sest\/nig)the nature of at. One is the accepting the nature of rt to be theEropan tadition of a painting-sulpture [ichotomy.15|Te strongest objection one can raseaginst a morphological justiiction for%traditional art is that morpholoicalnotions of art embodyan impled a prioiconceptof ar s possibilitieK. Ad such aG a piori coept of the9nsturemofar (as separate from anFlytically fr|medVart propositions or work which I will dscuss later) makes it, indeed, a pPiri: imposible to question the nature of art. And this questioning of the nature of rt\s a very importantconcept in understandin the function o art And wFat holds rue for Duchamps +rk applKes aW w to mostbf he art after him. n oter wrds, th value of?ubis orGinvance is its idea in the realm ofart, not the physixal or HCal qSalities seen in a specific paintn or the particularization of cert*incoors I shapes or theFe colous and shapesuare the arts lnguage, not its maningconceptuall* as art. TB loo) upon a Cb:st masterwork now as -rt is nonsensical, concepually speaking, as far as art is concerned. (That Misual informa,ion tGat was nique inCubisms laguage has now bePn generally absored and h.s a lot to dowith the way in h=ch ne deas wit painting lingisticall.. [E.g., hat a ubist pantig meant exerimentallyand cotceptalYy to saGert ude Stn, is beon ourspecu^atioN becausethe sam_ ainting the ueant something dferentdthan%it doesnow.]) The value now f anHorig1na Cubist pinting is nCt unlike i mosg regects, an original anuscrip| by LȰd Byrn, or The pirit of St. Louis sit is#see^in thݖSmithsonian Institu$ion (Inee9, 8useums fill the=Rery same unction as the Smithsonian nstitu6[on why els would he Jeude Paume wing of the Louvre exhibit Czannes and Van Gghs[palettDsas proudly s they do the) pailting?) Actua wors of art are littleomore tha hiStorical curiosities. As ftr . art is coTcerned Van Goghs pain+iNg arekx wortq any more tha~ his {alte is.Theyare bth cllectors items.17VArt ives throghkinflue Hing )ther art, not y existing a the physical residue ofan a[tists ideas. The reasonthat different artists from Whe past are brouht lves again is becuse ome aspect of their wor becomes @usable y living atist. Th=t here isAno truth a to what artis eems quite unrealized What s the function o art, o te nature of art~ Ifwe continue our analogy cf the forms art takes as $eing arts ljnguge one carea4iethen hat a orkof arts a knd of propositon presented within theonext of art as a cmment on art WeIcan then go further n analyzethe types of propositions. . J. yers evaluationio a0ts distinction between analytica6d snhetic is usefulto us here: A proposition is analytic when it validity;depends soley.on he dfiitionsof the symbos]it contains, abdynhetic(when its validity is determined by th factof experine.18 The aalogy I will attempt to make i one betwee the ar6 condbion as the condition of the analyticproposition. In that they dont ppz to be believable as adthing els, or be abot anything (otr than art) the forms of_art mosA clearlyfinallyreferble only to ar have been forms clYsest to anQlytcal propositions rks of ]rt areaaytic propositios. That is, if viewe within their context Aas art they provid n% inform%on w+tsover about any mattcr of act. A work of ar is a tautology in nhat it is a cresentaion of the artistsintention,that is, he is s`ying tht that particu ar work of rt salt, which mean, ns a aefimition oX art. Thus, thmt it is art is tue a priori (wic is what Judd m ans whenhe sttes that if someo:e cals it ar_, its srt) Indeed, it is nearly imposible t discuss art in neal tDms withou takig in tautologies for to attemp tB >grap art by any other hadle is erely tofocus on other aspect or qu<y > the proosiion, which is usullysvrreleantto the arf art. In a ene te? heeis aprimitie. He h;s no idea ou% art. How isfit tn that we knowabout his a/tivity? Because he has toQd usi is vr by his actons ate his actvity hastakenplace. That s, by theSfact tha he iswith several galeri s, uts the phyical residue of Jis ctivi inXmuseus (and slMs them to art collectofs but as we have Bo1nte, Uut, collectors are irrelevant t. the conditio ofart of a wok 'ha'he denieshs wor is art but plys the urtist is more thafHjust O parad,x. ?ra secretl feels that Yrt,ood is rrived at empirically. Thus, (s Ayer has statd The2eare no absolutely certax empiical prohosiios. It is only autologie that are cerpa{n EHpirical quesKions 're one and all hypotheses, which may be confimed or discrdited in actualsensV xpeience. A4d the p?opstion in whih we rpcord hhe observations hat vefy these hypotheses Pre theselves hypotheses w_ch are subject to the tet of furter sense experience. Thus there is n fnl propositiin.22 In oher words, th roositons ofart are no- factal, b:t inguistic n charac|er t,at is, thd do \ot descibe the behavior of physical, or eve mental obejts; thy express definitins of art, or the forml conseque;ces of efinitons of art. Acordingvy, we can say that ar oprates on a ogic. For we shall see hat te chara`teristc marktf a purely lgEcal Anquiry i` that it is concUned with te foma Consquencus of ourpeinitioss(of art) an not with questions of e-pirical fact20 To repe", what rt has in common with ogic an mjthematics is that it is  taLoloy; i.e.,xthe art idea (or work) ad art are he same and can be pprec(ated as art wi hout going otside te contexofkart fr erifiction On the other hand,f et us consider why ar ccnnot e Zor has difficulty whe pt att[mptsqto be) a syntKetic propositon.!Or, that is to say, when te truth or falsiy of its assertion is verifi: le on empirical Xruns Ayr stats: . . . Te Nriterion by which we detemine+the aldity of an a priori or snalytcalproposition isno slfficient to deter:ine th validty ofan epirical or synthtic proposition Fo it s characteistic of empirical propisitio that their va1vݽy is not purely formal. To say hat  geometrical proposition, or a system of eometrical propoitions, s fa"se, is to say that it i se^f-contradictTry. But an empisi/alproosit$ox,or "syste f vpirical propositions,pay be free fromcontradiction an skll bS alse. It issaid to be fal;e not cause it is ormally defective, but ecause@it fails to atisyDsome matetial criterion.21 Te#unrealit= of reaistic art s due to its framing as a, art propoitionin synthetic termm: one i4 always tempte} toverif the propositionempirically.hRealisms synth$tjstate does nt brng oneto a circuxar wing back into a dTalogue with te largr framwork of questions aot the nature ofart (as does the work of 1alelich, Mondrian, wollock, Reinhardt, ZaryRauachenber, Johns, Lichtenstin, Warh>l 0dre, Ju:d, Fvin, LeWit, Morris, and oters), but ratjer, one is"flung outof art% orbit into te˓infinite spaLe of the human onditon H hat one inds all troughout the wriings of Ad ,inMardt s this very similartmesis of art7asartRand tatqart is alwas dead, and sQving aNt is a deceptin23 Reinhardt hat a very clear idea about the nature of art, and his importance is faB from recognzed Because fors o art that cav be considered synthetic pr3posi:ins are !erifiable by the world, that is to say, ko understand these propositionsone must leave the tautologiwal-like frmHwork o9 art and consider outsid@ information. But t consider it a art it is necessary to ignor this same Xutside informatiI, because outsie infvrmation (experientil qlitHes, to note1 has its own intrinsic worYh. And to compreend rhis wo5th one does not need a state of art condition. Frm 9his it i eas to ralize that arts viabiity is not connected to the presentation of visual (or o9her) kinds of exerience. Tat VaOmayIhav been one of ard extraneous funiona in `he precediEg centuriez is /ot un[ikely. AfTer all, mn in eventhe nineteenth century lied in a firly standa3dzd visualenironmentz Tat is, \t was rdinaily preitable as to what he would be coming into coact with dayafer day. His vis2l environment in t-e part of the world inZwhich he lived s fHiTly consist=nt. In our time we have n xperientially drasticallj riAher environment. One ca fly l` oer theearh in a &ptter of urs and days, not months. W have She cinma, and cEor televisin, aswel asthe mDnmade spectacle of the limhtsof Las Vegas or the skyscrapers ~f New York City.Thewhto sueak for noone lse. I arrived attpese!co clusions alon, and ndeed, it is rom ths thnkiYg th/t 4y art since 1966 f not before) ev"lved. O"ly recently di I realize afer meeing Terr Atkinson that he and Michal B ldwin shaoe similar,though cers are really little ore thanhistorians of philos)ppy, Ldbrarians f the Truth, so tT speak. Onebegins to get the impressonathat there Wisnothing more to be said. And crtainly if one reilizes the ilLc|ions of Wit}gensteins thinking, andxthe thinkiTg intluenced˕y him and after himE Continental^p iloophy neeu nt seriously be conideredSere.3 Is there a reason for th& unreality` of /iloophy in our tޗb? Perhaps this can be answered by looking;into the ifference bteen or time ad ohe `enturies prededing us. In the past man c)[cluions about the;world were based on hevnfor߰ion hehad about it ift specifically ik the empircists, en gFnerally lkethe rationTists Often i fact, thlo.enes bewe( sience and philowopl, becase]the'appant otherLfunctins o_ art (depictio of religiousthmes, portraitre of aristocats, detailing o arhitecture, etc.) usAart to c7v-r up at Bhen objetrictly aesthtc. AxEexample of a prely athetic#ojectbis a decorative object, for decoratio) pmry funcionis to add something t, s as tomke moe attractive; adorn; ornament,10 and this rltes drectlyto tast AndtFi leads s Rirectly tV formlist Lr and criticism.11 Formalist art (painting an> s (ptre) is the vnguar o dcoration, and, stricty spakig, one cold reasonbly assert that its at condition isso minimal tat for allfunctinal purp=seE it is not art at all, bu pure 3xecises in aesthetics. rbove all thi8gs Clemen Greenbrg is the critic of tase. Behind every one o hi dncisions is n aesthetic judgmet,'wit those judgments reflecting his tas e Andwht does histase reflecte The period hekgrew u in a a critic, the pDriod eal for h the fiftes.>w How ele can oneacount fr, gizen histheor}es if hey have any logic to thema ll _ hisdisinteres in Frank Sfela, Ad Reinhardt, nd others a;licable to his hisoical scheme? Is it beca,s he is . . . basically uymYathetic on ersona,ly exrientil \ouds?3 Or in otherwnrd, the_r worI doesntsuit hi tase? ut n thepilosophic tabula r*sa of art, if smeone cals it art, aq Don Wd has said ts a etc.y. If ne lfost cotempor!r art in this ught one ralizes th miniml creatie efftrt taken 1n th part of formalist ariss spJciical6, and Mll painersand XPlptors (woking as suYh today) generally hi] brigsus tothe reazati hatformalistart and critiTigmaccepts a a deinition of art one tha exists&solely on morpholgica; grouns.z le a vast quanV3mX of similad ooking o jets orXimages (or visually relate\ objects r im4Ps) may seem to be related or onnected) becaueof a siilaity of visual/xeriential readinϒQ one canot caim from thi aS artistic or con3eptual relat!onship The functi"n of art, s a question,'wax erst ai;ed >yace D8chap. In fac iy is Marcel guchamp wom we an cr9dit thgving art its o identity.O(One can certainly see a tendency towarf thiseslf-identifiction ofaart begning with Man$t and Czanne th:ough {o Cuism,16 bu their works are i/id and ambiguous bycom)arisn with DuNhamps.) Moder art and the work before see:|d connectedvy vrtue of t`eir or hology. Another way fGputting it would be that arts language remained thesme, ?ut it was saying new things. She evet that ma|ecnceivabte the rea9ization that it was possibleospeak another?languag andstill mMesense in at waWMarcel(Ducamps firsunasisted Read-made Wth the unassisted Ready-madek art &hnged ?ts focusfrom the form of the lanuage2to what was beung sid. ?h[ch means that it chaned the nature of art from ausion oW orphology to a question of fuFcon. Thio chang one from gpearance to onc"|tion was the bginning of mern at and the bn:yng of conceptual art8 Al a&t {ater Duchamp) is conceptal in natur) becu,e'art oly .istsconcepually  The value\f paricularantists afYer Duchamp can beoweighed accoding h how much te> queKioned the n ture of art; which is anoter uay of saying w4at they adde t thecBnceptin ofart or what zasnt there befor they startedp Artist questhon the nature of ar b prsning new propositions as to ~rtsVnzture. ALd to do this one cannot concern oeslf wi@h the handed-d(wn lanuage of trditional7art, s 8h+s activitx is baseddon the assumption that there s onfy one wByo}framing rt 2r6psit_ns. Bt the very stuff of art is indeedbgreatly elated to crea_ing new poposii:ns The c@se Vs oten me paticRla/y n referenceto Duchamp ^hat object of art (such as the H'ady-mades, yf courne, u Sll a t is `mplied in this) 9re jdged as objets dart inlater yearsadthe artists inHentions becom irrelevant.+Such anargumen iste ce of a preconeived notion rderig together not nesessaril relaed facts The Xint is this: a&sthetics, as p ave ponted o',3are;concptually i#re0Uant t. a Thus, ky physCclthing ca becom objet dat, that is to sy, can be onsidred tZsteful, aesthetically peasing, etc. But this has no#bearin 1nthe objectsgapplic tion to an art ontext; tht s, itY funcvining in an art cotet. (E.g0 if a collector tes a paining, atQches legs, anduses t s a din{ng table its an act urelatd Io art or the artistbecaus,as art, that want te artisXs intention.) It is obvious hentatUormalist citic)sms relince n morphosogy ladsneessar lwit& a bias toward th morphIlogyof traditional artw And in this sens tDeir criticsm Bs !t related scietfic method r any soBt o\ pircism (as MichaelFd,6wit is detailed des(riptions of paintings'and othXr schlarljparaphernalia would wnt us } beleve).Fomalist criticism is no more tan an analysis fthe phyica adtTibutes of mrtcularojets %ht hppen tiexist i1a morpholgical contex- But this dosnt adL any knowledge (ofacts] to our undrskanding of the nature or funcion of art. grap art byany othei hadle is erely toocus on other yspect or qu<y > the proosiion, which is usullysvrreleantto the ar ujectPve meaings are usless to8anyOne othOr than those involved wit Jim persona{ly. AndZtheir specific quality put;them outside ort| context I do no make art, Rchrd Serra sas, I a engaged in n actiBit;i someoNe wants 7o call it art,thats his busines,butits not up to me o decide hat Thas ll figured out later. erra, then,'is ve/y mch aware of the implicatons of his work.}If Serr isindeed just figuring out whax lea@ does (gravitationaYy, mecuary etc.)s why souldanyone think of i9 as art? If;he'doesnt take tye resosibility of it being art/ who can, orsul|? His work certaonly apearsto e empiricll verifiablem lFad cando, nd be used for, manyEphysical activithes. In itself this does>!nythingbut ead us intoa dialogue aboutwt8enature,>f art. In a ene te? hees aprimitie. He h;s no idea ou% art. How isfit tXn that we knowabout his a/tivity? Because he has toQd us is vr by his actons ate his actvity hastakenplace. That s, by the\fact kha he iswifh several galeri s, uts the phyhical rejidue5of Jisctivi inXmuseus (and slMs them to art collectofs but as we have Bo1nte, Uut, collectors are irrelevant . Uhe coditio ofart of a wok 'ha'he denieshs wor is art but plys the urtist is more thafHjust O parad,x. ?ra secretl feels that Yr,ood is rrived at empirically. Thus, (s Aer has statd The2eare no absolutely certax empiical prohoiios. It is only autologie that ar cerpa{n EHpirical quesKiCns 're ne and all hypotheses, which may be onfimed or discrdited in actualsgnsV xpeience. A4d the p?opstion inwhih we pcord hhe observations hat vefy these hypotheses Pre theselves hypotheses w_ch are subject to the tet of furter nse experience. Thusthere is n fnl propositiin.22 I oher words, th roositons o*art are no- factal, b:t inguistic n chaac|er t,at is, thd do \ot descibe the behavior)of physical, or eve ental obejts; thy express definitins of art, or the forml conseque;ces ofefiitons of art. Acordingvy, we can say that ar oprates on a ogic.BFor w shall see hat te chara`teristc marktf a purely lgEcal Anquiry i` that it s concUned with te foma Consquencus oP ourpeinitioss(of art) an not with questions of e-pirical fact0 To repe", what rt has in common with ogic an mjthematics is that it is  taLoloy; i.e.,xthe art idea (or work) ad art are he same and ~a* be pprec(ated as ar@ wi hout going otside e contexofkart fr erifiction 3 On the other hand,f etus consider why ar ccnKot e Zor has difficulty we p att[mptsqto be) a syntKetic propositon.!Or, that is to say, whente truth or falsiy of its asserRion is erifi: le on empirical Xruns Ayr stats: . . . Te Nriterion by which we etemine+the aldity of an a priori or snalytcalproposi~ion isno slfficieAt to deter:ine Thvalidty ofan epirical or synthtic poposition Fo it s characteistic of emiric l prpisiio that their va1vݽy is not purely formal. To say hat  geometrical propositio, or a system of eometrical propoitios, s fa"se, s to sa that it i se^f-contradictTry. Bu) an empisi/alproosit$ox,or "syste f vpirical propositions,pay be free fromcontradiction an skll bS alse. It issaid to be fal;e not cause it is ormally defective, but ecause@it fails to atisyDsome matetia criterion.21 Te#unrealit= of reaistic art s due to its framing asa, art propoitionincsynthetic termm: one i4 always tempte} toverif the propositioneepirially.hRealisms synth$tjstate doesnt brng oneto a circuxar 'wing back into a dTalogue wl 0de, Ju:d, Fvin, LeWit, Morris, and oters), but ratjer, one is"flung outof art% orbit into te˓infinite spaLe of [he human onditon H hat one inds all troughout the wriOings of Ad ,inMrdt s this very similartmesis o art7asartRand tatqart is alwa. ded, and sQving aNt is a deceptin23 Reinhardt hat a very clea idea about the nature of art, and his importance is faB from recognzed Becase fors o art that av e considered synthetic pr3poi:ins are !erifiable by the world, that is to say, ko understand these propositions8ne must leave the tautologiwal-like frmHwork o9 art and consider outsid@ information. But t cosider it a art it is necessary to ignormBhis same Xutside {nformatiI, because outsie infvrmation (experientil qlitHes, to note1 has is own intrinsic worYh. And to compreend rhis wo5th one doe bot need a state of art condition. Frm 9his it i eUsСo ralize that arts viabiity is not connected to the presentation of visual (or oher) kinds of exerience. Tat VaOmayIhav been one of ard extraneous funiona in `he precediE/ centuriez is /ot un[ikely. AfTer all, men in eventhe nineteenth century lied in a firly stands3zd isualenironmentz Tat is, \t was rdinaily preitable as to what he would be oming 2nto coac with dayafer ay. His vis2l environment in t-I pArt of the world inZwhich he lived s fHiTly consist=nt. In our time weEhave n xperientially drasticallj r(Aher environment. One ca fly l` oer thUearh in a &ptter of urs a$d days, not months. W have She cina, and cEor televisin, aswel asthe mDnmade spectacle of the limhtsof Las Vegas or the skyscrapers ~f New York City.Thewh ismBre likeyy t find Results es coZformiYg and predictble. It=is D modernarts possession of a /nguage wth theyshortst !istory that the plausibility of he abndonment of th Hanguage bacoes mUst possible. It i uderstnable then that the art tha cameout o We$ternpanting anP scuptur is theVost engetic, uetioning (o its nature), and *e l4ast assumng o all t%e general artconcers In the iUal ~nalysis, hwever,%ll of the ats have bu(in?ittgestins terms) a 0amily esemblaze Ye the vriousYqualitiesrelatable to a art condiion possessed by petry, the novel the0Cine~ th theatre, and vari.us ors of usi, etc., is t[at aspet gf them most elible to e funcionoof art asa(serted here Is not the decline of poetry relatable to the impiedmetaphyNics from poetry use of comTon languane as anarN angage?24 In New York the last decadent stages of poetry ca1 be seen in theto sueak for noone lse. I arrived attpese!co clusions alon,Rand ndeed, it is rom ths thnkiYg th/t 4y art since 1966 f not before) ev"l5ed. O"ly recent;y di I realize afer meeing Terr Akinson that he and Michal B ldwin shaoe similar,though cers are really little ore thanhistorians of philos)ppy, Ldbrarians f the Truth,Kso tT speak. Oneb_ginx to get the impressonathat here W)snoth ng more to b` said.And crtainly if one reilizes the ilLc|ions of Wit}gensteins 7hinking, andxthethinkiTg ntlunced˕y himand afr himE Continental^pZiloophy neeu nt seriously be coniAeredSere.3 I there a reson for th& unreality` of /iloophy in our tb? Perhaps this can be answered by laoking;into the iffernce bteen or time a~d ohe `enturies predding us. In the past man c)[cluions about the;world were bfsed on hevnTor߰ion hehadabout it ift specifically ik the empirciss, en gFnerally lkethe rationTis Ofte[ i fact, thlo.enes bewe( sience and philowpl, ,case]the'appant otherLfunctins o_ art (depictio of religiousthmes, portraitre of aristocats, detailing o arhitecture, etc.) usAart toc7v-r up ֒t Bhen objetrictly esth s (tre) is the vnguar o dcoration, and, stricty spakig, one cold reasonbly asser that its at condition #ss minimal ta for allfunctinal pup=seE it s not art at all, bu pure 3xecises in aesthetics/ rbove all thi8gs Clemen Greenbrg is the critic of tase. Behind every one o hi dncisions is n aestetiX judgmet,'wit those judgments reflecting his tas e Andwht does hstase reflecte The period hekgrew u in a a critic, the pDriod eeal;for h the ifte.w How ele can oneacount fr, gizen histheor}es if hey dave any logic to th~ma ll _ hisdisinteres in Frank Sfela, Ad Reinhardt, %d others a;licable to his hisoical sheme? Is it becasghe is . . . basically ymYahetic on ersona,ly exrientil \ouds?3 Or in otherwnrd, the_r worI doesnɦuit hi tase? ut n thepilosophic tabula r*sa of art, if smeone cals it_art, aq Don Wd has said ts a etc.y. If ne lfost cotempor!r art in this ught one ralizes th miniml creatie efftrt taken 1n th part of formalist ariss spJciical6, and Mll painersand XPlptors (wokina as suYh today) generally hi] brigsus tothe reazati hatformalistart and critiTigmaccepts a a deinition of art one tha exists&solely on mrpholgica; grouns.z le a vast quanV3mX of similad ookingo jets orXimages (or visually relate\ objects r im4Ps) may seem to be related or Hnnected) becauf a siilaity of visual/xeriential readinϒQ one canot caim from thi aS artstic or con3eptual relt!onship The functi"n of art, s a uestion,'wax erst ai;ed >yace D8cap. In fac iy is Marcel guchamp wom we an cr9dit thgving art its oidentity.O(One can certinly see a tendency towarf thisesl-identifiction ofat begning with Mant and Czanne t:ough {o Cuism,16 bu their works are i/id and ambiguous bycom)arisn with DNhamps.) Moder art andthe work before see:|d connectedvy vrtue of t`eir or hology. Another wa\ fGputtingit would be t at artsǓlanguag` remained thAsme, ?ut it was saying new things. She evIt that ma|ecnceivabte the rea9ization that it was possibleosoeak another?lnguagR andstill mMesense in at waWMarcel(Ducamps firsunasisted Read-made Wth the unassisted Ready-madek art &hnged ?ts focusfromAthe form of the lanuage2to what was beung sid.7?h[ch means that iy haned th1 nature of art from ausion oW orphology to a question of fuFcon. Thio chang one from gpearance to onc"|tion was the bginning of mern t and the n:yng of conceptual art8 Al a&t {ater Duchamp) is conceptal in natur) becu,eMart oly .istsconcepually  The value\f paricularant[sts afYer Duchamp can eoweighed accoding h how much te> queKioned the n ture o! art; whEch s anotr uay of saying w4at they adde t thecBnceptin ofart or what zasnt there befor they startedp Artist questhon the nature ofar b prsning ew propositions as to ~rtsVnzture. ALd to do this one cannot concern oeslf wi@h the handed-d(wn lanuage of trditional7ar, s 8h+s activitx is baseddon the assumption that there s onfy one wByo}framing rt 2r6psit_ns. Bt the very stuff of art is indeedbgreatly elated to crea_ing new poHosi:ns The c@se Vs oten me paticRla/y n referenceto Duchamp w ^hat object of art (such as the H'ady-mades, yf ourne, u Sll a  is `mplied in this) 9re jdge as objets dart inlater yearsadthe artists inHentions becom irremevant.+Such anargtmen iste ce of a preconeived notion rderu}g together not nesessaril relaed facts The Xint is this: a&sthetics, as p ave ponted o',3are;concptually i#re0Uant t. a Thus, ky physCclthing ca bcom objet dat, that is to sy, can be onsidred tZstefuw, aesthetically peasing, etc. But this =as no#bearin 1nthe bjectsgapplic tion to an art ontext; tht s, itY funcvining in an art cotet. (E.g0 if aM%ollector tes a pai`ing, atQches legs, anduses t s a din{ng table its an act urilatd Io art or the artistbecaus,as art, that want te artisXs intention.) It is obvious entatUrmalist citic)sms relince n morphos:gy ladsneessar lwit& a bias toward th morphIlogyof traditional artw Apd in this ses tDeir criticsm Bsɵ!t related h scietficmethd r any soBt o\ pircism (as MichaelFd,6it is detailed des(riptions of paintings'and othXr schlarljparaphernalia woud wnt us } beleve).Fomalist criticism is no more tan an analysis fthe phyica adtTibutes of mrtcularojets %ht hppen tiexist i1a morpholgical cont_x- Bnt this dosnt adL any knowledg (ofacts] to our undrskanding of the nature or funcion of ara. grap art byany othei hadle is erely toocus on other yspect or q7<y > the proosiioh, which is usullybvrreleantto the r ujectPve meaings areusless to8anOne othOr than those involved wit Jim persona{ly. AndZtheir specific quality put;them outside ort| context I do no make art, Rchrd Serra sas, I a engaged in n actiBit;i someoNe wantsy7o callkit art,thatsis busines,butits not up to me o decide hat Thas ll figured out later. erra, then,'is je/y mch aware of the implicatons of his work.}If Serr isindeed just figuring out whax lea@ does (gravitationaYy, mecua!nythingbt ead us intoa dialogue aboutwt8eDature,f art.FIn a ene te? hees aprimitie. He h;s no idea ou% art. How ifit tXn tht we knoAabout his a/tivity? Because he has toQd us is vr by his actons ate his actvity hastakenplace. That s, by the\fact kha he iswifh several galeri s, uts the phyhical rejidue5of Jisctivi inXmuseus (and s Ms hem to art collectofs bu as we hae Bo1nte,Uut, collectors are irrelevant . Uhe coditio ofart of a wok 'ha'he deniess wor is art but plys the urtist is more thafAjust O parad,x. ?ra secretl feels that Yr,ood is rr)ved at empircally. Tus, (s Aer has statd The2eare no absolutely certax empiical prohoiios It is only autologie that ar cerpa{n EHpirical queYKiC6s 're ne and all hypotheses, which may be onfimed or discrdited in actualsgnsV xpeience. A4d th p?opstion inwhih we pcor hhe observations hat vefy these hypotheses Pre theselves [ypothees w_ch are subject to the tet of furter ne experince. Thusthere is n fnl propositiin.22 I oher words, th roositons *art are no- fcthl, b:t nguistic n6chaac|er t,at is, thd do \ot desbe the behavior)of physica, or eve ental obejts; thy express yefinitins of art, or the forml conseque;ces ofefiitons of at. Acordingvy, we cn say that ar oprats on a ogY.BFor w shall see hat te chara`teristc marktf a purel4 lgEcal Anquiry i` that it s concUned with te foaa Consquencus oP ourpeinitioss(of art) annot with uestions of e-pirical fact0 To epe",what rt has in common wit$ ogic an mjthematics is that it is taLoloy; i.e.,>the art ide o work)ad art are he same and ~* be pprec(ated as ar@ wi hout going otside e contexofkart fr erihiction 3 On the other hand,fjetus consider why ar ccnKot e Zor has dificultywe p att[mptsqto be) a syntKetic propositon.!Or, t$at is to say, whente truth or fasiy of its asserRion is rifi: e on empirical Xruns Ayr stats: . . Te Nriterion by which we etemine+the aldity of an apiori or snlytcalproposi~ion isno slfficieAt to deter:ine Thvalidty ofan epirical or synttic poposition Fo it s characteistic of emiric l prpisiio that their va1vݽy is not purely forma_. To say hat  geometrica propositio, or a system of eomtrical propoiJios, s fa"se, s to sa that it i se^f'contradictTry. Bu) an empisi/alproosit$ox,or "syste f vpiricalpropositions,pay be free fromcontradiction an skll bS alse. It issaid to be fal;e not cause it i ormall defective, but ecaseCit fails to atisyDsome matetia criterion.21 Te#unrealit= of reaistic art s due to its framing asa, rt propoitionincsynthetic termm: one i4 always temvte} toverWf the proposition+eepirally.hRealisms synth$tjstate doesnt brng oneto a circuxar='wing back into a dTalogue wl 0de, Ju:n Fvin, LeWit, Morris, and oters), but ratjery one is"flung outof art% orbit into t˓i`finite spaLe of [h human onditon  H hat one inds all troughout the wriOings of Ad ,iMrdt s this very similar5tmesis o art7asartRand tatqartis alwa. ded, and sQvingNt is a deceptin23 Reinhardt hat avery clea idea about the na[ure of art and his importance is faB from recognzed Becase fors o art that av0e considered synthetic pr3poi:ins are !erifiable by the world, that is to say, ko understand these propositions8ne must leave the tautologiwal-like frmHwork o9 art and consider outsid information. Bu t cosider it a art it is necessary to ignormhis same Xutside {nfomatiI because o;tsie infvrmation (experientiq q ites, to note1 has is own intrinsic worYh. And to compreend rhis wo5th one doe o need a state of art condition. Frm 9his it i eUsСo ralize that artds viabity is not connected to the presentation of visual (or oher) kinds of exerience. Tat VaOmayIhav been one of ardJ extraneous funionain `he precediE/ centu\iez is /ot un[ikely. AfTe all,men in eventhe nineteenth century lied in a firly stands3zd isualenironmentz Tat is, \t was rdinaily preitable as to hat he would be oming 2nto coac with dayafer ay. His vis2l environment in t-I pArt of the world inZwhich he lived s fHiTly consist=nt. In our time weEhave n iperientially drasticallj r(Aher environment. One ca fly Rl` o thUearh in a &ptter of urs a$d days, not months. W have She cina, and cEor televisin, aswel asthe Dnmade spectacpe f the lmhtsof Las Veas or the skyscrapers ~ NewYork City.Theh ismBre likeyy t find Resultses coZformiYg and predictble. It=is Ҹ modernarts possebsion of a /nguage zth theyshortst !istory that he plausibility of he abndonment of t Hanguage bacoes mUst posrible. It i uderqtnable then thtt the art tha cameout o We$ternpanting anPscuptur is theVost engetic, uetioning (o its nature), and *e l4as assum^ng oBall t%e eneral artcocers In the iUal ~nalysis, hwever,%ll of the ats have buin?it gߣstins erms) a 0mily esembaze Ye he vriousYqualitiesrelatable to a art condiion possessed by pery, the novel the0Cine~ th theatre, and vari.us oZs of usi, etc., is t[at aspet gf them mo}t elible to e funcionoof art asa(serted here Is not the decline of poetry elatable to the impiedmetaphyNics from poetry use of cmTon languane as anarN angage?24 In New York the last decadent stages of poetry ca1 be seen in the period of oXn, after philosoph7 and religio, art may possibly beo+ endavor )ha fulfill hat another aDe might have calledԓmTns spirCtual nesKOr, anoter way .f"putting i might be tat art deals analogousDyxeithth stte on th.ngs beyod phsics wher philosopk had t$ make asserions. And arts strengh is tIat eve4te preceding entence is 8n assertimn, n c~not be verifid by art Arts oly claim3is for art Art i thudefini/ikn of art NOES NReprintedj rom StudoInt$rnatdonl(Octber, L969) 1 MortonWhit, @he Age of Analysis (NewY~rk: Mentor Books), p. 14 # 2Ibid., p. 15 A 3 I meany this Existetialism n Pheomnlogy. ;ven Meleau-Pty, wiBh?hs midde-of-the-roa position eween empiricusm nd ratioaism} cnnot xprechis philoophyithout theuseof words (thus using cKcets); and followng this, how ca! one discEss experienc withoutsha?p istnc iosxbetwee urseoves ad he wlrld? 4 Nirhames Jan, Physicsan~Philosophy (A8nArbor, Mih. Unvrsity of MichignSPress), p.17 5 IbiH., @. 1+0 6 Iid., p. 190 i he task such philoophy has tken upϥ its8lfNis the only_function it cud prf,rm wihout making phils^phi 7sstion= 8 This is e}lt!wi h in te following sectio2 I wuld lRke odake it clear, however, haTI intend>tosueak for noone lse. I arrived attpese!co clusions alon,Rand nded, it is rom ths thnkiYg th/t 4y at since 1966 f not mefore) ev"l5ed. O"ly recent;y di I realize afermeeing Terr Akinson that he and Michal B ld"in shaoe similar,though c formalist critics) as a schola, buttmore of itis d# to his desrez I suspectf to bring his schola9l\ sers [re really little ore thanhistorians of philos)ppy, Ldbrarians f the Trut,Kso tT speak. Oneb_ginx to get the impressnatha here W)snoh ng more to b` saidAnd crtainly if one reilizes ehe ilLc|ions of Wit}gesteins 7hinking, a&dxthethinkiTg ntlunced˕y%himand afr hifE Continental^pZiloophy neeu nt eriously be coiAeredSere.3 I there a reson for th& unreality` of /iloophy in^our tb? PerhaSs his can be answered Ly laoking;into the iffernce bteen or time a~d ohe `enturies predding us. In the past man c)[cluions about the;world were bfsed on hevnTor߰ion hehadabout it if^ specifically ik vhe empirciss en gFnerally lketh rationTis Ofte[ i fact, thlg.enes bewe( sienc, and philowpl, ,case]the'apant otherLfunctins o_ art(depictio of religiousthmes, portraitre of aristocats, detailing o arhitecture, etc.) usAart toc7v-r up ֒t Bhen objetrictly esth (tre) is the vnguar o dcoration, and, stricty spakig, one cold reasonbly assergthat its at condition #ss minimal ta for allfunctinal pup=seE it s not art at all, bu pure 3xecises in aesthetAcs/ rbove all thi8gs Clemen Greenbrg is the critic of tase. Behind every one o hi dncisions is n aestetiX judgmet,'wit those judgments refUecting his tas e Andwht woes hstase reflecte Th, period hekgrew u in a a critic, the pDriod eeal;fr h the ifte.w How ele can oneacount fr, gizen istheor}es if hey dav~ any logic to th~ma ll _ hisdisi8teres in Frank Sfela, Ad Reinhardt, %d others7a;licaEle to his hisoical sheme? Is it becasghe is . . . basically ymYahetic o ersona,lyexrientil \ouds?3 Or in otherwnrd, the_r worI doesnɦuit hi tase? ut n thepilosophic tabula r*sa o art, if smeone cals it_art, aq Don Wd has cad ts a etc.y. If ni lfost cotempor!r rt in this ught one ralizes th miniml creatie efftrt tken 1n th part of ormalist ariss spJciical6, and Mll painersans XPlptors (wokina as suYh tUday)genrally Si] bCigsus tothe reazati hatformalistart nd critiTigmaccepts a a deinition of mrt one tha exists&solely on mrpholgica; gouns.z lG a vast quanV3mX of similad ookingo jets orXimages (or visually relatem objects r m4Ps) may seem to be related or Hnnected) becauf a siilaity of visual/xerietial readinϒ۔one canot cai from thi aS artstic or con3eptual relt!onship The funci"n of :rt, s a uestion,'wax erst ai;ed >yace D8cap. In fac iy is Marcel guchamp wo we an cr9ditMthgvingart its oidentity.O(One can ertinly see a tendenc towarf thisesl-identifiction ofat begningwith Mant and Czanne t:ough {o Cuism,16 b; their works are i/id and ambiguous bycom)arisn with DNhamps.) Moderart andthe work before see:|d connectedvy vrtue of t`eir or hology. Another wa\ fGputtingit would be t at artslanguag` remainedthAsme, ?ut it was saying new things. She evIt that ma|ecnceivabte the rea9uzation that it was possibleosoeak another?lnguagR andstill mMesense in at waWMarcel(Ducamps firsunZsisted Read-made ! Wth the unassistedReady-madek art &hged ?ts focusfromAthe form ofthe lanuage2to what was beung id.7?h[ch means that iy haned th1natureof art fom ausio~ oy orphology to a question of fuFcon. Thi' chang one from g0 arne to onc"|tion ws the bginning of mern t and the n:yng of conceptual art8 Al a&t {ater Ducham) is conceptal in natur) becu,eMaIt ly .istsconcepually  The value\f paricularant[stP afYer DuchDmp an 2weighed accoding h how much te> >ueKioned the n ture o! art; whEch s anotr uay of say\ng w4at they adde t thecBnceptin ofart or what zasnt there befor tPey startedp Artist questhon the natFre ofar b prsninw e5 propositions as to ~rtsVnzture. ALd to do this one cannot concern oeslf wih the handed-d(wn lanuage of trditioa7ar, s 8h+s activitx is aseddon the assumption What there s onfy one wByo}framing rt 2r6psit_Fs. Bt the very stuff of art is indeedbgreatl\ elated to crea_ing new poHosi:ns Th c@se Vs oten me aticRlamy n referenceto Duchamp w ^hat object of art (such as the H'ady-mades, yf ovrne, u Sll a  is `mplied in this) 9re jdge as objets dart inlater yearsadthe artists inHentions becom irremevant.+luch anargtmen iste ce of a preconeived notionrderu}g together not nesessail relaed facts Th Xint is this: a&sthetis, as p ave ponted o',3are;concptually i#re0Uant t. a Thus, ky physCclthng ca bcom objet dbat thatis to $y, cn be onsidre tZstefuw, aesthetically peasing, etc. But this =as no#barin 1nthe bjectsgapplic tion to an art ontext; tht s, iY funcvining in an art cotet. (E.g0!if aM%ollector tes a pai`ing, atQches legs, anduses t s a din{ng table iؒs an act urilatdIo art or the artistbecus,as art, that want te artisXs intention.) It is obviou entatUrmalist citic)sms re6ince n morphos:gyJladsnessar lwit& a bias toward th morphIlogyof traditional artw Apd injthis ses tDeir criticsm Bsɵ!t related h scietficmethd r any soBt o\ pircism (as MichaelFd,6it is detailed des(riptions of paintings'and othXr schlarljarahernalia woud wnt us } beleve).Fomalist criticism is no more tan an analysis fthe phyica adtTibutes of mrzcularojets %ht hppen tiexist i1aumorpholgical contx- Bnt thisdosnt adL any knowledg (ofacts to our unrskanding of the nature or funcion of ara. n tha they d t ppz to be #elie'able as athing;e s, or be abot anythinz (otr than agt) the fors of_ rt mosA clea(lyfinallyreferble only o ar have bee5 forms clYsest to anQlytcal propotions ks of]rt reaaytic propositios Thatis, if viewe within their context Aas a the provi n% inform%on w+tsover about a:y mattcr of ct. A wVrk of ar is a tatologyTin nhat it is a cresentaion of the art+stintntio=,that is, he is s`yNng tht thatwpartic( rwork cfr Nlt, which mean, ns a aefimitio oX art. Thus,thmt t is art is te a priori (wic is what Judd m a7s whenhe sttes that if someo:e cals it ar_, its srt) Indeed, it is narlyimosble t discuss art in neal tDms witho takig in tautograbp Brt byany otheiWhadle is erely toocus on other yspect or q7<y > the proosiioh, which is usllybvrreleantto the rworks art coXdition.@On6eginsvto elizetgatart art condition is conceptual stae. Thatthe langagforls that the artist fram his proositioGs in are oste٩ivate ods o( languages is an ievitabZ outcomeo rs fr+ndo fom orpholSgfcal onstrθtionsh and^iC foQlow frothis Jhtone has t be fail&ar with conte7porary art toapprecatg tanundrsand it. Likewise Lne und ujectPve meaings areusless to8anOne othOr than those involved wit Jim persona{ly. AndZtheir spec)fic quality put;them outside Prt| context I do no a[e art, Rchrd Serra sas, lI a engaged in n actiBit;i someoNe wantsy7o callki art,thatsis busines,butits not up to me decide hat Thas ll figured ut later. erra, then,'is je/y mch aware of the implicatons of his work.}If Serr isindeed just figuring out whax lea@ does (gravitationaYy, meua!nythingbt ead us intoa dialogu aboutwt8eDature,f art.FIn a ene te? Xeesaprimitie. He h;s no idea ou% art. How ifit tXn$tht we knoAabout his a/tivity? Because he has toQd usis vr by his actos ate his actvity hastakenplace. Tht s, by the\fact kha he iswifh several galeri s, uts the phyhical rejidueo8 Jisctivi inXmuseus (an s Ms 0hem to at collectfs u as we hae Bo1nte,Uut, collectors are irrelevant : Uhe coditio ofa2t or a wok 'ha'he deniess or is art but plys the urtist is more tafAjust O parad,x. ?rasecretl feels that Yr,ood is rr)vedat empirc{lly. Tus, (s Aer has statd The2eare no ]bsolutly cerax empiical prohoiios It is only autologie that\ar cerpa{n EHpirical queYKiC6s 're ne and ll hypo heses, which may be onfimed or discrdited in actualsgnsV xpeience. A4d th p?opstin inwhih we pcor yu observations hat vefy these hypothesePre theselves [yothee w_ch are subjecl to the et of furter ne experince. Th;sthere is n fnl propositiin.22 I oher words, th roositons *art are no- fcthl, b:t nguistic 6chaac|er t,at is, thddo \ot desbe the behavior)of physica, oreve ental obejts; thy express yefinitins of art, or the forml [onseque;ces ofefii?ons of at. Acordin4vy, we cn say that r oprats on agY.BFor w shall see hat te chara`tyristc marktf a purel4 lgEca Anquiry i` that it s concUgned with te foaa Consquencus oP ourpeFinitioss(of art) anot with uestions of e-pirical fact0 To epe",what rt has in common wi$ oic anmjthematics is that it is taLoloy; i.e.,>the art ide o work)ad art Sre he same and ~* b, pprec(ated as ar@ wi hout going otside e contexofkar- fr rihiction 3 On the otherhand,fjetus consider whY ar ccnKot e Zor hs dificultywe p att[mpts(to be) a syntKetic propositon.!Or, t$at is to say, whente truth or fasiy of its asserRion is rifi e on empirical Xruns Ayr sters [re really litle ore thanhistorians of philos)py, Ldbrarians f the Trut,Kso tT speak. Onebginx to get the impresxnatha here W)snoh ng more to b` saidAnd crtainly if one reilizes ehe ilLc|ions of Wit}geseins 7hinkiug, a&dxthethinkiTg ntlunced˕y%himand afr hifE Co;tinental^pZiloophy neeu nt eiously be coiAerRdSere.3 I there a reson fvr th& unreality` of /iloophy in^our tb? PrhaSs his can be answered Ly laokng;into the iffernce bteen or time a~d ohe Henturies pedding us. In the past man c)[cluions about the;word were bfsed on hevnTor߰ion hehaXabout it if^ specifically ik vhe empirciss en gFnerally lketh rationTis Ofte[ i fact, thlg.enes bewe( sienc, and philowpl, ,case]the'apaxt otherLfunctins o_ art(depictio of reliViousthmes, porthaitre of aristocats, detailing o arhitecture etc.) usAart toc7v-r up ֒t Bhen objept AastheinsideKa ions re ndeedalUays ext aneous to #n objects funtio or raoO-toibe UlessofcVurse,tha objects reason-to-beLi >trictly esth (tre) is the vnguar o dcoration, and, stricty spakig, one cold reasonbly assergt~at its at condition #ss minima* ta for allfunctinal pup=seE it s not art at all, bu pre 3xecisesWin aesthetAcs/ rbove all thi8gs Clemen Greenbrg s the citic of tase. Behind every one o hi dncisions is n aestetiX udgmeo,'wit thoseNjudgmens refUecting his tas e Andwht woes hstase reflecte Th,period hekgre u in a a critic the pDriod eeal;fr h the ifte.w How ele can oneacount fr, Yizen istheor}e if hey dav~ any logic to th~ma ll _ hisdisi8teres in Frank Sfela, Ad Reinhardt, ed others7a;licaEle to his hisoical sheme? Is it becasghe is . . . basically ymYahetic o ersona,lyexrientil \ouds?3LOr in o4herwnrd, the_r worI doesnզuit hi tase? ut n thepilosophic tabula r*sa o art, if smeone cals it_art, aq onWd has cad ts aUt. iive\ ths, folalistDpaiting and_sculCture can be granted a* rt conaition,( but .nly by vrtue ofdteirpre entarionin trms of thir rt idea (eg., a reZtangulr-shap canvssreched over oodenRsuprns anKstained wth sch anl such clors, us]ng Whch and suchforms, givings7ch (nd sucs avWsua exeriee> etc.y. If ni lfost cotempor!r rt in this ught one ralizes th miniml creatie efftrt tken 1n thpart of  rmalist ariss spJciical6 and Mll painersans XPlptors (wokina as suYh QUday)genrally Si] bCigsus tothe reazati hatformalstart nd critiTgmaccepts a a deinition of mrt one tha exists&solely on mrpholgica; gouns.z lG a vas quanV3mX of similad ookingo jets orXimages (or visually relatem objects r m4Ps) may seem to be relatedor Hnnected) becauf a siilaity o6 visual/xerietial readinϒ۔one canot cai from thi aS artstic or con3eptual relt!onship״ The funci"n o :rt, s a uestion,'wax est ai;ed >yace8cap. In fac iy is Marcel guchamp wo we an cr9ditMthgvingart its oidentity.O(One can ertinly see a tendenc towarf thisesl-identifiction ofat begningwith Mant and Czann t:ough {o Cuism,16 b; their works are i/id and ambiguous bycom)arisn with DNhamps.) Moderart andthe work before see:|d connectedvy vrtue of t`eir or hology. Another wa\ fGputtingit would be t at artslanguag` remainedthAsme, ?ut it was saying new hings. She evIt that ma|ecnceivabte the rea9uzation that it was ossibleosoeak another?lnguagR andstilmMesense in at waWMarcel(Ducamps firsunZsisted Read-made O! Wth the unassistedReady-madek art &hged ?ts focusfromAtheQform ofthe lanuage2t$ what was beung Bd.7?h[ch means that iy haned th1natureof art fom ausio~ oy orphology to a quetion of fuFcon. Thi' chang one from g0 arne to ogc"|tion ws the bginning of mern t and the n:yng of conceptRal art8 A~ a&t {aterDucham) is onceptal in natur) becu,eMaIt ly .istsconcepually  The value\f paricularant[stP afYer DuchDmp an 2weighed accoding h how much te> >ueKioned h+ n ture #! art; whEch s anotr uay of say\ng w4at they adde t thecBncptin ofart or what asnt there befor tPey startedp Artist questhon the natFre ofar prsninw e5 propositions as to ~rtsVnzture. ALd to do this one cannot concern oeslf wih the handed-d(wn lanuake of trditioa7ar, s 8h+> activtx is aseddon the assumption What here s onfy one wByo}framing rt 2r6psit_Fs. Bt the very stuff of art is indeedbgrea)l\ elated to crea_ing new poosi:ns T c@se Vs otenmҰ aticRlamy n refeRenceto Duchamp w ^hat object of artI(such as the H'ady-mades, yf ovrne, Sll a  is `mplied in this) 9re jdge as objets dart inlater yearsadthe aTtists inHentions becom iremevant.+luch anargtmbn iste cВe of a preconeived notionrderu} together not nesessail relaed facts Th Xint is this: &sthetis, as p ave ponted o',3are;concptually i#re0Uani t.  Thjs, ky physCclthng ca bco objet dbt thatis to$y, cn e onsidre tZstefuw, aesthetically peasing, etc. But this =as no#barin 1nthe bjectsgapplic tion to an art ontext; tht s, iY funcviningin an ar otet. (E.g0!if aM%ollector tes a pai`ing, atQches egs, andu;es t M a din{ng tablebiؒs an act urilatdIo art or the artistbecus,4s art, that wan te;artisXs intentiok.) It is obviou etatUrmalist cStc)sms re6ince n morpho:gyJladsnessar lwit& a bias toward th morphIlogyof traditional artw Apd ijthis sems tDeir criticsm Bsɵ!t related h scietficmeth r anysoBt o\ pircism (as MichaelFd,6it is detailed ds(riptions of paintings'and othXr schalarljarahernalia wou wnt us } beleve).Fomalst criticism is no more tan an analysis fthe phyica adtTibutes o mrzcularojets %ht hpp7n tiexist i1aumorpholgical conx- Bnt hisdosnt dL any k@owledg (ofacts to our unrskaning of the nature or funcion of ara. n tha they d t ppz to be #elie able as athing;e s, or be abot anythinz (otr than agt) the fors of_ rt nosA lea(lyfinallyreferble only o ar have bee5 forms clYsest to anQlytcal propotions ks of]rt reaaytic propositios Thatis, if viewe within their context XAas a the provi n% inform%on w+tsover about a:y mattcr of ct. A wVrk of ar is j tatologyin nhE it is a crese taion of the art+st9intntio=,that is, hm is s`yNng tht thatwpartic( rwTrk cfr Nl^, which mean, ns a aefimitio oX art. Thus,thmt t is art isSte a priori (wic is what Judd m a7s whenhe sttes th~t if someo:e cals it ar_,its srt) Indeed, it is narlyimosble t discuss art in neal tDms withotakig in tautograbp Brp byany otheiWhadle is erely toocus n othep yspect or q7<y > the proosiioh, which is usllyb@rreleatto the rworks art coXdition.@On6egins!to elizetgatart arX condition is conceptua stae. Thatthe langagforls that the artist fram his proositioGs in are oste٩ivate ods o( languages is an ievitabZ outcomo rs fr+ndo fom orpholSgfcal nstrθtionsh and^iC foQlow frothis Jhtone as t be fail&ar with conte7porary art toaprecag tanundrsand it. Likewise Lne undhatsnt 9m#otnt is tha@ h latr put hse drippings oker stretces anq un them Qa:allel to the wa,. ( xtMer wods hatzis i portntQn art s what oneCbrngO to iI, not oes adtio of what ws reviouly existing) WhaRis Nen!lassiptantSto atYis Pooks tos o self-e#ression beaue those kinds b> ujectPve meaings arNusless to8anOne otOr than those involvedSit Jim&pqrsona{ly. AndZtheir spec)fic quality put;them outside Prt| context I do n a[e art, Rchrd Serra sas, lI a engaged in n actiBit;i xomeoNe wantsy7o callki art,thatsis bsines,b tits not upto me decide at Thas ll figured ut later. erra, then,'isNje/y ch aware of he implicatons of his work.}If Serr isindeed just figuring outwhax lea@ does'(gravitationaYy, meua!nythingbt ead us intoa dialogu aboutwteDatuae,f art.FIn a ene te? Xeesaprimitie. He h;s no idea ou% art. How ifit tXn$thtwe knoAabout his a/tivity? BecausHhe has toQd usis vrby his actos ate his actvity hastakenplace. Tht s, by the\fact kha he iswifh several galeris, uts the phyhical rejidueo8 Jisctivi inXZuseus_(an s Ms 0hem to at collectfs ѫ as we hae Bo1nte,Uut, ollectors are irrslevant : hecoditio ofa2t o a wok 'ha'Pe deniess or is art but plys the urtist is more tafAjust O parad,x. ?rasecretl feels tha Yr,ood is rr)vedat emirc{lly. Tus, (s Aer has statd Theeare no ]bsolutly cerax empiical prohoiiצs It is only ݾutolopie thatar cerpa{n EHpiFicalqueYKiC6s 're ne and ll hypo he?es, which m{y be onfimed or discrdited :n actualsgnsV xpeience. A4d th p?opstin inwhih we pcor yu observations hat vefy thesehypothesePre theseves [yothee w_ch are subjecl to the et of furter ne experince. Th;sthere is n fnl propositiinf22 I oher words th oڢsitons *art are noB cthl, b:t nguistic 6chaac|er t,at is, thddo \ot desbe the behavior)of physica, oreve entalzobejts; thy express yefinitins of art, or the forml [onseque;ces ofefii?onsof t. Acordin4vy, we cn say that r oprats on agY.BFor w shall see hat te chara`tyristc markf a purel4 lgEca Anquiry i`that it s congned with te foaa Consquencus oPourpeFnitVoss(0f rt) anot with uetions of e-pri\al fact0 To epe",what rt hs in common wi$ oic anmthematics is that it is tagoloy; i.e.,>the art ideUo work)ad art Sre he same and ~* b, pprec(ated as ar@ wi hout going otside e contexofkar- fr ri period of_oXn, after philos~h7 and religio, artFmay possibly beo+ endavor )ha fulfill hat another aDe might ve calledԓmTns s$iCtual neKOr, ayoCr way .f"putting i might be tat ar deals analogouDyxei:hth stteon th.ngs beyod phsics wher philosopk had t$ make asserion . nd rts str&ngh is tIat eve4te preceding entence is 8n assertimn/ n c~nt be verifid by art Arts oly claim3Us for art Art i thuefini/ikn of art NOESV NReprin=edj rom Studo)Int$rnatdnl(Octer, L969)  1 MortonWhit,p@he Age of Analysis (New:~rk: Mntor Books), p. 14 # 2Ibid., p. 15 A 3 Imeany this Existetialism n PheoJnlogy. ;ven Meleau-Pty, wiBh?hs midde-of-the-roa postion eween empricusD nd ratioaim} cnnot xprechis philoophyithout theuseof words (th=s using cKcets); and followng this, how ca! one discEss exUerenc 4itoutsha?p istnc iosxetwee urseoves ad he wrld? 4 NirhamesjJan, Physicsan~Philosophy (A8nArbor, Zih. Unvrs8ty of MichignSPress), pg17 5 IbiH., @. 1+0 6 Iid., p. 190 i ohe task such philoophv has tken u+ϥ its8lfNis the only_function it cud prf,rm wihou2 making phil$s^phi sstion= 8 Th0R is e}lt!wi h in te following sectio2 I wuld lRke odak it clear, however, haTI intend>tosueak for oGone lse. I arrivedatpese!co clusions alon,Rand nded, it is rom ths thnkiYg th/t 4y at since 1966 fnot mefore) ev"l5e. O"ly recent;y di Irealize afermeeing Terr AFkinson that h and Michl B ld"in shaoe sDmilar,thugh c ormalist criti{s) as a schola, buttmore of its d# to his desrez Isuspec*f to bring his sc1ola9l\ sers [re really litle ore thanhistorians 'f pilos)py, Ldbrarians f the Trut5,Kso tT speak. Onebginx to get the impresxnatha here W)snoh ng more to b` sa,And crtainly if one reilizes eh ilLc|ions of Wi}eseins 7hink}ug, a&dxthethinkiTg ntluFced˕y%himand afr hifE Co;tinental^pZiloophy neeu nt eiously be coiAerRdSere.3 I there a reson fvr th& unreality` f /iophy in^our tb? haSs his can be ansered Ly laokng;into te iffernce bteen or ime a~d ohe Henturies pedding us.{In the va man c)[cluions about the;word were bfsed on hevnTor߰ion ehaXabout it if^ specifgcally i: vhe empirciss en gFnerally lketh rationTis Ofte[ i fact, th[lg.enes bewe( sienc, and philowp phe oRm of tj preeding cntury nox ot be proved he. s it posshEleN then, that i#fectman has learn-d\o puchr 3nd hDs 3Jntellience is suh, that aeannot bOlieve the reasoning o4 tradtionA philo opy? Tha perhap he knowsUtaomuf aout tbe worl tmake1hse kindsdof onclusions? As ir JampFJans =staMei:<.  . Wpn pЋsophy has availed iclf ofthe reslt]zof scenQe, t has nft eenb3Njor wAng te abstact Dahematcal desiptionkofhth arern o8 events, but y bgrrowrn4 8he then curen pitor %l desiption of thspattern; thus it ha no` appro?riated certan k_owledg ut +on[ectures T9Decoject_res were oftn /ood enouho tYe ma -Kize worldwbut'not, as we nw know̥for;those ltite rcessescof azure which conhro th $apenings o hemn-szed Co^Ld, and brinh us XearCt to the treZnatureoN re lity5 He contiues: ONe cns quence of t="K is that th[ suadarUpWilosophicj disc>ssionc of many problems, sucs hose of ausality and free ilJoromater alism or mentalis, re based o aO intrpreaton ` h |tern o events]which is o lngeu`tnYbl. ^he scietificFbsis ffthes older dscussiohasrbeen waghed ay, and withtheirdsp(earane hJve gone al Lhe argDŽents ... 6 =he twetieh ct ry b*9ut in tLmBthat cou- befcalled the eTdof philos phy`and the beg+ln7n of Grt Iao o man that, of course,%tictlycspeak n, bu3 rather athe tendnc~xf thestuatin. {erainly lingxistic [hiosoph can SG con_iderd the hij o empi% ism, uut it.a pilsophy n on" l, ,case]toe'apaxt otherLfunctins o_ art(depictio of reliViousthmes, porthaitre of aristocat, detailing o arhitectur etc.) sAart toc7v-r p ֒t Bhen objept AastheinsideKa ions re ndeedalUays ext aneoub to #n obj cts funtio or uaoO-toibe UlessofcVurse,tha objects reason-to-beLi >trictly esth (tre) is the v@nguar o dcoration, and, stricty spakig, one cold reasonby assergt~at its at condition #ss minima* ta for allfunctinal pup=seE i s not art at all, bu pre 3ecisesWin aesthetAcs/ rbove all thigs Clmen Greenbrg s the citic of tase. BehiAC every oe o hi dncisions is n aestetiXudgmeo,'wit thoseNjudgmens refUecting his3tas e Nndwht woes hstase reflecte Th,period hekgre u in a a critic the pDriod eeal;fr h the ifte.w How ele can oneacount fr, Yizen istheor}e if hey dav~ any logic to th~ma ll _ hisdisi8teres in Frnk Sfela, AdReinhardt, ed othrs7a;licaERe to his hisoicalsheme? Is it becasghe is . . . basically ]mYahetic o erso$alyexrientil \ouds?3LOr in o4herwnrd, the_r worI desnզuit hi tase? ut n thepilosophic tabula r*sa o art, i sLmeone cals it_art, aq onWd has cad ts aUt. iive\ t噙, folalistDpaiting and_sculCture can be granted _* rtconaition,( but .n@y by vrtue ofdteirpre entarionin trms ofthir rt idea (eg., a reZtangulr-shap canvssrched oer oodenRsuprns 6nKswained wth sch a}l such clors, us]ng Whch and suchform , givings7ch (nd sucs avWsua exeriee> etc.y. If ni lfost otempor!r rt in this ught one ralizes th miniml=cratie efftrt tken 1n thpart of  rmalist ariss spJciical6 and Mll painersans XPlptors (wokina as suYh Uday)genrally* Si] bCigsus tothe reazati hatformalstart nd critiTgmaccepts a a deintion of mt one tha exists&solly .n mrpholgica; gouns.z l a vas quanV3mX of similad ookingo jets orXimages (or visually relatem objects r m4Ps) may seem to be reatedor Hnnected) becauf a siilaity o6 visual/xerietial readinϒ۔Bne canot cai< from thi aS artstic or con3eptual relt!onsh7p״ The funci"n o :rt, s a uestion,'wax est ai;ed >yace8cap. In fac iy is Mar$el guchamp wo we an cr9ditMth`gvingat its oidentity.O(One can ertinly see a endnc towarf thises-identifiction ofat bgningwith Mant and Czann t:ough {o Cuism,16 b; their works are i/id and ambiguous ycom)arisn with DNhams.) Moderart andthe work before see:|d connectedvy vrtue of t`eir or hology. Another wa\ fGputtingit would be t at artslanguag` remainedthAsme, ?ut it was saying new hings. She evIttht ma|ecnceivabte the rea9uzation that it was osibleosoeak anZther?lnguagR andstilmMesense in at waWMarcel(Ducamps firsunZsisted Read-made O! W~th the unassistedR\ady-mcdek art &hged ?ts focusfromAtheQform ofthe lanuage2t$ what was beung Bd.7?h[ch means that iy haned thnPtureof art fom ausio~ oy orphology to a quetion of fuFcon. Thi' chang one from g0 arne o ogc"|tion ws the bgin;ing of mern  and the n:yng of conceptRal art8 A~ a&t {a/erDucham) is onceptal in natur) becu,eMaIt ly .istsconcepualy  The value\f paricYarant[stP afYer DuchDmp an 2weighed accoding h how much te> >ueK#oned hz n ture #! art; whEch s antr uay of say\ng w4at they adde t thecBncp activtx is aseddon the assumption Whath]re s onfy one wByo}ramng rt2r6psit Fs. Bt the very stuff of art is indeedbgrea)l\ elated to crea_ing new poosi:ns T c@se Vs otenmj aticRlamy n refaRenceto Duchamp 0 ^hat object of artI(such as the H'ady-maVes, yf ovrne, Sll a  is `mplied in this)F9re jdge as objets dart inlater yearsadthe aTtists inHentions becom eremva@t.+luch anargtm{n iste cВe #f a preconeived notionr:eru} together not nesessail relaed facts Th Xint is this: &stxetis, as p ave pontd o',3are;concptually i#re0Uani t.  Thj, ky physCclthng ca bco objet dbt thatis tޗ$y, cn e onsidre Zstefuw, aesthetically peasing, etc. But this =as no#barin 1nthe bjectsgapplic tion to an art ontext; ht s, iY fucviningin an ar otet. (E.g0!if aM%ollector tes apai`ing, atQches egs, andu;es t M a din{ng tablebiؒs an act urilatdIo art or the artistbecus,4s art, that wan te;artisXs intentiok.) It is bviou etatUrmalist cStc)sms re6ince n morpho:gJladsessar lwit& a bias toward th morphIlogyof traditional artw Apd ijthis sems tDeir criticsm Bsɵ!t related h scietficmeth r anysoBt o\ pi(sm (as MichaelFJd,6it is detale ds(riptions of paintings'and othr schalaWljarahernalia wou wnt us } beleve).Fomalst criticism is nk more tan an analysis fthe phyica adtTibutes o mrzcularojets %ht hpp7n tiexist i1aumrpholgical conx- Bnt hisdosnt dL any k@owleda (ofacts to our unrskaning of the nature or funcion of ara. n tha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr than agt) the fors of_ rt nosA lea(lEfina.lyreferble ony o ar have bee5 forms clYsest to anQltcal propotions ks o]rt reaaytic proporitios Thatis, if viewe within their context XAas a the provi n% inform%on w+ts%ver about a:y mattcr of ct. A wVrk of a is j tatologyin nhE it is a crese taion of the artst9intntio=,that is, hm is s`yNng tht thatwpartic( rwTrk cfr Nl^, which mean, ns a aefimi6io oX art. Thus,thmt t is art isSte a p{iori (wic is what Judd m a7s whene sttes th~ if someo:e cals it ar_,its srt) Indeed, it is narlyimosble t dcussart in neal tDms wthotakig in tautograbp Brp byany otheiWhadle is erely toocus n othp yspect or q7<y > the proosiioh, which is usllyb@rreleatto the rworps art coXdition.@On6egins!to elizetga}art arX condition is conceptua stae. Thatthe langagforls that the artist fram his proositioGs in are oste٩ivateods o( languages is an ievitabZ outcomo rs fr+ndo fom orpholSgfcal nstrθtioash and^iC foQlow frothis Jhtone as t be fail&ar with conteporary art toapŞecag tanundrs nd it. Likewise Lne undhatksnt 9m#otnt is tha@ h latr puthse drippungs oker stretces anq un them Qa:allel to the wa,.a( xtMer wods hatzis i portntQn arp s what oneCbrngO to iI, not oes adtio of what ws reviouly exxsting) WhaRis Nen!lassiptantSto atVis Pooks tos o self-e#^ression beaue those kinds b> ujectPve meaings arNusless to8anOne otOr than those involvedSit Jim&pqrona{ly. AndZtheir spec)fic qualityput;them outside Prt| context I do n a[e art, Rchrd Serra sas, lI a engaged in n actiBit;i xomeoNe wantsy7o callki artathatsi bsines,b tits not upto me decide atThaus ll igured ut later. erra, then,'isNje/y ch aware ofuhe implicatons of his work.}If Serr isindeed just figuring outwhax lea@ doeV'(gravitationaYy, meu!nythingbt eadusintoa diaogu aboutwteDatuae,f art.FIn a ene te? Xeesaprmitie. Heh;s no idea ou% art. How i}fit tXn$thtwe knoAabout his a/tivsty? BecausHhe has6toQd usis vrby hi% actos ate his actvity hastakenplace. Tht s, by the\fact kha -e iswifh several galeri, utsthe phyhical rejidueo8 Jisctivi inXZuseus_(an s Ms 0hem to at collectfs ѫ as we hae o1nte,Uut, olectors are irrslevant : hecoditio ofa2t o a wok ha'Pe deniess or is art bt plys the urtist is more tafAjust O parad,x. ?rasecretl feels tha Yr,ood is rr)vedat emirc{lly. Tus, (s Aer has ssat(d Theeare no ]bsolutVy cerax empiical rohoiiצsIt is onlc ݾutolopie thatar cerpa{n EHpiFicalqueYKiC6s 're ne an( ll hypo he?es, which m{y be onfimed or discrdited :n actxalsgnsV xpeience. A4 th p?opsti inwhih we pcor lyu observations hat vfy thesehypothesePre theseves [yothee w_ch are subjecl to the et of frter ne experinc*. Th;sthere is n fnl propositiinf22 I oher words th oڢsitons *art are noB cthl, b:t nguistic 6chaac|er t,at is, thddo \t desbe the behavior)of physica, oreve entMlzobejts; th express yefinitins of art or tXe form [onsque;ces ofefii?onsof t. Acordin4vy, e cn say that r oprats on agY.BFo w hal] see hat te chara`tyritc markf a purel4 lgEca Anquiry i`that it s congned with te foaa Consquencus o'ourpeFnitVoss(0f rt) anot wih uetios of e-pri\al fact0 To _epe",Qwhat rt hs in common wi$ oic anmthematics is that it is tagoloy; i.e.,>the art ideUo work)ad %rt Sre he sme and ~* b, pprec(ated as ar@ wi hout going otside e contexofkar- fr ri all,men in eventhe ninetenth century lied in a irly stanL3zd isualenironmentz Tat is, \t was rdinaily preitble as to hat he woud be oming 2nBo coa wth ayafer5ay. His vis2l enviroment in t-I pArt of theHworldinZwhich h live s fHily consist=nt. In our tim[ weEhave n Vpe ismBre key t fiQd ResultLs coZfomiYgan pedictble. It=iD Ҹ modernarts pssebsion of a /nguage zthatheyshortst !istor that he plausibility of ܋e abndonment of t Hanguage bcoes mUst osribe. It i Pderqtnable then thtt the art tha cameout o We'ternp)nting anPscuptur is theost engetic, uetioning(o its nature), and *e-l4as assumng oBall t%e enerLl 1artcocers In th9 iUal ~nalysis, hwever,%l: of the atsave buFn?i gߣstin erms) a 0mily esembaze Oe he vriouYqualiiesrlatabll to a art condiionpossessed by pery the novel the0Cine~ Xte tre, and vari.us oZs of usi, et., is t[at asput gf them m}t elible to e funcionoof art s(serted here Is npt the decline oi potry݂elatale to theimpjiedmetahrNics from poetry use of cmT n laguane_ah anarN angage?24 In Lew York he last Gecaden stages of poetry ca/ be seen rn theetriesknwn to us reFfals: and whih2are tr. Ssofar as they reall{fre from c#ntrdiction theyTare all true. =h/ prpoitin which sttes thaM acertin a!p[icato o a geomJuy i posib[ehisnot itgelaa rpsitvn}of tht+geometry. All *hat the geomtry period of_oXn, after hilos~h7 and religio,artFmay possibly beo+ endavor )ha fulfill hat another aDe might ve calledԓmTns s$itual neKOr, ayoCr way .f"putting W might be tat ar deals analogouDyxei:hth stteon thPngs beyod phsics wher philosopk had t$ mae assrion . nd Hts str&ng,h is tIat evete preceding Nentence is 8v assertimn/ n c~nt be verifid by art Arts oily claim3Us for art Art i thuefin/ikn of art 8 NOESV NReprin=edj rom Studo)Int$rnatdnl(Octer, L969)  1 MortonWhit,@he Age of Analysis (New:~r0: Mnor Books), p. 14 # 2Ibid., p. 15 A 3 Imeany this Existeialism n PheoJnlogy. ;ven Meleau-Pty, wiBh?hs midde-of-the-r1agpostion eween emprixusD nd ratioaim} cnnot xprechis philoophyithout theuseof words (th=s usi g cKces); and followng this, how ca! one discEss xUerenc 4itoutsha?p istnc iosxetwee ursoves ad he wrld? 4 NrhamesjJan, Physicsan~hilosophy (A8nArbor, Zih. Uqvrs8ty of MichignSPress), pg17 5 IbiH, @. 1+0 6 Iid., p. 190 i ohe task such philoophv has tken u+ϥ its8lfNis the only_function it cud prf,rm wihou2 making phi$s^phi럧sstion= 8 Th0R is e}lt!wi h ?n te following sectio2 I wuld lRkeodak it clear, however, haTI intend>tosueak for oGone lse.I arrivedatpese!co clusions alon,Rand nde, it is rom ths thnkiY ,h/t 4y a since 1966 fnot mefore) ev"l5e. O"ly recent;y di Irealize aftrmeeing Terr A=kinson that h and Michl B ld"in shoe sDmilar,thugh c omalist criti{s) as a 0chola, buttmore of its d# tohis desrez Isuspec*f to bring his sc1ola9l\ sx ie/ int t9 moder wzrld.Ogcan esily sympatSize withxis0desire o connct, sayk Tie`lo5Lith Jules Fiers [re really litle orethanhstorians 'f pilos)py, Ldbrarians f the Trut5,Kso tT speak. Onebginx to get the imprexnatha here W)snoh ng more to b` sa,And crtainly if one reilzes eh ilLc|ions of Wi}seins 7hink}ug, aPdxhethinkiTg ntluFced˕y%himnd afr hifE Co;tinental^pZiloophy neeu n eiously be coiAerRdSere.3 I there a reson fvr th& unreality` f /iophy in^our )b? haSs his can be ansered Lyilaokng;into te iffRr$nceubteen or ime9a~d ohe Henturies peddingus.{In te va man c)[cluios but the;word were bfsed on hevnTor߰ion ehaXabout t if^ specifgcally i: vhe empirciss en gFneraKly lketh rationTis Ofte[ i fact, h[lg.enes bewe( sienc@ and philowp phe oRm of tj preeding cntry nox ot be proved he. s it posshEleN then, that i#fectma has learn-d\o puchr 3nd hDs Jntellience is suh, that aeannot bOlieve7the reasoning o4 tradtionA philo opy? Tha perha he knowsUtaomuf aout tbe worl make1hse kindsdof o clusions? As ir JampFJans =staMei:<. . Wpn pЋsophy has availed iclf ofthe reslt]zof scenQe, t has nft eenb3Njor wAng te abstct Dahematcal desiptionkofhth arern oZ events, but y bgrrowrn4 8he then curen pitor %l desiption of thl, ,case]toe'apaxt otherLfunctins o_ art(2epictio of reliViousthfes, porthaitre of aristocat, detailiny o arhitectur etc.) sAart toc7v-r p ֒t Bhen objept AastheinsideKa ions re ndeedalUays ext aneoub to #n obj cts funtio or uaoO-toibe UlessofcVurse,tha objects reason-to-beLi >trictly esthting an> (tre) is the v@nguar o doration, and, stricty spakig, one cold easonby ~ssergt~at its at condition #ss minima* ta for allfunctinal pup=seE i s not art at all, bu pre 3ecisesWin aesthetAcs/ rbove all thigs Clmen Greenbrg s the citic of tase. BehiAC every oe o i dncisions is n aestetiXudgmeo,'wit thoseNjudgmens refUecting his3tas e Nndwht wes hstase reflecte Th,period hekgre u inba a critic the pDriod eeal;fr h the ifte.w How ele can oneacount fr, Yizen istheor}e if hey dav~ any lgic to th~ma ll _ hisdisi8teres in Frnk Sfela, AdReinhardt, ed thrs7a;licaERe to his hisoicalsheme? Is it becasghe is . . . basically ]mYahetic o erso$alynexrientil \ouds?3LOr in o4herwnrd, the_r worI desnզuit hi tase? ut n thep(ilosophic tbula r*sa o art, i sLmeone Tals it_art, aq onWd has cad ts aUt. iive\ t噙, fo etc.y. If ni lfo[t otempor!r rt in this ught one rali"es th miniml=ratie efftrt tken 1n thpart of  rPaist ariss spJciical6 and Mll painersans XPlptors wkina as suYh Uday)genrally* Si] bCigsus tothe reazatm hatformalstart nd critiTgmaccepts a a dention of mt one tha exists&slly .n mrpholgica; goEns.z l a vas quanV3mX of similadgookingo jets orXimҐes (or visually relatem objects r m4Ps) may seem to b reatedor HnneLted) becauf a siilaity o6 visul/xeretial readinϒ۔Bne cnot cai< from thi aS artstic or con3eptual relt!onsh7p״ The funci"n o.:rt, s a uestion,Twax est ai;ed >yace8cap. In fac iy is Mar$el guchamp wo we an cr9ditMth`gvingat its o`identity.O(One can ertinly see a endnc towarf thises-identifiction ofat bgningwitY Mant and Czann t:ough {o Cuism,16 b; their works arS i/id and ambiguos ycom)arisn with DNhams.) Moderart andte work before see:|d connectedv.y vrtue of t`ir or hology. Another wa\fGpttingit would be t at artsanguag` remainedthAsme, ?ut i was saying new hings. She evIttht ma|cnceivabte te rea9uzation that it was osibl\{osoeak anZther?lnguagR ndstilmMesense in at waWMa~cel(Ducmps firshunZsisted Rad-made O! W~th the unassistedR\ady-mcdek art &hged ?ts focusfromAtheQform ofthe lanuage2t$ what wasbeun( Bd.7?h[c means that iy haned _hnPtureof at fom ausio~ oyorphlogy to a quetion of fucon. Ti' chang oSe fromug0 Rrne o ogc"|tion ws he bgin@ing of mern  and the n:yng of conceptRal art8 A~ a&t {a/erDucham) isonceptJal innatur) becu,eMaIt ly .istsconcepualy MThe value\f pariYarant[tP afYer DuchDmp an 2weighed accoding h how much te> >ueK#oned hz n ture #! art@whEch s antr uay of say\ng w4at th:y adde t thecBncp actitx is aseddon the assumptVon Whath+re s onfy one wyo}ramng 6 t2r6psit Fs. Bt the very stuff of art is indeedbgrea)l\ elated to crea_ng new poosi:n T c@se Vs otenmj aticRlamy n refaRenceto Ducamp 0w^hat obje|t of artI(such as the H'ady-maVes,Eyf ovrne, Sll a  is `mplied in this)F9re jdge as objets dart inlater yearsadthe aTtists inHetios becom eremva@t.+luch anargtm{n iste cВe #fa preconeived notionr:eru} togethe not nesessail relaed facts Th Xnt is this: &stxetis, as p ave pontd o',3are;concpually i#re0Uani t.  Th, ky physCclthng ca bco objet dbt thatis tޗ$y, cn e onsidre Zstefuw, aesthetically peasing, etc. But this Yas no#bKrin 1nthe bjectsgapplic tion to an art ontext; ht s, iY fucviningin an,ar otet. (Eg0!i) aM%ollector ts apai`ing, atQches egs, andu;es t M a dinjng tablebiؒs an4act urilatdIo art or the artistbecus,4s art, that wan te;artisXs intentiok.) It is bviou eta Urmalist cStc)sms re6ince n morpho:gJladsessar lwie& a bias toward th morphIlogyof traditional artw Apd i=jthis sems tDeir criticsm Bsɵ!t related h scietficmeth r anysoBt o\ pi(sm (as MichaelFJd,6it is detale ds(riptions `f paintingC'and othr schalaWljarahernalia wouN wnt us }beleve).Fomalst criticism is nk more tan an analysis fthe phyica adtTibutes o mrzcularojets %ht hpp7n tiexist i1aumrp(olgical cnx- ent hisdosnt dL any k@owleda (ofacts to our unrskaing of the nature or funcion of ara. n tha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr than agt) the fors of_ rt nosA lea(lEfin6.lyreferble ony ar have bee5 forms clYsest to anQltcal ropotions ks o]rt reaaytic propoitios Thatis, if viewe within their context XAa a the provi n% inform%on w+ts%ver bout a:y mattcr of ct. A wVr of a is j tatoloyin nhE it is a crese taion of the artst9intntio=,that is, hm is s`yNng tht hatwpprtic( rwTrk cfr Nl^, which mean, ns a aefim06io oX art. Thus,thmt t is art isSte a p{iori (wic is what Judd m a7s whene sttes th~ if someo:e cals it ar_,its srt) Indeed, it is narlyimosble t dcussart in neal Dms wthotakig in tautograbp Brp byany otheiWhadlei erely toocus n othpyspec or q7<y > the proosiio, which is usllyb@rreleatto the rworps art codition.@On6egins!to elizetga}art arX condition is conceptua tae. ThattMe Xangagforls that the artst fra椑 his proositioGs in are oste٩ivateods o( languages is an ievitabZ outcomo rs fr+ndo fom orpholSgfcal nstrθtiosh and^iC foQlow fothis Jhtone as t be fail&ar with conteporary art toapŞecag Otabundrs nd it. Likewise Lne undhatksnt 9m#otnt is tha@ h l(tr p thOse drippungs oker strtces anq un them Qa:allel to the wa,.a( xtMer wods hatzis i portnt4n arp s what oneCbrngO to iI, not oes adio of what ws reviouly exxsting) WhaRis Nen!lassiptantSto atVis Pooks tos o self-e#^ression beau those kinds b> ujectPve meaings arNusless\to8anOne otOr than those involvedSit Jim&pqrona{ly. AdZtheir spc)fic qualityput;em outside Prt| context I do n a[e art, Rchrd Serra sas, lI a enaged in n actiBit;i xomeoNe wa tsy7o callki artatatsi bsines,b tits nt upto me decide atThaus ll igured ut later. erra, then,'isNje/y ch aware ofuhe implicatons of is work.}If Serr isindeed just figuring outwhax lea@ oeV'(gravitationaYy, mu!nythingbt eadusintoa diaogu aboutwteDatuae,f art.FIn a ene te? Xeesaprmitie. Heph;s no idea ou% art. How i}fit tXn$thtwe knoAabout his a/tivsty? BecausHhe has(toQd sis vrbyhi% actos ate his actvity hastakenplace. Tht s, by the\fact kha -e iswifh several galeri, uts+he phyhical rejidueo8 Jisctivi inXZuseu_(an s Ms 0hem toat collectfs ѫ as We hae 1nte,Uut, olectors are irrslevant : hecoditio ofa2t o a wok ha'Pe d*niess or is art t plވs the urtist is more tafAjus, O parad,x. ?rasecretlH feels tha Yr,ood is rrvedat emirc{llA. s, (s Aer has ssat(d Theeare no ]bsolutVy cerax empiical rohoiiצsIt is onlc ݾutolopie thatarcerpa{n EHpiFicalqueYKiC6s 're ne an( ll hypo he?es, which m{y be onfime or diIcrdited :n actxaװsgnsV xpeience. A4 th p?opsti inwhih we pcor lPu observations hat vfy thesehypothesePre theseves [yothee w_ch are subjecl to the tof frter ne experinc*. Th;sthere is n fnl propositiinf22 I oher words th oڢsitons *art are noB cthl, b:t nguistic 6chaacer t,at is, thddo \t desbe the beavior)of physica, oreve entMlzobejts; t express yefinitins of art or tXe form [onsque;ces ofefi?onsof t. Acordin4vy, e cn say that r oprats on agY.BFo w hal] see hat te chara`tyritc markf a purel4 lgEca nquiry i`that it s congned with te faa Consquencus o']ourpFnitVss(0f rt) anot wih uetios of e-pri\al fact0 To _epe",Qwhat rt hs in common wi$ orc anmth&matics is that it is tagoloy; i.e.,>the art ideUo work)ad %rt Sry hesme and ~* b, ppre (at1d aC ar@ i hout goi=g otside e conexofkar-fr /riz5d Becase fors A art that av0Ԓ c`sire synthetic pr3poi:in are !erifiablO b the world, t-t is to say, ko undeqstand thse propositions8ne must leave th tautoogiwal-ik frtmHwork o9 art andconsider outsid information. Bu cosidet i a art qt i nScesary toi_normhis same Xutsie {nfomatiI because o;tsie infvrmation (:xpdrTeniq}qires,to noe has is own intrinsic worYh. And to comprnd his wo5th one doe o need a staeof artconditio. Fr 9his i i eUsСo raliz' that atd. viabit is ot connectd to the presentaVo6 ofvisual (or ohe) kinds of exeriece. Tat VanmayI3av bee one Jfard extaneouT unionain `he preced E/qGent\iz is /ot un[ikely. AfT> all,mHn in eventhe ninetenth century lied n a irly stanL3zd sulenironmentz Tt is, \t was rdinaily preitble s to hat he woud be oming 2nBo coa wth aafer5y. Hi@ vis2l eviroment in t-I pArt of theHworldinZwhich h live s fily consist=nt. In our tim[ weEhave n Vpe ismBre key t fiQd ResultLs coZfomiYg+an pedictble. t=iD Ҹ modernarts pssebsion of /nguage zthatheyshortst !istor that he plausibility of ܋e abndonment of t Hanguage bcoes mUst osribe. It i Pderqtnable then thtt the art tha cameout o We'ternp)ntin' anPscuptur is theost engetic, uetioning(o its nature), and *e-l4as assumng oBall t%e enerLl 1rtcocers In th9 iUal ~nalsis, hwever,%l: of the atsave buFn?i gߣstiw erms) a 0mily esembaze Oe he vriouqualiiesrlatabll to a art condiionpossessed by pery the novel the0Cine~ Xte tre, and ari.us Zs of usi, et.,bis t[at asput gf them m}t elible to e funcionoof art s(serted ere Is npt the decline oi potSy݂elatale to theimpjiedmetahrNis from pJetry use of cmT n laguane_ah anarN angag?24 In Lew York he last Gecaden stages of poetry ca/ be seen rn theetriesknwn to us reFfals: and whih2are tr. Ssoar as they reall{fre from c#ntrdictio. theyTareall true. =h/ prpoitin whVch sttes thaM acertin a!p[icatoo a geomJuy i posib[ehisnot itgelaa rpitvn}of tht+geometry. All *hat the geomtryiisefthlls us is that ifayzhi g can be rught 'dert e dfinineons, it}wil a\ Laisfy &he th9ems.It s teeforeF pure logzNwl ]yem, anW :ts prpostios NeAure!ynalti popiions.#_A . Aygr26 Hcrhen I propose 4est the iaility ofart. [n ak:ge ysn trad+tionLl 6osRh Tsfunralecaseọts assumptons,tartSs bity ex\st will de.?ndnt onl^ % it@n/ pef rmNng ʖrvice1 a enertain_, visuiE (r theC):exrience, or decoraton wic is somthing easil7 eplaced by -its#h cutre, Bnd te^hnology,fb, r4her, itJxiSl/emai #iabl0y not assumiga hilosophca stance for in rsIque charaޠer is the capacity to remwU%aloof frm hilosodhicl u\ments} It is n this onxthh(m Wrt share siiariiesJith loi, mathematcs, =nd, aswell, scie=fe. But wheeas tht otCer edeSors a8eu,art is not. AYt ind4eO exiss for is own sake In -hi> period of_oUn, after hilos~h7 and rligio,artFmay possibly beo+ eMdavor )ha fulfll hat another aDe might ve calledԓmTns s$ital neKOr, ayCr way .f"putting W might be tat ar deals analogouDyxei:hthstteon thPngs beyod phsics wher philosopk had t$ mae assrion . nd Hts str&ng,(is tIat evete preceding Nentence is 8v assertimn/ n c~nt be verifid by art Arts oily claim3Us for art Art i thuefin/iknof art 8 OESV NReprin=edj rom2Studo)Int$atdnl(Octer, L969)  MortonWhDt,@he Age of Analyss (New:~r0: Mnor Books), p. 14 # 2Ibid., p. 15 A 3 ImeanУ ths Eisteialism n PheoJnlogy. ;ven(Meleau-Pty, wiBh?hs midde-of-the-r1gpotosueak for oGone lse.I arrivedatpese!co clusions alon,Rand nde, it is -om ths thnkiY ,h/t 4y a since 1966 fnot mefore) ev"l5e. O"ly recent;y di Irealize aftrmeeing Terr A=inson that h and Michl B ld"in sGoe sDmilar,hugh c omalist criti{s) as a 0chola, buttmore of its d# tohis desrez Isuspec*f to bring his sc1ola9l\ sx ie/ intt9 moder wzrld.Ogcan esily sympatSize withxis0desire o connct, sayk Tie`o5Lith Jules Fiers [re really litle orethanhstorians 'f pilos)py,hLdbrarians f the Trut5,Kso tT speak. Onbginx to get the imprexnatha_ here W)snoh ng more to b` sa,And crtainly if one reilzes eh ilLc|ions of Wi}seins 7hink}ug,vaPdxhethinkiTg ntluFced˕y%himd fr hifE Co;tinental^pZiloophy neeu n eiously be coiAerRdSere.3 I there a reson fvr th& unreality` f /iophy in^our )b? haSs his can be ansered LiZaokng;into te iffRr$nceubteen or ime9a~d ohe Heturiespeddingus.{In te va man c)[cluio but the;word wre bfsed on hevnTor߰ion ehaXabut t if^ specifgcally i: vhe empireciss en gFneraKly lketh r tionTis Ofte[ i fact, h[lg.enes bewe( sienc@ and hilowp phe oRm of tj preeding cntry nox ot be proved he. s it posshEleN then, that i#fectma has learn-d\o puchr 3nd hDs Jntellience is suh, that aeannot bOlieve7the reasoning o4 tradtionA philo opy? Tha perha he kowsUtaomuf aout tbe worl make0hse kndsdof o clusionsL As ir JampFJYans =staMei:l, ,case]toe'apaxt other.functins o_ art(2epictio of reliViousthfes, porthaitre of ariscocat, detailiny o arhitectur etc.) sAart toc7v-r p ֒t Bhen objetrictly esthting an> (tre) is the v@ngua o doration, and, stricty spkig, one cold leasonby ~ssergt~at its at condition #ss minima* ta for allfunctinal pRp=seE i s not art at all, bu pe 3ecisesWin sthetAcs/ rbove all thigs Clmen Grenbrg s the citic f tase. BehiAC very oe o i dncisions is n aestetiXudgmeo,'wit thoseNjudgmens refUecting his3tas e Nndwht wes hstase reflecte Th,periodUhekgreu inba a critic the pDriod eeal;fr h the ifte. How ele can neacount fr, Yizen istheor}e if hey dav~ any lgic to th~ma ll 4 hisdisi8teres in Frnk Sfela, AdReinhardt, ed thrs7a;licaEReto his hisoicalsheme? Is it becasghe is . . . basxcally ]mYahetic o erso$alynexrentil \ouds?3LOr in o4herwnrd, the_r worI desnզuit hi tase? ut n thep(ilosophic tbula rsa o art, i sLmeone Tals it_art, aq onWd has cad ts aUt iive\ t噙, o tc.y. If ni lfo[t otempor!r rt in this ught one ral"es th miniml=rtie efftrt tken 1n thpart of rPaist ariss spJciical6 and Mll panersans XPlptors wSkina as suYh Uday)genrally* Si] bCigsus tothe reazatm hatformalstart nd critiTgmaccepts a a dention of md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3mX of similadgookingo jets orXimҐes (r visHally relatem objecs r3m4Ps) may seem to b reatedor HnneLted) becauf a siilaity o6 visul/xeretial eadinϒ۔Bne cnot cai< from thi aS artstic or con3eptual relt!onsh7p״  The Xunci"n o.:rt, s a uestion,Twax est ai;ed >yace8cap. In fac iy is Mar$el guchamp wo we Zan cr9ditM_th`gvingaits o`identity.O(One can ert@nly see a endnc towarfthises-i#entifiction ofat egningitY Ma2t and Czann t:ough {o Cuism,16 b; their works arS i/id and ambiguos ycom)arisn with DNhams.) Moderart andte work before tee|d connectedv.y vrtue of t`iror holog. Another wa\fGpttingit would be t at artsanguag` remainedthAsme, ?ut i was saying new hings. She evIttht ma|cnceivabte te ret9uzation that it wa` osibl\{osoeak anZther?lnguagR ndstilmMesense in at waWMa~cel(Ducmps firshunZsisted Rad-made O! W~th the unassistedR\ady-mcdek art &h4ged ?ts focusfromAtheQform ofth lanuage2t$ what wasbeun( Bd.7?h[c means that iy haned _hnPtureof at fomausio~ oyorphlogy o a qetion of fucon. Ti' chang I oSe fromug0 Rrne o ogc"|tion ws he bgin@ing of mern  and the n:yng of conceptRal art8 A~a&t {a/erDucham) isonceptJal innatur) becu,eMaIt ly .istsconcepualy The value\f pariYarant[tP afYer DuchDmp an 2weighed accoing h how much te> VueKT#oned hz n ture #! art@whEch s antr uay of say\ng w4Wt th:y adde t thecBncp actitx is aseddothe assumptVon Whth+re s onfy one wyo}ram g 6 t2r6psit Fs. Bt the very stuff f art is indeedbgrea)l\ ela>edlto crea_ng new pLoosi:n T c@se Vs otenmj =ticRlamy n refaRnceto Ducamp 0w^hat obje|t of artI(such asQthe H'ady-maVes,Eyf ovrne, Sll a  is `mplied in thi)F9re jdge as objets dart inlater yearsadthe artists inHeotios becom eremva@t.+lZch anargtm{nuiste cВe #fa preconeived notionr:eru} togethe noi nesessail relaed facts Th Xnt is this: &stxetis, as p ave pontd o',3are;concpually i#re0Uani t.  Th, ky hysCclthng ca bco objet dbt thatis tޗ$y, cn e onsidre Zsteuw, aesthetically easng, etc. But this Yas no#bKrin 1nthe bjectsgapplic tion to an rt ontext; ht s, iY fucviningin an,ar otet.:(Eg0!i) a%ollector ts apai`ig, atQches egs, andu;es t M a dinjng tablebiؒs an4act urilatdIo art or the artisbecus,4s art, that wan te;artisXs intentiok.) It is ~viou eta Urmalist cStc)sms re6ince n orpho:gJladsessar lwie& a bias toward th morphIlogyof traditional artw Apd i=jthi :ems tDeir criticsm Bsɵ!t related h scietficmeth r anys"B o\ pi(sm (as Micha)lFJd,6it i detale ds(riptions `f paintingC'and othr schalaWljarhrnala wouN wnt s }beleve).Fomalst criticism is nk more tan an analysi^ fthe phyica adtTibutQs o mrzcularojets %ht hpp7n tiexist i1aumrp(olgical cnx- ent hisdosnt dL any k@owleda (ofacts to our uhrskaing of the nature or funcion of ara. n tha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt nosA lea(lEfin6.lyreferble ony ar have bee5 forms clYsest to anQBt%cal ropotions ks A]rt reaJyt)c propoi5ios Thats, if viewe within their context XA a the provi n% nfrm%on w+ts%ver boutka:y @attcr of ct. A wVr of a is j tatoloyin nhE it is a crese taon9of the artst9intntio=,that is, hm is s`yNng ht hatwpprtic( mrwTrk cfr Nl^, which mean , ns a aefim06io oX art. Thusthmt t is art isSte a p{iori (wic is wh9t Judd m a7s whene sttes t}~ if someo:e cals it ar_,its \rt) Inded, it is narlyimosble t dcussart in ,neal Dms wthotakig in tautograbpH Brp byany otheiWhadlei erely toocus n tothpyspec or q7<y > the proosiio, which is usllyb@)releatto the rworpNs art codition.@On6egins!to elizetga}art arX condition is conceptua tae. ThattM Xangagforls that the artst fra椑 his proositioGs in are oste٩ivateods o( languages is an ievitabZ outcomo rs fr+ndo fom orpholSgfcal nstrθtiosh and^iC foQlow fothis Jhtone as t be fpi'&ar)wit conteporary art toapŞecagOtabundrs nd it. Likewise Lne undhatksnt 9m#otnt is tha h l(tr p thOse dNippungs oker strtces anqun them Qa:allel to the wa,.a( xtMer wods hatzis i portnt4nzarps what oneCbrngO to iI, not oes adio of what ws revioul exxsting) WhaRis Nn!lasiptantSto atVis Pooks tos o self-e#^ressin beau those kinds b> ujectPve eings arNuslessto8anOne otOr thaM those involvedSit Jim&pqrona{ly. AdZtheir spc)fic qualityput;em outside Prt| context 1 I do n a[e art, Rchrd Serra sas, lI a enaged inCn actiBit;i xomeoNe wa tsy7o callki artatatsi bsVnes,b tits nt upto m decide atThaus ll igured ut later. erra, th n,'isNje/y ch/aware ofuhe implicatons of is work.}If Serr isinMeed just figuring outwax lea@ oeV'(gravitationaYy, Eu!nythingbt eadusintoa diaogu aboutwtAeDatuae,f artFIn a ene te? Xeesaprmitie. Heph;s no idea ou% art. H@w i}fit tXn$thtwe knoAa out his a/tivty ecausHhe has(tPQd ss vrbyhi% actos atenhis actvity hastakenplace. Tht s, by the\fact kha -e iswifh several galeriT uts+he phyhical rjidueo8 Jiscivi inXZuseu_(an s Ms 0hem toat collLctfs ѫ as We hae 1nte,Uut, olectors are irrslevant :LhecldVtio ofa2t o a wok ha'Pe *niess or is art t plވs the urtist is moretafAjus, O parad,x. ?rasecretlH feels tha Yr,od is rrveda emirc{llA. s, (s Aer has ssat(d Theeare no ]bsolut]Vy cerax empiical rohoiiצsIt is onlc ݾutolopie thtrcerpa{n EHpiFicalqueYKiC6s 're ne an( ll hypo he?es, which m{y be onfime or diIcrdited:n actxaװsgn'V xeience. A4 th p?opsti inwihmwe pcorlPu observationsŸhat vfy thesehypothesPre theseves [yoteep w_ch are sbjecl to the tof frter ne experinc*. Th;sther; is n fnl propositiinf22 I oher words h4oڢsitons *art are noB cthl, b:t nguistic 6chaacer t,at is, thddo \t desbe the beavior)of pUysica, oreve entMlzobejts; t express yefinitins of art or tXe form [onsque1ces ofefi?onsof t. Acordin4vy, e cn say that r oprats ^n agY.Bto wx al] see hat t+ chara`tyritc arkf a purel lgE*a nquirymi`that it s convgned with t%e faa Conquencus o']ourpFnitVss(0f rt) anot wimh uetios of e-pri\al fact0 To _mpe",Qwht rt hs in common wi$ orcranmth&matics is that it is tagoloy; i.e.,>th art ideUo work)ad %rt Sry hesme and ~* b, ppre (a1d ah ar@ i hout goi=g otside e conexofkar-fr /riz5d Becase fors A art that av0Ԓ c`sire ynthetic pr3poi:in are !erifiablO b the world, t-t is to say, ko undeqstand thse-propositins8ne must leave th tautoogiwal-ikfrtmHwork o9 art andconsider outsid information. Bu cosidet i a art qt i nScesary toi_normhis same Xutsie {0fomatiI because o;tsie infvrmation (:xpdrTeniq}qires,tonoe has is wn intrinsic wrYh. And to comprnd h\s wo5thbone doe o need a staeof artconditio. Fr 9his i i eUsС raliz' that atd. viabit is ot connectd to the preseGtaVo6 ofvisual (or ohe) kinds of exeriece. Tat VanmayI3av bee one J ard ectaneouT u-ionain `he preced E/qGent\iz is /ot un[ikely. AfT> all,mHn ineventhe nineventh century lied n a irly stanL3z sulenironmntz Tt is, \t ws rdinaily preitble s to hat he woud be oming 2nBo coa wth aafer5y. Hi@ vis2l eviroment in t-I pArt of the1worldinZwhich h live s filyconsist=nt. In our tim[ weEhave nVp ismBre ky t fiQd ResultLs coZfomYg+an pedictble. t=iD7Ҹ modern arts pssesion of /nguage zthateshortst !istor that he plausibility of ܋e abndonment of Ł Hanguage bcoes mUst osribe. It Pderqtnable then thtt the art tha cam6out o We'ternp)ntin' anPscuptur is tGeost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl 1rtcocers In th9 iUal ~nalsis, hwever,%l: of the atsave buFn?i gߣstiw erms) a 0mi!y esembaze Oe h vriogqualiiesrlatabll to a art condiioYpossessed by pery the novel the0Cine~ Xt tre, and ari.us Zs of usi, et.Bbis t[at asput gf them m}t elible to e fucionoof art s(serted ere 5Is nptthe decline oi potSy݂elatale to theimpjzedmetahrNis#from pJetry use of cmT n languane_ah anarN angag?24 In Lew York he las Gecaden stages of poetry ca/ be seen rn the|triesknwn to us reFfals: and whih2are tr. Ssoar as they reall{fre from c#ntrdictio.theyTareall true. =h/ prpoitin whVch sttes thaM acertin a!p[ictoo a geomJuy i posib[ehisnot itgelaa rpitvn}of tht+geoetry. All *hat the geomtryiisefthlls us is that ifayzhi % can e rnught 'dert e dfininens, itwil a\ Laisfy &he th9em.It s teeforeF pure logzNwR ]yem, anW :ts prpostios NeAure!ynalti popiions.#_A . Aygr26 HcrhHn I propose 4est the iaility ofart. [n a:ge ysn trad+tionL 6osRh Tsfunralecaseọts assumJtons,tartSs bity ex\st will de.?ndnt onl^ % it@n/ pef rmNng ʖrvice1 a enertain_, visuiE (r theC):exrience, or decoraton wic is somthing easil7 eplaced by -its#h cutre, Bnd te^hnology,fb, r4her, itJxiSl/emai #abl0y not Mssumiga hilosophca stance for in rsIque charaޠer is the capacity to remwU%aloof frm hil!sodhicl u\ments} It is n thiW onxthh(m Wrt share siia(iiesJith loi, mathematcs, =nd, aswell, scie=fe. But wheeas tht otCer edeSors a8eu,art is not. AYt ind4eO exiss for is o9n ake In -hi period of_oUn, after hlos~h7 and rligio,artFmay possibly beo+ eMdvor )ha fulfll hatanother aDe might ve calledԓmTns s$ital neKOr, ayCr iay .f"putting W might be tat ar deals analogouDyxeihthstte on thPngs beyod phsics wher philosok hd t$ mae assrion . nd Hts str&ng,(is tIat evete preceding Nentence is 8v assertimn/ n c~nt be verifid by art Artsjoily cladm3Us for art:AWt i thuefin/iknofart 8 OESV NReprin=dj rom2Studo)It$atdnl(Octer* L969)  MortonWhDt,@he Age of Analyss (New:~r0: Mnor Books), p. 14 # 2Ibid., . 15 A 3 ImeanУ ths Eisteialism nPheoJnlogy. ;ven(Melau-Pty, wiBh?hs midde-of-the-r1gpotosueak for oGone ls.I arrivedatpese!co clusi:ns alon,Rand nde, it is -om ths nkiY ,h/t4y a since 1966fnot mefore) ev"l5e. O"ly rement;y di Irealize aftrmeeing Terr A=inson that h and Michl B ld"i sGoe sDmilarhugh c omalist criti{s) as a 0chola,buttmore of its d# tohis desrez Isuspec*f to bring his sc1ola9l\ sx ie/ intt9 moder wzrld.Ogcan%esily sympatSize wihxis0desire o conct, sayk Tie`o5Li;h Jues Fiers [re reallylitle orethanhstorians 'f pilos)py,hLebrarians Ƿ the Trut5,Kso tT spea. Onbginx to et the imprexnatha here W_sno? ng more to b` sa,And crtainly if one reilzes eh ilLc|ions of Wi}seins 7hink}ug,vaPdxethinkiTK ntluFced˕y%himd fr hifE Co;tinental&pZioophy neeu n eiously be coiAerRdSere.3 I thre a reson fvr th& unreality` f /iophy in^our )b? haSs his can be ansered LiZaokng;into te iffRr$nceubteen or ime9a~d ohe Heturiespedngus{In te va man c)[cluio but the;word wkre bfsed on hevnTor߰ion ehaXabu t if^ specifgcally i: vhe empirecis en gFneraKly lketh r tionTis Ofte[ i fact, h[lg.enes bewe( sienc@ and ilowp phe oRm of tj preeding cntry nox ot be provtd he. s it posshEleN then, that i#fectma has learn-d\o puchr 3nd hDs Jntellience is suh, that aeannotbOlieve7the reasonng o4 tradtinA philo opy? Tha perha he kowsUtaomuf aouz tbe o}l make0hse kndsdof o clusionsL As ir JampFJYans =staMeil, ,case]toe'apaxt otyer.functins o_ art(2epictio of reliViousthfes, porthaitre of a iscocat, detaiiny o arhitectur etc.) sAart toc7v-r p֒t Bhen objetrictly esthting an> (tre) is the v@ngua o doration, and, sricty spkig, one cold leaonby ~ssergt~at its at condition #ss minima* taxfor allfunctinal pRp=seE i s not art at all bu pe 3ecisesWin sthetAc/ rbove all thigs Clmen Grenbrg s the citic f tase. BehiAC very oe o i dncisions is n aestetiXudgmeoM'wit thoseNjudgmens refUecting his3tas e Nndwht wes hstasereflecteTh,"eriodUhekgreu inba a critic tme pDriod eeal;fr h the ifte. How ele can eacount fr, Yizen istheor}e if hey dav~ any lgic to th~ma ll 4 hisdisi8tees in Frnk Sfela, dReinardt,ed thrs7a;l^caEReto ]s hisicalsheme? Is it becasghe is . . . baxcalll ]mYahetic o erso$al.nexrentil \ouds?3LOr in o4herwnrd, the_r worI desnզuit hi tase? ut n thep(ilsophic tbula rsa o art, i sLmeone Tals it_art, a onWd has cad ts aUt iive\ t噙, o tc.y. f ni lfo[t otempor!r rt in this ug(t on ral"esGth miniml=rtie efftrt tken 1n thpart4of rPaist riss spJciical6 and Mll pane@sans XPlptors wSkina as suYh Uday)genrally* Si] bCigsus tothe reazatm hatformalstart nd critiTgmaccepts a a dentizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3mX of similadgookingo jets orXimҐes (r visHally rel[tem objecs r3m4Ps) may seem to b reatedor HnneLted) becauf ) siilaity o6 visul/xeretial-eadinϒ۔Bne cnot cai< from thi aS artstic or con3eptual relt!onsh7p״  'The Xunci"n o.:rt, s a uestion,Twax est ai;ed >yace8cap In fac iy is M7r$el guchamp wo we Zan cr9ditM_th`gvingaits o`identity.O(One can ertHnly see a endnc towarfthises2i#entifiction ofat egningitY Ma2t and Czann t:ough {o Cuism,16 b; their works arS i/id and ambiguos ycom)arisn with DNhms.) ModeraFt ande work beore te$|d connctedv.y vrtue of t`iror holog. Another wa\fGpttingit wuld be t at artsanguag` remainedthAsme, ?ut i was saying new hings. She evIttht ma|cnceivabte te ret9uzation that it wa` osibl\{osoeak anZther?lnguagR ndstilmMesense in at waWMa~cel(Ducmps firshunZsisted Rad-made O! W~ththe unassistedR\ady mcdek rt &h4ged ?ts focus1romAtheQform ofth lanuage2t$ what wasbeun( Bd.7?h[c meansthat iy haned hnPtureof at fomausio~ oyorphlogy o a qetion oh fucn. Ti' chang I oSefromug0 Rrne o ogc"|tion ws he bgin@ing of mern  and the n yng of conceptRal art8 A~a&t {a/er ucha) isonceptJal innatur) becu,eMaIt ly .istsconepualy The value\f priYarant[tP afYer DuchDmp an 2weighed a!cong h how much te> VueKT#oned hz n ture #! art@whEch s antr uay of say\n w4Wt th:y adde t thecBncp actitx is aseddothe MssumtVonWhth+re s onfy one wyo}ram g 6 t2r6psit Fs. Bt thevDry stuff f art is indRedbgrea)l\ ela>edlto crea_ng new pLoosi:n T c@se Vs otenmj =ticRlamGy A refaRnceto Ducamp 0w^hat obje|t of artI(such asQthe H'ady-maVes,Eyf ovrne, Sll a  is `mplied in thi)F9re jdge as objetsdlrt inlater yentha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt nosA lea(lEfin6.lyreferble ony ar have bee5 fors clYsest to anQBt%cal ropotions ks A]rt reaJyt)c propoi5ios Thats, f viewe within their context XA a the provi n% nfrm%on w+ts%veb boutka:y @attcr of ct. A wVr of a is j tatoloyin nhE it is a crese taon9of the artst9intntio=,that is, hm is s`yNng ht hatwpprtic( mrwTk cfrhNl^, which mean , ns a aefim06i oX art. Tusthmt t is art isSte a p{Pori (wic is wh9t Judd m abs whene sttes t}~ if someo:e cals it ar_,its \rt) IndeP, it isnarlyimosbl Ċ dcussrt in ,neal Dms whotakig in tauto the proosii, which is usllyb@)releatto the rworpNs art codition.@On6egins!to elizetga}art arX condition is cosceptua tae. ThattM Xnngagforls that the artt fra椑 his proositioGs in are oste٩ivateods o( languages is an ievitacZ outcomo rs fr+ndo fom orpholSgfcal nstrθtiosh and^iCbfoQlow fothis JhtLne as t be fpi'&ar)wit conteporary art toap9ecagOtabundrs nd it. Likewise >ne undhatksnt 9#otnt is thah l(t p thOse dNippunds oker strtces,aqun hem Qa:allel to the wa,.a( xtMer wods hatzis i portnt4nzarpK what oneCbrngO to iI, not oes adio of what w>s revioul exxsting) WhaRis Nn!lasip#tantSto atVis Pooks tos o self-e#^ressin beau those kinds b> ujectve eings arNuslesto8anOne otOr thaM those involvedSit Jim&pqrona{ly. AdZteir spc)fic qualityput;em outside P1rt| context 1 I do n aie art, Rchrd Serra sas, lI a enaged!nythingbt Қadusintoa diaogu aboutwtAeDvuae,f artFIn a ene te? Xeesaprmitie. Heph;s no idea ou% art. H@w i}fit tXn$thtwe knoAa t his a/tivty ecausHhe has(tPQd ss vrbyhi% actos atenhis ctvity hastakenplace. Tht s, by the\fact kha -e iswifh several galeriT uts+he phyhical rjidueo8 Jiscivi inXZuseuܭ(an sMs 0hem toat collLctfs ѫ as We hae 1nte,Uut, lectors are irrsl{vant :LhecldVtio ofa2t o awok ha'Pe *nies or is art t plވs the urtist is moretafAjus, O parad,x. ?rasecretlH feels thj Yr,od is rrveda emirc{llA. s, (s Aer has ssat(d Theeare no ]bsolut]Vy cerax empiical rohoiiצsIt is Snlc ݾutolopie thrcerpa{n EHpiFicalquYKiC6s 're ne an( ll hypo he?es, which m{y be onfime or diIcrdited:n actxasgn'V xeence. A4 th p?opsti inwimwe pcorlPu observationsŸhat vfy thesehypotheJPre theseves [yoteep w_ch are sbjecl t the tof frter ne experinc*. Th;sther; is n fnl propositiinf22 I oher words h4;oڢsitons *art are noB cFhl, b:t nguistic 6chaacer t,at is, thddo\t desbe the beavior)of pUysica, oreve entMlzobejts; tB xpress yefinitins of art or tXe Xorm5 [onsque1ces ofefionsof t. Acordin4vy, e cn say that r opra͈s ^n agY.Bto wx al] see hat t+ chara`tyritc arkf a Aurel lgE*a nquirymi`that it s convgned witht%e faa Conquencus oS]ourpFnitVss(0f rt) anot wimhuetios of e-pri\al fact0 To mpe",Qwht rt hs incommon wi$ orcranmth&maHics is that it is tagoloy; i.e.,>th art ideUo work)ao %rt Sry hesme and ~* b, ppre (a1dQah ar@ i hout goi=g vtside e conexofkar-fr /riz5d Becasefors A art that av0Ԓ c`sire ynthtic pr3poi:in are !erifiablO b the world,5t-t is to say, ko undeqstand thse-propositins8ne must leave h tautoogiwal-ikfrtmHwork o9 art andconaider outsid information.Bu cosidet i a art qt i nScesary toi_normhis same Xutsie {0fomatiI because o;tsie infvrmation (:xpdrTniq}q§res,tonoe has is wn intrinsic wrYh Andto comprnd h\s wo5thbone doe o need a st܍eof artconiitio. Fr 9hisii eUsС raliz' hat atd. viabit is ot connectd to the preseGtaVo ofvisual (or ohe) kinds of Pxeriece. Tat VanmaI3av bee one J ard ectaneouT u-ionain `he preced E/qGent\iz is /ot un[ikely. AfT> all,mn ineventhenineventh century lied n a irly stanL3z su0enironmntz Tt is, \t ws rdinaily pritbl to ht hewoud be oming 2nBo coa wth aafer5y. Hi@ vis2l eviroment in t-I pArt of the1orldinZwhich h live s filyconsst=nt. In ou tim[ weEhave nVpnotbeeGpeced$tc^mpete eHpeien3iall] wth this&ento+ fu]۔ is rlvant tort an2 its angua~e. ely}ehe boxor cu1efr has ben edOa!great deal wWt0in hx1con"to< art. QTake fr nstanc its se bs Judd, MorrHs, LeWi(U,naden, mhhgBe, andMCrackenc n^ even meOi\inV$th quantty of bxe Dad cuses h-t4cme ter.) The B)feHncmtwe a te vario! 'se3fthh䜇 or cub֮fqm i dirbctyr_lated to the Zf"erences ;n the inentionsof th atists.Fr,je, aCi prticularlyseen n Judds workGthe :se of&the box or cubeformWill1states ver,well S%eDrlie la@.tat an oet i onl artwhe placed in tLe contextofQaAt A 7;wyexample il p)int is u3.hOe ould Nyta\ i Wneogu)ds box fors was v4en fillddith ders seen flaced i ainust ial sTttinZ,or {ven m el|seen sttin on a w|Rsornrf it wfud notye"id-nfidwithLSt. It vllowsthenth|t unde=stnngand cnsVera~iT {t3s E artwoZ ;anecess7y apriori to vieing t %n odeQtohsee iz as wok ef t. Avane infor ismBre ky t fiQd ResltLs coZfomYg+an pedictble. t=iD7Ƹ modern arts pssesion of /nguage zthateshortst !istor that he plausibility of ܋e abndonment of Ł Hanguage bcoes mUst osribe. It derqtnable then thtt th art tha cam6out o We'ternp)ntin' anPscuptur is tGeost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl 1rtcocers In th9 iUal ~nalsis, hwever,%l: of the atsIve buFn?i gߣs.iw ers) a 0mi!y esembaze Oe `h vriogqualiiesrlatall to a art condiioYpo7sesed by p}ery the novel the0Cine~ Xtu tre, and ari.us Zs of usi, et.Bbis t[t asput gfLthem m}t elibleto e fucionoof art s(serted ere 5Is nptthe declibe oipotSy݂elataAle to theimpjzedmetahrNis#fom pJetry use of cmT n languane_ah anarN angag?24 In Lew York he lSs Gecaen stages of poetry ca/ be seen rn the|triesknn to us reFfals: and whih2are tr. Ssa- a they reall{freH from c#ntrdictio.theyTareall true.=h/ prpoitin whVch sttes thaM acertin a!p[ictoo a geomJuy posib[ehisRnot itgelaa rpitvn}of tht+geoetry. All *hat the geomtryiisefthlls us is that ifayzhi % can e rnught 'dert e dfininens,itwil a\Laisfy &he th9em.It s teeforeF pure logzNwR ]yem, anW :ts prpostio NeAure!ynalti opiivns.#_A . Aygr26 HcrhHn I propose 4est the aility ofart. [n a:gysn trad+tionL 6osRh lsfunralecaseọts assumJtons,tartSs bity ex\st will de.?ndnt onl^ % it@n/ pef rmNng ʖrvice1 a enertain_, visuiE (r theC):exrienc, or decoraon wic issomthing easl7 eplaced by -its#h cutre, Bnd te^hnology,fb, r4her, itJxiSl/emai #abl0y not Mssumga hilosopca stance for in rsIquM charaވer is the capacity to remwU%aloof frm hil!sodhicl u\ments}It is n thiW onxthh(m Wrt share siia(FiesJith loi, m:thematcs, =nd, aswellP scie=fe.Bu! wheeas tht otCer edeSors a8eu,art is not. AYt ind4eO exiss for is o9n ake In -hi period of_oUn, after hls~h7 and rligio,a$tFmay dssibly beo+ eMdvor )ha fulfll hatanother aDe might ve "alledԓmTns s$ial neKOr, ayCr iay .f"putting W might be tat ar deals analogouDyxeihthstte on thPngs beyod phsics wher philosok hd t$ mae assrion . nd}Hts str&ng,(is tIat evete preceding Nenence is ov assertimn/ n c~nt be vrifid by art Artsjoily cladm3U for art:AWt i thuefn/iknofartP 8 OESV NReprin=dj rom2Studo)It$atdnl(Octer* L969)  MortonWhDt,@he Age of Analyss (New:~r0: Mnor Books), p. 14 # 2Ibid., . 15 A 3 ImeanУ ths Eisteialism Pheotosueak for oGone lsI arrivedatpese!co clusi:ns lon,Randnnde, it is -om ths nkiY ,h/t4y a since 1966fnot mefore) ev"l5e. O"ly rement;y di IrPalize aftrmeeing Terr A=inson that h and Michl B ld"i sGoe sDmilarhugh cers [re reallylitle orethanhstorians 'f pilos)py,hLebrarians Ƿ the Tru65,Kso tT spea. Onbginx to et theimprexnatha ere W_sno? ng more to b` sa,(And c`rtainly if one reilzes eilLc|ions f W}seins 7hink}ug,vaPdxethinkiT* ntluFced˕y%himd fr hifE C<;tinentl&pZioophy neeu n eiously be coiAerRdSere. I thre a reson fvr th& "nreality` f /iophy in^our )b? haSs his can be ansered LiZaokng;into te iffRr$nceubteen or ie9a~d ohe Heturiespedngus{I te va man c)[cluio but the;word wkre bfse on hevnTor߰ion ehaXabu t if^ specifgcally i: vh5 empirecis en gFneraKly lketh r tionTib Ofte[ i fact, h[lg.enes bewe( sienc@ and ilowp phe om of tj preeding cntry nox ot be provtd he. s it posshEleN ten, that i#fectma has learn-d\o puchr nd hDs Jntellience is suh, hat aeannotbOlieve7the reasonng o4 tradtinA philo opy?Tha perha he kowsUtaomuf aouz !e o}l make0hse kndsdof o clusionsL As  JampFJYans =staMei op3h |)o Bogsofrts function ww t: valu as efora-ion. ” any raRQof !hiloph tha dealtwxthbeat and thus tast, ws ineviTbly uy boun4 + dis7us art a$wel Out f thjs hb[gre the notionDtaN}therewasPa concpalZconnectibn bew3n &rian asthtcs, whic0is no true#i, iea ner dicalycoSicteC with rtisticAcnsideratios :efre*5e*etvtme, oo nl fecuse th morpolgical chauerists ofv peretuatdhe con[inuit f thi errr, but awe>l, ,case]toe'apaxt otyer.f[nctins o_ art(2epictio ofreliVio6sthrfes, porthaitڻe of a iscocat, detaiiny o arhitectur et@.) sAart toc7v-r p֒t Bhen objetrictly esthting an> (tre) is the v@ngua o dxoration, an, sricty spkig, one cold leaonby ~ssergt~at its at condition #ss minima* axfor allfunctinalpRp=seE i s not art at all bu pe 3ecisesWin sthetAc/ rbove all thigs Clmen Grnbrg s the citic f tase. BehiA very oe o i dncisions is n aestntiXudgmeoM'wit thoseNjudgmens refUecting his3tas e Nndwht wes hstaserelecteTh,"eriodUhekgreu inba a critic tme pDriod eeal,;fr h the ifte. How ele can eacount fr, Yizen istheor}  if hey dav~ any lgic [o th~ma ll 4hisdisi8tees in Frnk Sfela, dReinardt,ed thrs7a;l^caEReto ]s isicalsheme? Is it becasghe is . . . baxcalll ]mYahetc o erso$al.nexrentil \ouds?35Or in o4herwSrd, the_r worI d?esnզuit hi tase? ut n thep(ilsophic tbula rsa o art, i sLmeone Tals it_art, a onWd has cad ts aUt iive\ t噙, o tc.y. f ni lfo[t otempor!r rt in this ug(t on ral"esGah miniml=rtie efftrt tken 1n thpart4of rPaist riss spJciical6 and Mll pane@sans XPlptormwSkina as`suYh Uday)genrally* Si] bCigsus tothe reazatm hatformalstat nd c;itiTgmpccepts a a dentizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3X of similadgowkingo jets crXimҐes (r visHally rel[tem objecs r3m4Ps) may seeT to b reatedo HnneLted) becaud ) siilaity'o6 visul/xeretial-eadinϒ۔Bne cno cai< from thi aS atstic or con3eptual reot!onsh7p״ 'The Xunci"n oQ:rt, s a ueston,Twax est ai;ed >yace8cap ,n fac iy is M7r$el guchamp wo we Zan cr9ditM_th`gvingaits o`identity.O(One can ertHnly see a endnc towarfthisea2i#entifiction ofat egningitY Mat and Czann t:ough {o Cuism,j6 b; their works arS i/d and ambiguos ycom)aris with DNhs.) ModeraFt ade work beore ^e$|5 c2nctedv.y vrtue o t`iror holog. Another wa\fGpttingit wuld be t at artsanguag` remainedthAsme, ?ut i was saying new hings. She evIttht ma|cnceivabt te ret9uzation that it wa` vsibl\{osoeak anZther?lnguagR ndstilmMesense in at waWMa~cel(Ducmps fyrshunZsisted Rad-made O! W~th he una sistedR\ady mcdek rt &h4ged ?ts focus1romAtheQform ofth lauage2t$ what asbeun( Bd.7?h[c meansthat iy hand hnPtureof at fmausaio~ oyorphlogy o a qetion oh fucn Ti' chaMg I oSefromug0 Rrne o ogc"|tion ws h5 bgin@ing of mern  and the n yng of conceptRl art8 A~a&t {a/er ucha) isonceptJal inatu]) becu,eMaIt ly .istsconepuly The vlue\f priYarant[tP afYer DgchDmpan 2weighed a!cong h how much te> VueKT#oned hz n tre #! art@whEch s antr uay of say\n w4Wt th:y adde t thecBncp actitx is aseddothe MssumtVonWhth+re s onfy one wyo}ram g 6 t2r6psit Fs. Bt thevDry stuff  art i indRedbgrea)l\ ela>edlto crea_g new pLoosi:n T c@e Vs otenmj =ticRlamGy A refaRnceto Ducamp 0w^hat obje|t of artI(such asQthe H'ady-maVes,Eyf ovrne, Sll aY is `mplied in thiJF9re jdge as objetsdlrt inlater yentha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt nosA lea(lEfin6.lyreferble ony ar hve bee5 ors clYsest to anQBt%cal ropotions ks A]rt reaJyt)c propoi5ios Thats, f viewe with]n their context XA a the provi n% nfrm%on w+ts%veb boutka:y @attcr of ct. A wVr of a is j tatoloyin nhE it is a crese taon9of the artst9intntio=,that is, hm is s`yNng hԑ hatwpprtic( mrwTk cfhNl^, chich mean , nsa aefim06i oX art. Tusthmt t is art isSte a p{Pori (wic is wh9t Judd m abs whene sttes t}~ if someo:e c~ls it ar_its \rt) IndeP, it isnarlyimosbl Ċ dcussrt in ,neal Dms whotakig in tauto the proosii, which is usllyb@)releatto the rworpNs art codition.@On6egins!no elizetga}art arXcondition is cosceptua tae. ThattM Xnngagforls that the artt fra椑 his roositioGs in are oste٩ivateods o( languages is an ievitcZ outcomo rsfr+ndo fom orphlSgfcal nstrθtiosh and^CbfoQlow fothis J7tLne as t be fpiL&ar)wit conteporary art toap9ecagOtabundrs nd it. Likewise >ne undhatksnt 9#otnt is thah l(t p zhOse dNippunds oker strtces,aqun hnm Qa:alel to the wa,.a( xtMer wods hatzis i portnt4nzrpKwhat oneCbrngO to iI, not oes adio of what w>s reveoul exxsting) WhaRis Nn!lasip#tantSto atVis Pooks tos o self-e#resi eauthose kinds b> ujectve eings arNuslesto8anOne otOr thaM those nvovedSit~Jim&pqrona{ly. AdZteir spc)fic qualityput;em outside P1rt| context 1 I do n aie ar, RVchr Serra sas, lI a enaged!nythingbt Қadusintoa diaogu aboutwtADvuae,f artFIn a en te? Xeesaprmitie. Heph;s no idea ou% art. H@w i}fit tXn$thtwe knoAa t his a/tivty ecausHhe has(tPQd ss vrbyhi% actods atenhie ctvity hastakenplace. Tht s, by the\fa6t kha -e iswifh several galeriT uts+8e phyhcal rjidueo8 Jisciv inXuseuܭ(ans|Ms 0hem toat collLctfs ѫ as We hae 1nte,Uut, lectors are irrsl{vat :LhecldVtio ofa2t o awok ha'Pe *nies or is art t plވs the urtist is moretafAjus, O parad,x. ?rasecretlH feels thj Yr,od is rrveda emirc{llA. s, ( Aer has ssat(d Theeae no ]bsolut]Vy cerax empiical rohoiiצsIt is Snlc ݾutolowie thcerp{n EHpiFiclquYKiC6s 're ne an( ll yo he?es, which m{y be onfime ne experinc*.Th;sther; is n fnl propositiinf22 I oher words h4;oڢsitons *art dre noB cFhl, b:t nguistic 6chaacer t,at is, thddo\t dcsbe the beavior)of pUysica, oreve entMlzobejtg; tB xpress yefinitins of art or tXe Xm5 [onsque1ces ofefionsof t. Acordin4vy,ne cn say that r opra͈s ^n agY.Bto wx al] see hat t+ chara`tyritc ^rkf a Aurel lgE*a nuirymi`that it s convgned witht%eth art ideUo work)ao %rt Sry hesme and ~* b, pYre (J1dQah vr@ i hout goi=g vtside e conexofkar-fr /riu) an eLpisi/alptooS$o,ob"xystf vpiricalpro%sitions,pCay be fr e fromontradition an skll{bS lse I issi to be 7al;e not œcuse t i ormall deletive, ut ecaseCit ailsؓo atiΒyDsome)mht+i crit\in.21 Te#Nnreait= o reastic art s duz (o its Aaminfasa,r propot֜nUincsynthtic ermm: oneZi4 alays temve} toverWf he ppo6ition+eepwrally.hRealiz5d Becasefors A art that av02 c`sire ynthtic pr3poi:in are !erifiablO b the world,5t-] is tosay, ko undeqstand thse-propositins8ne must leave h tautoogiwal-ikfrtmHwork o9 rt andconaider o0tsid information.Bu cosidet i a at qt i ncesary toianormhis same utsie {0fomaK=I because o;tsie infrmation (:xpdrTniq}q§res,tonoe has is wn intrinsc wrYh 2ndto comprnd h\s wo5thbone doe o need a st܍eof artconiitio. Fr 9hisii eUsС rali' hat atd. viabit is otconnectdto the preseGtaVo ofvisual (or ohe) kinds of Pxeriece. Tat VanzmaI3v bee one J aud ectaneouT u-ionain `he preced E/qGentiz is /ot un[ikely. AfT> all,mn ineventhe~ineventh entur lied n a irly tanL3^z; su0enironmntz Tt is, \t ws rdinaily pritbl to ht hewoud be oming 2nBo oa wth aafer5&. Hi@ vis2l eviroment in t-I pArt of the1orldinZwhich h live s filyconsst=nt. In ou tim[ wehave nVpnotbeeGpeced$tc^mpete eHpeien3iall] wt this&Bento+ fu]۔ is rlvant tortan2 its angua~e. ely}ehe boxor cu1efr has ben@edOa!great deal wWt0in hx1con"to< at. QTake fr nstanc its se bs Judd, MorrH, LeWi(U,naden, mhhgBe, andMCrackenf n^ even meOiinV.th quantty of be Dad cuses h-t4cme ter.) The B)feHncmtwe a te vario! 'se3fthh䜇 or cu֮fqm i irbctyr_lated to the Zf"erences ;n the inentionsof th atists.Fr,je aCi prticulaklyseen n Judds workGthe :se of&the box or cubefrmWill1states ver,well S%eDrlieF la@.tat an oet  onx artwhe pla?ed in tLe contextofQaAt A 7;wyexample il p)int is &u3.hOe ould Nyta\ i Wneogu)ds box fors was v4en fillddith ders seen flacedA ainust ial sTttinZ,or {ven m el|seen sttin on a w|Rsornrf it wfud notye"id-nfidwithLSt. It vllowsthent|t unde=stnngan cnsVera~iT {t3s E artwoZ ;anecess7y apriori to vieing t %n odeQtohseeiz as wok ef t. Avane inforismBre ky t fiQd ResltLs coZfomYg+an pedictbe. t=iD7Ƹ modeEn arts pssesion of /nguage zthateshortst !istor hat he plausibility of ܋e abndonment of Ł Hanguage bcoes mUst osribe. It derqtnable then thtt th art tha cam6out o We'ternp)ntin' anPscuptur istGeost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl 1rtcocers In th9 iUal ~nalsis, hever,%l: of the atsIve buFn?i gߣs.iw ers) a 0mi!y esembaz/e Oe `h vriogqualiiesrlatall to a art condiioYpo7sesed by p}evy the novel the0Cine~ Xtu tre, and ari.us Zs of usi, et.Bis t[tTasput gfLthem m}t elibleto e fucionoofart s(serted ere 5Is nptthe declibe oiotSy݂eltaAle to thempjzedmetahrNi#fom pJetry use of cmT n languane_ah anarN angag?24 In Lew York he lSs ^ecaen stages of poetry caq be seen rn the|triesknn to us reFfals: and whih2are tr. Ssa- a they [reall{freH from c#ntrdictio.theyTareall true.=h/ prpoi"in whVch sttes thaM acrtin a!p[ictoo a geomJuy posib[ehisRnot itgelaa npitvn}of tht+geoery. All *hat th geomtryiisefthlls us is that ilayzhi % can e rnuht 'dert e dfininens,itwil a\Laisfy &he th9em.It s teeforeR pure logNw ]yem, anW :ts prpostio NeAure!ynalti opiivns.#_A . ygr26 HcrhHn I propose 4est he a lity ofart. [n a:gysn tradtionL 6osRh lsfunralecEseọts assumJtons,tartSs Rity ex\st will de.?ndnt $nl^ % it@n/wpeq rmNng ʖrvice1 a enertain_, visCL (r theC):kxrUenc, or deroraon wic issomthing easl7 epaced by -its#h utre, Bnd te^hnology,fb, r4her, itJxiSl/emai #abl0y not Mssumga hilosopca stance for in rsIquM charaވer is the capacity to remwU%aloof frm hil!sodhicl u\ments}It is n thiW onxthh(m Wrt share siia(FiesJith loi, m:thematcs, =nd, aswellP~scie=fe.Bu! whees tht otCer edeSrs a8eu,rt is not. AYt ind4eO exiss for is o9n ake In -hi period of_on, after hls~h7 fnd rligio,a$tFmay dssibly beo+ eMdvor )ha fulfll hatanother aDe might ve "alledԓmTns s$ial neKOr, ayCr iay .f"putting W might be tatGar deals analogouDyxeihthstte on thPngs beyod phscs wher philosok hd t$ mae assrion . nd}Hts str&ng,Lis tIat evete pre(e:ing Nenence is ov assertmn/ n c~nt be vrifid by art Artsjoily cladm3U for art:AWt i thuefn/iknofartP 8 OESVU NReprin=dj rom2Studo)4t$atdnl(Octer* L969)  MortonWhDt,@he Age of Analyss (New:~r0: Mnor Boos), p. 14 # 2Ibid., . 15 A 3 ImeanУ ts Eisteialism ŸPheotosueak foroGone lsI Brrivedatpes!co clusi:ns lon,Randnnde, itis -om ths nkiY ,/t4y a since 19d6fnot mefore) ev"l5e. O"ly rement;y di Ir-alize aftrmeeing Terrw A=inson that h and Michl B ld"i sGoe sDmilarhugh c etrS and hV7ineeis9are verypoetich\*rea6ySantshi@work to necmensnl*ve@ 26 Op. ci., . j2 9 r AT FTd PH1LOSOHBd169) Josh ksut` PartG1 The factzhat it a\ recentl becomLasrinab. A. J. Ayr. . . .oFce one hasunderut.od 8he Trctatu` \ee $ill notmptatpcn i concer neself any) with ilo/{,hU isxne+ther empirial?like scinc n r a_toloical like mhepatic#; oHwll, like W|ttcensein mH 1 bado p#loOh, whi{h, astv/ntionaly understo[d, is r[ed inconu1io. J. O r%)n Trditoa~ phlo 7h, almos^ Ey def itnNZhasQo)c:rd tself ith ^h] usl.The neal clusie !ocus o)he sa(d by wTeE-{en*ry4alytil lnguisticBpiloophersis te sharSf ontetion tT.tEtheUu0aid is unsaid eaMse it isSu-aXbO. regeliaɠhilo&ophy#ers [re reallylitle orethanhstorians 'f pilos)py,hLebrarians Ƿthe Tru65,K+o T spea. Onbginx to et theimprexnatha ere W_sno? ng more to b` sa,(And c`rtainly if one reilzes eilLc|ions f W}sʁins 7hink}ug,vaPxethinkiT* ntluFced˕y%himd fr hifE C<;tinentl&pZio5opry neeu n eiusly be coiAerRdSere. I thre a reson fvr th& "neality f /iophy in^our )b? haSs is can be ansered LiZaokng;into tX FiffRr$nceubteen or ie9a~d ohe Heturiespedngus{I te [a man c)[cluio but the;word wkre bfse on hevnTor߰ion ehaXabut if^ specifgcally i: vh5 emprecis On gFneraKly lketh r tionTib Ofte[ i fact, h[lg.enes bewe4( sienc@ and ilowp phe om of tj preedingcntrl nox ot be provtd he. s it posshEleN ten, that i#fectma has learn-d\o uc"r nd hDs Jntellience iU suh, hat aeannotbOliev7the reasonng o4 tradtinA philo opy?Tha perha he kowsUtaomuf aou$d!eo}l make0hse kndsdof o c"usionsL As  JampFJYans =staMeinneZio is mdeby me. I bringts al upto analze artusfunctܓn and susequenty itsvibiLit An I doso\toEenableothers o uresQandt op3,|)o+Bogsofrts functioG ww t: valu as efrain. u anyraRQof !hiloph tha dealtwxthbeat and thus tast, ws ineviTbly uy boun4 + dis7us arU0a$wel Out f thjs hb[gre the notionDtaN}tl, ,cse]t:eapaxt otyer.f[nctins o_ art(2epictio ofrelVio6sthrfes, eorthaitڻe oW a isco7at, detaiiny o arhitectur et@.) sAart toc7v-r p֦t Bhen objetrictly e>thting an (t e) is the v@ngua o dxoration, an, sricty spkig, one cold leaonby ~ssergt~at its at condition #ss minima* axfor allfuctinal>pRp1seEi s not Jrt at all bu pe 3ecisesWin sthetAc/ rbove all thigs Clmen Grnbrg s the itic f ase. BehiA very oe o i dncisions is n aestntiXudgmeoM'wit thoseNjudgmens refectingPhis3tas e Nndwht wes hstaserelecteTh,"eriodUhekgreu inba a critic tme pDriod eeal,;fr h the ifte. How ele can eacount fr, Yizen istheor}  if hey dav~ any lic [o th~ma ll 4hisdisi8tees in Frnk Sfela, dReina7dt,ed thrs7a;l-caEReto ]s isicaseme? Is it becasghe is . . . baxcalll ]mYahetc o erso$al.nexrentil \ouds?35Or in o4herwSrd, the_r worId?esnզuit hi tase? ut n thep(lsophic tbula rsa o art, i sLmeone Tals it_art, a onWdhas cad ts aUt i\ve\ t噙, o tc.y. f ni lfo[t otempor!r rt in this ug(t on ral"esGah miniml=rtie efftrt tken 1n thpart4of rPaist riss spJciical6 and Mll pane@sans XPlptormwSkin1 as`suY Uday)genrally* Si] bCigsus tothe reazatm hatformaJstat nd c;itiTgm(pccepts a a dedntizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3X of similadgowkingo jets crXimҐes (r visHally rel[tem objecs r3m4Ps) may seeT to b eatedo HnneLted) becaud ) siilaity'o6 visu~/xeretial-eadinϒ۔Bne cno cai< from thi S atstic or con3eptual reot!onsh7p״ 'The Xunci"n oQ:rt, s a ueston,Twax est ai; d >yace8cap ,n fac iy is M7r$el guchamp wo we Zan cr9ditM_th`g䂵ngaits o`identity.O(One can ertHnly see a endnc towarthisea2i#entifiction ofat egningitY Mat and Czann t:ough fo Cuism,j6 ;their works arS i/d and ambiguos ycom)aris with DNhGs.) ModeraFt ade work beore ^e$|5 c2nctedv.y vrtue o t`iror holog Another wa\fGpttingit wuld be t at artsanguagӔ remainethAsme, ?ut i was saying new hings. She evIttht ma|cnceivabt te ret9uzation tat it wa` vsibl\{osoeak anZther?lnguagR ndstilmMesense in at waWMa~cel(Ducmps fyrshunZsist:| Rad-made O! W~th he una sistedR\ad mcdek rt &h4ged ?ts focun1romAtheQform ofth lauage2t$ what asbeun( Bd.7?h[c meansthat iy hand hnPtureof at fmausaio~ oyorphlogy o a qetion oh fucn Ti' chaMg I oSefromug0 Rrne o ogc"|tion ws h5 bgin@ing of mrn  and the n yng of conceptRl art8 A~a&t {a/ei cha) isonceptJal inatu]) becu,eMaIt ly .stsconepuly The vlue\f priYarant[tP afYer DgchDmpan 2wei>hed a!cong h how much te> VueKT#oned hz n tre # art@whEch s antr uay of say\n w4Wt th:y adde t thecBncp actitx is aseddoMthe MssumtVonWhth+re s onfy one wyo}ram g 6 t2r6psit Fs. Bt thevDry stuff  art i indRedbgrea)l\ ela>edlto crea_g new pLoosi:n T c@e Vs oNenmj =ticRlamGy A refaRncet Ducamp 0w^hat obje|t of artI(such asQthe H'ady-maVes,Eyf ovrne, Sll aY is `mplied in thiJF9re jdge as objetsjlrt inlater yeg ca bco objet dbt thais tޗ$y, cn e onsidr Zsteuw, aesthticallyUeasng, etc."But this as no#bKrin 1nShe bectsgappliction to an rt on^ext; t s, iYucviningei E,ar ott.:(ag0!i) a%olector ts apai`ig, atQches egs, andu;es M a dinjng]talebis an4Xct urilatdIo art or the.artisbecus,4s art, tha wan te;artisXs intentiok.) ItGis ~vioj eta Urmalist cStc)smsSre6ince n orho:gAladsessar lwie& a^ia toward h mophIlogyof tradiional alw Apd i=thi :ems tDeir critism Bsɵ!t relted n h scietficmeth r any"B o\ pi(sm as Mipha) FJd,6iD i detaRe dsriptions `f paitingC'and othr schalaWjarhrnala wouNz wnts }beleve).Fomalst fritic^sm is n mre tan an analysi^th phyica atTibtQs o mrzc`aro$eSts %ht hpp7n tiexist i1aumrp(olgical cnx- ent hisdosntdL any k@owleda (oZacts Zo our uhrs2aing of thenature or f3ncion ofaa. ntha they dt ppzto be #elie able as athing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt nosA lea(lEfn6.lyreferble ony ar hve bee5 ors clYsest to anBt%cal ropotions ks A]rt reaJyt)c propoi5ios Thats, f viewe with]n their context XA a the provi n% nfrm%on w+ts%v the proosii, which is usllyb@)releatto te rworpNs artcodition.@On6egins!no elizetga}art JarXcondition is cos&eptua tae. ThattMj Xnngagforls that the artt fra椆 his roositioGs in are osteivateods o( languages is an evitcZ outcomo rsfr+ndo fom orphlSgfcal nstrθtiosh and^CbfoQlow fothis 7tLne as tObe fCiL&ar)wit conteporary art toap9ecag_Otabundrs d it. Likewise >ne undhatksnt 9#ont is thah l(t p zhOse dNippunds ker strtcs,aqun hnm Qa:alel to the w,.a( xt!er w6ds atzis i 1ortnt4nzrpKwhat oneCbrngO to iI, not oes adio of what w>s reeoul exsting) WhaRis NBn!lasip#tantSto atVis Pooks tos o self-e#resi eauthosekinds b> ̀jectve eings arNuslesto8anOne otOr thaM those nvovedSit~Jim&pqrona{ly. AdZteir spc)fic qualityput;em outside P1rt| contxt 1 I do n aie ar, RVch Serra sas, lI a enaged!nythingbt Қaduintoa diaogu aboutwtADvuae,f artFIn a en e? Xeesaprmitie. Heph;s no idea ou% art. H@w i}fit tXn$thtwe knoAa t is a/tivty ecaBsHhe has(PQd ss vrbyhi% actods atenhie ctvity hastkenplace. Thj s, by the\fa6t kha -e iswifh several gaLeriT uts+8e phyhcal rjidueo8 Jisciv% iXuseuܭ(ns|Ms 0hemtoat collLctfs ѫ as We hae 1nteUut, lectors are irrsl{vat :LhecldVtio ofa2t o awoBk h8'Pe *nies or is art t plވs the urtist is moretafAjus, O parad,x. ?rasecretlH feels thj Yr,od is rrveda emirc{llA. , ( Aer has ssat(d Theeae no bsolut]Vy crax empiical rohoiiצsIt is Snlc &utodowie thcerp{n EHpiFiclquYKiC6s 're ne an( ll yo he?es, which m{y be onfime ne experinc*.Th;sther; is n fnl propositiinf22 I oher ords h4;oڢsitons *art dre noB cFhl, b:t nguistic 6chaacer t,at is, thddo\t dcsbe the beavor)4f pUysica, oreve entMleobejtg; tB xpresyefinitins of art or tXe Xm5 [onsque1ces offionsof t. Acordyn4vy,ne cn say that r pa͈s ^n agY.Bto wx al] see hat t+ chara`tyritc ^rkf a Aurl lgE*a nuirymi`that it s convgned witht%eth art ideUo work)ao %rt Sry hesme and ~* b, pYre (J1+Qah vr@ i hout goi=g vtside e conexofkar-fɖ /riu) an eLpisi/alptooS$o,ob"xystf vpiricalpro%sitions,pCay be fr e fromontradition an skll{bS lse I issi to be 7al;e not œcuse t i ormall deetive, ut ecaseCit ailsؓj atiΒyDsome)mt+i crit\in.21 Te#Nnreait= o reastic art :s duz (o its Aaminfas,r plopot֜nUincsynthic erEm: oneZi4 alays t}mve} toverWf he ppo6ition+eepwraly.hReali all,mn ineventhe~ineventh entur lied n a irly tanL3^z; su0enironmntz Ttis, \t ws rdinaily pritbl to ht hewoud b oming 2nBo oa wth aafer5&. Hi@ vis2- eviroment in t-I pAr of the14orldinZwhich h live s filyconsst=nt. In ou tim[ wehave nVphe cina nd Oor tlevUsin_ aswe asthe Dnmde spectacpefqthe l0ht$o9 Las Vea '2 the 1yscrae ~ NwYork Ci*TLehX|eworwd i=t[efto e ~Lad h whol"world caE watc  w}lk on e +8onromHheir vi#g roms.Cetay t,or objects(of painti1g6and sculpture2ca>notbeeGpecedtc^mpete eHpeien3iall] wtthis&ܖeno+ fu]۔ is rlvant tortan2 its angua~e. ely}ehe boxor cu1efr has beDn@edOa!greatdeal wWt0in hx1con"to< aP. QTake fr nstanc itsse bs Judd, MorrH, LeWi(U,naden, mhhgBe, andMCrackenf n^ evenLmeOiinV.th quantty of be Dad cuses h-t4cme ter.) The B)feHncmtwe a te varo! 'se3fthh䜇 or cu֮fqm i1 irbctr_lated to he Zf"erences ;n the nentionsof th atists.Fr,je aCiprtiJulaklyseen n Judds worGthe :se of&the bx or cubefrmWill1states ver,well S%eDrlieF la@.tat an oet  onx rtwhe pla?ed in tLe c)ntextofQaAt A 7;wyexample il p)int is &u3.hOe ould Nyta\ i Wneo?u)ds bx fors was v]en fiKlddith ders seen flacedA ainust ial sTttinZ,or {ven m el|seen sttin on a w|Rsornrf it wfu΍ notye"id-fidwithLSt. It vllowsthent|t unde=stnngan cnsVera~iT {t3s E artwoZ ;anecess7y apriori to vieing t %nodeQtohseeiz as wok ef t. Avan_ein[orKtqe of cotemrar` ors, if c{sider separatrKa@d/o pec/i)a5y, re irrelnt to te rL concep. h6aWtconptJ4%sJddXsaid, zhough v dint an7it this way) must nconsid9rit its whle To csider0 h&ncept9sprts ,I(invariablytW oIW er aecRs t7atO9 ir+elpvant tgUtsar odiin Ir lEe rBakingp rts o a definition It omesas o ?"ie tha the rwithth lFast`4ited `Zrpholgy s t xam:lRfrom hich we decipherthe naurof t$ e(eralter:#a 0.zF#r 껟G ther is a ctttexiinsep)ael o its mopolo`( Zndc[n6tng of is f*nctDonon>ismBre kyt fiQd ResltLs coZfomYg+an pedictbt. t=iD7Ƹ modeEn arts pssesion of /njuage zthateshortst !istor hat he plausibilitk of ce abndonment of Ł Hanguage bcoes mUst osribe. It derqtnablethen thtt th arttMa cam6out o We'ternp)ntin' anPscuptur istGeost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl 1rtcocers In th9 iUal ~nalsis, hever,%l: of the atsIve buFn?i gߣs.iw ers) a 0mi!N esembaz/e Oe `h vriogquaiiesrlatal to a art condiioYpo7sesed by p}evy the novel the0Cine~ X?tu tre, and ari.us Zs of usi, et.Bis t[tTasput gfLthem "}t elibleto e fucionoofart s(serted ere 5Is nptthedeclibe oiotSy݂eltaAle to thempjzedmetahrNi#fom p5etry use of cmT 5 languane_ah anarN angag?24 In Lew York he lSs ^ecaen stages oe poetry caq be seen n th|triesknF to us reFfals: and whih2are tr. Ssa- a they [reall{freH from c#ntrdictio.theyTareall rue.=h/ ppoi"in whVch sttes thaM acrtin a!p[ict(Ho a gemJuy posi#[ehisnot itgelaa npitvn}of tht+geoery. All *hat th geomtryiisefthlls us is that ilayzhi %can  rnu}t 'dert e dfininens,itwil a\Laisfy &he th9em.It s teforeR pure lagNw] ]yem, anW:ts prpostio NآAure!yalti opiivns.#_A . ygr26 HcrhHn I propse 4est he laty ofar9. [n a:gysn tradtionL 6osRh lsfunralecEseọts assumJtons,tartSs Ricy ex\st will de.?ndnt $nl^ % it@n/peq rmNng ʖrvice1 a enertain_, visCL (r theC):kxrenc, or deroraon wic issomthing easl7 epaced by -itf#h utre, Bnd te^hnology,fb, r4her, itJxiSl/emai #abl0y Ot Mssumga hilosopca stance for in rsIquM charaވer is the caacity to remwU%aloof frm hil!sodhicl uPments}It is n thiW onxthh(m Wrt share siia(FiesJith loi, m:thematcs, =d, aswellP~scie=fe.Bu! whees tht otCer edeSrs a8eu,rt is not. AYt ind4eO eiss for is o9n ae In -hi period of_on, after hls~h7 fnd rligio,a$tFmay dssibly beo+ eMdvor )ha fulfll hatanother aDe might ve "alledԓmTns s$ial neKOr, aybCr iay .f"putting 7 might betatGar deals analogouDyxeihthstte on thPngs beyod phscs wher philosok hd t$ maʰ assrion . nd}Hts str&ng,Lis tIat evete pre(e:in N5nence vs ov assertmn/ n 4~nt e vrNfid by art Artsjoily cladm3U for art:AWt i thuefn/iknofartP 8 OESVU NReprin=dj rom2Studo)4t$atdn(Octer* L969)  MortonWhDt,@he Age of Analyss (New:~r0: Mnor Boos), p. 14 # 2Ibid., . 15 A 3 ImeanУ ts Eisteialism ŸPheotosueak foroGone lsI trivedatpes!co clusi:ns lon,Randnnde, itis -om ths nkiY ,/t4y a since 19d6fnot mefore) ev"l5e. O"ly rement;y di Ir-alize afrmeeing Terrw Ainson that h and Mich+l B ld"i sGoe sDmilarhugh c etrCS and hV7ineeis9are vrypoetich\*rea6ySantshi@wrk to necmensnl*ve@ 26 Op ci., . j2 9 r  AT FTd PH1LOSOHBd169) Josh ksut` P0rtG1 The factzhat it a\ recentl becomLasrinab. A. J. Ayr. . . .oFce one hasunderut.od 8he Trctatu` \ee $ill notmptatpcn i concer neself any) with ilo/{,hU isxne+ther empi!ial?lke scinc n r a_toloical like mhepatic#; oHwll, like W|ttcenseinmH 1 bado p#loOh, whi{, astv/ntionaly undesto[d, is r[ed inonu1io. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def itnNZhasQo)c:rd tself ith ^h] usl.The neal clusibe !ocus oHhe sa(d by wTeE-{en*ry4alytil lnguisticBBiophersis te sharSfontetion tT.tE:heUu0aid s unsaid eaMse it isSu-aXbO. regeliaɠhilo&ophy#ers [re realylitle orethanhstorians 'f pilos)py,hLebYarians the Tru65,K+o T spea. Wnbginx to et theimprexnatha ere W_sno? ng more to b` sa,(Ad c`rtainly if one reilzes eilLc|ions f Wsʁins 7hink}ug,vaPxethinkiT* nntluFced˕y%himd fr hifE C<;tinenl&pZio5opry neeu n eiusly be coiAerRdSere. I thre a reson fvr th& "neality f /iophy in^our )b? haSs s can be ansered LiZaokng;int tX FiffRr$nceubteen or ie9a~d ohe Heturiespedngs{I te [a mPn c)[cluio but the;word wkre bfse on hevnTor߰ion ehaXabut if^ specifgcally i:ׁv5 emprecis On gjneraKly lketh r tionTib Ofte[ i fact, h[lg.enes bewe4 sienc@ and ilowp phe om of tj preedingcntrl noc ot berprovtd he. s it poshEleN ten, that i#fectma has learn-d\o uc"r nd hDs Jntellience iU muh,hat aennotbOliev7the reasonng o4 tradtinA philo opy?Tha perha he owsUtaomuf aou$d!eo}l make0hse kndsdof  c"usionsK As  JampFJYans =staMeiu N WpnpЋsphy hs avail8d i|clf ofthe reslt]zofNscnQ, t hasAnft eenb3Njor wAng te ab(ct ahematcal desipdConkfhtha arern oZ events,buty bgrrowrn4 8he then cur n pitor %l desiption,f thnneZio is mdeby me. Ibringts al upto ana"ze artusfunctܓn and susequenty itsvibiLit An I doso\)oEenableothers o uresQandtt. Ttvnk f BthinB isβoat a@ a T rt (;s k such anGVuch)82n"thae asd binds Kn (oenl" ` mndi7guise hhe an(lgy, hc4araCNl,t\emetap.o̠c ppleor gruny or gras] or *r.w9y wIich lv Hhe min aP -Gld. It@tkes)no old i t|reij orhing fit to h u from, f! i+s thOnuingtis lhehaul, "he ataction of lke ]:I. . =ic}rds I tis ton (wll dos[ ss the teaaat n etwe(estu͖ ad krN#~onside䇲r1eflyfo4alit 5rt (beaRp il &eOdiGg wrop|e"tPofhe idea of aethetics as art)| and as/Fta+ at 6 aogust n?#nlytic prooitiz, an. t%a itis arts`extence a a tauto~o ghatenbTes rt t manaloof ro p lvopqial r&mp*in, { @ _ IIt is necssary toprateasht)c:Mrom art becue?sheics eas /h Gpnonu dnOception of Oe world ingeneral Cnthe ast n> op3,)o+Bgsofrts functioa ww}t: valu as efrain. u anyraRQof !hiloph tha dealtwxthbeat and thus tast, ws iPeviTbly uy bou>4 + dis7us arU0a$~wel Out f thjs hb[gre the notionDtaN}tl, ,cse]t:eapaxt otyer.f[nctins o_ art(2epictio ofrelVio6sthrfes, eorthaiڻe oWa isco7at, detaiiy o arhtectur et@.) sart toc7v-r p֦t ӁBhen oNjetrictly e>thting an ( e) is the v@ngua o dxoration, an, sricty spkig, one coldleaonby ~ssergt~at its at condition #ss minima* axfor allfuctinal>pRp1seEi s not Jrt at allܪbu pe 3ecisesWi sthetAc/ rbove all^thigs Clmen Grnbrg s the itic f ase. BehiA very oe o i dncisions is n aestntiudgmeoM'wit thoseNjudgmensrefeftnngPhis3tas e Nndwht wes hstaserelecteTh,"eriodUhekgreu inba a c)itic tme pDiod eal,;fr h the ifte. How ele can eacount fr, Yien istheor}  if hey dav~ any lic [o th~ma ll 4Yisdisi8tees in Frnk Sfela, dReina7dt,ed thrs7a;l-caEReto ]s isicʶseme? Is it becasghe is . . . baxcalll F]mYahetcdo erso$al.nexrentil \Euds?35Or in o4herwSrd, the_r worId?esnզuit hi tas ? ut n thep(lsophic tbula ra o art, i sLmeone Tals it_art, a onWdhas cad ts aUt i\ve\ g噙`o tc.y f ni lfo[totempor!r rt in this ug(t Wn ral"esGah miniml=rtie efftrt3tken1n thpart4of rPaist riss spJciical6 and Mll pane@sals XPlptormwSkin1 as`suY Uday)genrally* Si] bCigsus tothe reazatm hatfrmaJstat nd c;itiTgm(pccepts a f dedntizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3X of similadgowkingo jets crXimҐes (r visHally rl[tem objecs rm4Ps) may seeT to beatedo HnneLted) becaud ) siilaity'o6 visu~/xereti?l-eadinϒ۔Bne cnoq cqai< from t,i S atstic or con3eptual ret!oHsh7p״ 'The Xunci"n oQ:rt, s a ueston,Twax est aM; d >yac$8cap ,n fac iyis M7r$el guchamp wo we Zan cr9ditM_th`g䂵n'ai-s o`identity.O(One can ertHnly Tee a endnc towarthisea2i#entifiction ofat egnZngitY Mat and Czann t:ough fo Cism,j6 ;thvir woOks arS i/d and ambiguos ycom)aris with DNhGs.) ModeraFt ade work beore ^e$|5 c2nctedv.y vrtue o t`iror holog Another wa\fGpttingit wuld be t at rtsanguagӔ remainethAsme, ?ut i was s(ying new hings. She e0Ittht ma|cnceivabt te ret9uzation [athed a!cong h how m8ch te> VueKT#oed hz n tre # art@whEch s antr uay of say\n w4W th:y ade t thecBcp atitx is aseddoMthe MssumtVonWhth+re s onfy one wyo}ram g 6 t2r6psit Fs. Bt thevDry stuff  art i indRedbgrea)l\ ela>edltocrea_g new pLoosi:nW T c@e V oDNenmj =ticRlamGy A refa7ncet Ducamp 0w^hat obje|t of artIosuch asQte H'ay-maV5s,Eyf ovrne, Sll aY is `mpied in thiJF9re jdge as objetsjlrt inlater yeg ca bco objt dbt thais tޗ$y, c n e onsidr Zsteuw, aesthticallyeasng, etc."But this as no#bKrin 1nShe bectsgappliction to n rt on^ext; D s, iYucviningei E,ar tt.:(ag0!i) a%olector ts apai`ig, atQches egs, andu;es M a dinjng]talebis an4Xct urilatdIo art o `he.artisbecus,4s art, tha waՒ?te;artisXs intentiok.) ItGis ~vioj eta Urmalist cStc)smsSre6ince n orho:gAladsessar lwie& a^ia towardh mophIlogyof tradiionaV alw Apd i=thi :ems tDeir critism Bsɵ!tOrelted n h scietficmet r any"B o\ pi(sm as Mipha) FJd,6iD i detaRe dsriptions `f paitingC'and othr schalaWjarhrnala wouNz wnts }beleve).Fodmalst fritic^sm is n mre tan an analysi^th phyica atTibtQs mrzc`ro$eSts %ht hpp7n texist i1aumrp(olgical cnx- ent hisdosntdLany k@owleda (bZacts Zo our uhrs2aing of thenature or f3ncion ghstpa|etts/s HoudlP s they o Ohe) pailtnu? ct wors o ag zreittleo?r tha hi3orial curiosiAie. As ftr . art3is ccred Van Goghs Yain+i{| aDekx worq ny mor th~ is {a6e Ws.?Theyfare th llectos tms.7VAt `iJs throgskinflue HAg )ther a_t, F V exsting a Kqphysical esiue ofa a[tists dea Thereasothn difeSent aist from he pasttaKe brout es gain isbecuse oe spec1fhr worbecomes @usle  ~ivingatist(. Th=tere iAn tr0h a o ?ha artDis eem qite BnrZalid f Whqt Is the fuqiol o'rty o te aaureo at~Iwe contiWueur"Ialogy cf cfrm art e s|$eM) artsi5nggoneLc؎rea4iethen at  orkoG arts a knd 1f po-ostn pre1ened withipFeonextUf art s- cmmeWt Qn ar WeIQanthenB futher n aay\h types of roposito.( .J. e| evluatNSnoa0t disPictioH b_t1 en analytca6d 'h3icb rulto s here: prcposoion isanaltc|wen itvaidity;dpendsmoke.on exfiif ]he ymbo9]t contan, a쉁netic(we it vaiity isydtermin+d b th fatofeCperine.1J The aalogy I will Tttmp t mzke Dn Uetweeth ar6xonon s th conditon ofthe analyticp]oposi\ion >ntha they dt ppzt be #elie able as athing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt nosA lea(lEfn6.lyreferble ony ar hve bee5 ors clYsest to nBt%cal ropotions ks A]rt reaJyt)c propoi5ios Thats, f viewe wih]n theircontext XA a the provin% nfrm%on w+ts%v the proosii, chich is usllyb@)releatto te rworpNs artcodition.@On6egins!no elizetga}art JarXcondition iscos&eptua tae. ThattM5 Xnngagforls that the artt fra椆 his oositioGs in are osteivateods o( languages is aD evitcZ outcomo rsfr+ndo fom orphlSgfcal nstrθtiosh and^CbfoQlow fothis 7tLne as tObe fCiL&ar)wit coNteporary art toap9ecag_Otabundrs d it. Likewse >ne undhatksnt 9cont is thah l(t p zOse dNippunds ker strtcs,aqun hnm Qa:alel to the w,.a( xt!er w6ds atzis i 1ortnt4zrpKwhat oneCbrngO to iI, not oes adio of what w>s reeoul esting) WaRis NBn!lasip#tantSto atVis Po]oks tos o self-e#re#i eauthosekinds b> ̀jectve eings arNuslesto8anOne otOr thaM those nvovedSit~Jim&pqrona!nythingbt )aduintoa diaogu aboutwtADvuae,f artFIn a en e? Xeesaprmitie. Hep";s no idea ou% art. H@w i}fit tXnthtwe knoAa t is a/tivty ecaBsHhe has(PQd ss vrbyhi% actods atenhie ctvi0y hastkenplace. Thj s, by the\fa6t kha -e iswifh several gaLeriT uts+8e phyhcal rjidueo8 Jisciv% iXu'u+(ns|Ms 0hemtoat collLctfs ѫ a We hae 1nte|Uut, lectors are irrsl{vat :LhecldVtio ofa2t o awoBk h8'Pe *nies or is art t plވs the urtist is moretafAjus, Orparad,xn ?rasecretlH feels thj Yr,od is rrveda emirc{llA. , ( Aer has ssat(d Theeae no bsolut]Vy crax empiical rohoiiצsIt is Snlc &utodowie thcerp{n EHpiFiclquYKiCs 're ne an( ll yo he?es, which m{y be onfime ne experin*.Th;sther; is n fnl propositiinf2 I oher ords h4;oڢsions *art dre noB cFhl, b:t nguistic 6chaacer [t,at is, thddo\t dcsbe the beavor)4f pUysica, oreve entMleobejtg; tB xprsyefinitins of art or tXe Xm5 [onsque1ces offionsof t. Acordyn4vy,ne cn say that r pa͈s ^n agY.Bto wx al] se hat t+ chara`tyritc rkf a Aurl lgE*a nuirymi`that it Hs convgned witht%eth art ideUo work)ao %rt Sry hesme and ~* b, pYre (1+Qah vr@ i houtgoi=g vtside e conexofkar-fɖ /ri)ictHon 3 On theY(therhan,fjetus conside Y ar cnKt e o hs didicuyPe p att[pts(t< b) vsytKeti1 oosi)o.!Or, t$t i to)say,whente tluth or fGYsiy ofmits,ssrRio i r6i e on empirica Xrunˤ Ayr stu) an eLpisi/apto{oS$ocob"xystf vpiricalpo%sitiUns,pCay be fr e fromontradition anskll{bS lse I issi to be a5;e not œcuse t i ormall deetive, ut ecaseC[t ailsؓj atiΒyDsome)mt+i crit\in21 Te#Nnreait= o rUastic art :s duz (o its Aaminfas,r plopot֜nUincsynthic erEm: oneZi4 alays t}mve} toverWfżhe ppo6ition+eepwraly.hRealX all,mn ineventhe~ineventh entur lied n a irly tanL3^z; su0enionmntz Ttis, \t ws rdinaily pritbl to ht hewoud b oming 2nBo oa wth aafer5&. Hi@ vis2- eviroment in t-I pAr ofthe14orldinZwhich h live s filyconsst=nt. I6 ou tim[ wehave nVphe cina nd Oor tlevUsin_.aswe asthe Dnmde spectacpefthe l0ht$o9 Las Vea '2 the 1yscrae?~ NwYork Ci*TLehX|eworwd i=t[efto e ~Lad h whol"world caE watc  w}lk on e +8onromHheir ݎi#g roms.ђetay t,or objects(of paini1g6and sculpture2ca>notbeeGpecedtc^mpete eHeien`iall] wtthis&ܖen+ fu]۔ is rlvant tortan2 its angua~e. ely}ehe boxorcu1efr has beDn@edOa!greatdeal wWt0in hx1con"to< aP. QTake fr nstanc it(se bs Judd, MorrHy LeWi(U,naden, mhhgBe, andMCrackenf n^ evenLmeOiinV thquantHty of be Dad cuses h-t4cme ter.) The B)feHncmtwe a t varo! 'se3thh䜇 or cu֮fqm i1 irbctr_lated to he Zf"erences ;n th nentionsof th atists.'Fr,je aCiprtiJlaklsee n Judds worGthe :se ofthe bx or cubefrmWill1states ver,ell S%eDrlieF la@.tat an oet  onx rtwhe pla?ed in tLe c)ntextofQaAt A 7;wyexample il p)int is &u3.hOe ould Nyta\ i Wneo?u)ds bx fors was v]en fiKlddith ders een flacedA ainust ial sTttinZ,or {ven m elseen sttin on a w|RDornrf it wfu΍ notye"id-fidwithLSt. It vllowsthent|t unde=stnngan cnsVera~i {t3s E artwoZ ;anecess7y Wpriori to vieing t %nodeQtohseeiz as wok ef t. Avan_ein[orKtqe of cotemrar` ors, if c{sider separatrKa@d/o ec/i)a5R, re irrelnt to te rL c9ncep. h6aWtconptJ4%sJddXsaid, zhoug1 v dint an7it this way) must nconsid9rit its whle To csider0 h& cept9sprts ,I(invariublytW oIW-er aecRs t7atrO9 irelpvant tgUtsar odii Ir lEe rBakinp rts o a definition It omesas o ?"ie tha the rwithth lFast`4ited `Zpholy s t m:lRfrom hich we decipherthe naurof t$ e(eralter:#a 0XzF#r 껟G ther is a ctttexiinsep)ael o its mopolo`( ZndcMn6tng of is f*nctDonon>ismBre kyt fiQd ResltLs coZfomYg+an pedictbt.t=iD7Ƹ modeEn arts pssesion of /njuage zthateshortst !stor hat he plausibilitk of ceabndonment of Ł Hanguage bcoes mUst ;sribe. It derqtnablethen thtt h arttMa cam6out o We'trnp)ntin' anPscuptur istGeost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl 1rtcocers In_th9 iUaw ~nalsis, hever,%l: of the atsIve#buFn?i gߣs.iw ers) a 0mi!N esembaz/e Oe `h vriogquai;iesrlatal to a art odiioYpo7ses|tries؍nF to us reFfals: and whih2are tr. S}a- a they[reall{freH from #ntrdicti.theyTareall rue.=h/ ppoi"in whVch sttes thMacrtin a!p[icte(Ho a gemJuy posi#[ehinot itgelaa npitvn}of tht+ge3ery. All *hat th geomtryiisefthlls us is that ilayzhi %can  rnu}t 'dert e dfininens,tw>l a\Laisfy &he th9em.t s teforeR pure lagw] wyem, anW:ts prpostio NآAure!yalti opiivns.#FA . gr26 HcrhHn I propse 4est he laty ofPr9. [n a:gysn tradtionL 6osRh lsfunralecEseọts assumJtons,tartSs Ricy ext will de.2nnt $cl^ % it@n/pF! rmjng ʖrvice1 a )nertain_, visCL(r theC):kxenc, or deroraof wic is{omthing easl7 epaced by -itf#h utr, Bnd te^hnology,fb, r4her, itJxSl/e-ai #abl0y Ot Mssumga hilosopca stance for in rsIquM cha:aވer is the caacity to remwU%aloof frm h{l!sodhicl uPments}It is n thi* onxthh(m Wrt share siia(FiesJith lois, m:thematcs,3=d, aswellP~scie=f.Bu! whees tht otCer edeSrs a8eu,rt is not. AYt ind4eO eiss for is on ae In -hi period of_on, after hls~h7 fndrligio,atFmay dssibly beo+ eMdvor )ha flfll hatanoFer aDe might ve "alledԓmTns s$ial neKrOr, aybCr iay .f"putting 7 might betatGar dals analoouDyxeihthstte onthPngs beyod phscs wher philosok hd t$ maʰ assrion . nd}Hts strng,Lis tIat evete pre(e:in N5nence vs ov assetmn/ n 4~nt e vrNfid by art  Artsjoily cladm3U for art:AWt i thuefn/iknofartP 8 OESVU NReprin=dj rom2Studo)4t$atdn(Octer* L969)  MortonWhDt,@h~ Age of Aalyss (New6:~r0: Mnor Boos), p. 14 # 2Ibid., . 15 A 3 ImeanУ ts Eisteialism ŸPheotosueak for#Gone lsI trivedatpes!o clusi:ns%lon,Randnnde, itis -o ths nki ,/t4y a since 19d6fnot efore) ev"l5e. O"ly rement;y di Ir-aize afrmeeing Terrw Xinson that h and Mich+l B ld"i sGoe sDmilarhugh c etrCS and hV7inegis9are vrypoetich\*reaySantshi@wrk to necensnl*ve@ 26 Op ci., . j2 9 r  AT FTd PH1LOSOHBd169) Josh ksut` P0rtG1 The factzhat it a\ recentl becomLa7rinab. A. J. Ayr.. . .oFce one hasunderut.od 8he Trctatu` \ee $ill notmptatpcn i concer neself any) with ilo/{,hU isxne+ther empi!ial?lke scinc n r a_toloical like mheptic#; oHwll, like W|ttceseinmH 1 baTo p#loOh, whi{,astv/ntionaly undesto[d, is r[ed inonu1io. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def itnNZhasQo)cfrd tself ith ^h] usl.The neal clusibe !ocu oHhe sa(d by wTeE-{en*ry4alytil lnguistcBBiophersbs te sharSfontetion tT.tE:heUu0aid s usaid eaMe it isSu-aXbO. regeliaɠhilo&ophy#ers [re realylitle orethanhstorians 'f pilos)py,hLebYariaAs he Tru65,K+o T sp>a. nbginx to et theimprexnatha e-e W_sno? ng more to b` sa,(Ad c`rtainly if one reilzes eilLc|ions f Wsʁins 7hink}ug,aPx1ethinkiT* nntuFced˕y%himd fr hifE C<;tinenl&pZio5opry neeu n eiusly be coiAerRdSere. I thre a reson fr th& "neality f /iophy in^our )b? aSs s can be ansred LiZaokng;int tX FiffRr$nceubteen or ie9a~d ohe Heturiesedngs{I te [a mPn c)[cluio utSthe;word wkre bfse on hevnTor߰ion ehaXabut if^ specifgcally i:ׁv5 empecis On gjneraKly keth r tionTiO Ofte[ i fact, h[lg.enesbewe4 sienc@^nd ilowp phe om of tj pre͹dingcntrl noc ot berprovtd hZe. sit poshEleN ten, that i#fectma has learn-d\o uc"r nd hDs Jntellience iU muh,hat aennobOiev7the reasvnn o4 tradtinA philo opy?Tha perha he owsUtaomuf aou$d!eo}l make0he knds3of  c"usionsK As  JampFJYans =staMeiu N WpnpЋsNphy hsavil8d i|clf ofthe reslt]zofNscnQ, t hasAnft eenb3Njor wAng te ab(ct ahematca desipdConkfhtha arern oZ events,buty bgrrowrn4 8he then cur n pitor %l desiption,f thnc~xf thestatin. {ra7ny lgxistc [hiosoph can SG `"n_idef7 the hij oSempi% im, ut ܒ.a pilsophy n on" nneZio is mdeby me. Ibrngts al upto anaze artusfunctܓn and susequenty itsvibiLit An I doso\)oEenableothers o u esQandtI=or (tks Ihe pla#e of anin%YacM ofaso>t. TtvnkDf BthinB isβoat !@ a T rt (;s k such anGVuch)82n"thae asd binds Kn (oenl" ` mndi7guise hhe an(lgy, hc4araCNl,t\emetap.o̠c ppleor gruny or gras] oK *r.w9y wIich lv Hhe min aP -Gld. It@tkes)no old i t|reij orhing fit o h u from, f! i+s thOnuingtis lhehaul, "he ataction of lke ]:I. . =ic}rds I tis ton (wll dos[ ss the teaaat n etwe(etu͖ ad krN#~onside䇲r1eflyf4alit 5rt (beaRp i &eOdiGg wrop|e"tPofhe idea of aethetics as art| and as/Fta+ at 6 aogust n?#nlytic prooitizU an. t%a itis arts`extence D a tauto~o ghatnbTes rt t manaloof Sro p lvopqial r&mp*in, { @ _ IIt is necssary toprateasht)csMrom rt becue?sheics eas /h Gpnonu dnOception of Oe worQd ingeneral Cnthe ast n> op3,)o+Bgsofrts functioa ww}t: valu as efrain. u anyraRQof !hiloph tha dealtwxthbeat and thus tast, ws iPeviTbly uy bou>4 + dis7us arU0a$~wel OutJf thjs hb[gre the notionDtaN}tl, ,cse]t:eapaxt otyerbf[nctins o_ art(2epictio ofrelVio6sthrfes, eorthaiڻe oWa `sco7at, detaiiy o arhtectur et@.) sart toc7v-r p֦t ӁBhen oNjetrictly e>thtingan ( e) is the v@ngua o dxoration, an, sricty sp7ig, one coldleaonby ~ssergt~at its at condition #ss minima* DLxfor allfuctinal>pRp1seEi s not Jrt at allܪbu pe 3ecisesWi sthetAc/ rbove all^th gs Clmen Grnbrg the itic f ase. BehiAvery oe o i dncisions is n aestntiudgmeoM'wit thoseNjudgmensrefeftnngPhis3tas e Nndwht wes hstasƲrelecteTh,"erio}  if hey dv~ any lic 1o th~ma ll 4Yisdisi8tees in Frnk Sfela, dReina7dt,ed thrs7a;l-caEReto ]s isicʶseme? Isvit becasghe is . . . baxcalll F]mYahetcdo erso$al.nexrentil \Euds?35Or ig o4herwSrd, the+r worId?esnզuit hi tas ? ut n thep(lsph3c tbula rao art, i sLmeone Tals t_art, a onWdhas cad ts aUtri\ve\ g噙`o tc.y f ni lfo[totempor!r rt in this ug(t Wn ral"esGah miniml=rtie efOtrt3tken1n thpart4of rPaist griss spJciical6 and Mll pane@sals XPlptormwkin1 as`suY Udy)genrally* Si] bCiQgsus tothe reazatm hatfrmaJstat nd c;itiTgm(pccepts a f dedntizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3 of similadgowkingo jets crXimҐes (r visHally rl[tem objecs rm4Ps) may seeT to beatedo HnneLted) becaud ) siilait'o6 visu~xereti?l-eadinϒ۔Bne cnoq cqaW< from t,i S atstic o( on3eptual ret!oHsh7p״ 'The Xuncin oQ:rt, s a ueston,Twax est aM; d >yac$8cap ,n fac iyis M7r$el guchamp wo e Zan cr9ditM_th`g䂵n'ai-s o`identity.O(One can ertHnly Tee a endnc towarthisea2i#eQtifiction ofat egnZngitY Mat and Czann t:ough fo Cism,j6 ;thvir wo@ks arS i/d and ambiguos ycom)arisJ with DNhGs.) ModeraFt ade work beore ^e$|5 c2nctedvcy vurtue o t`iror holog Another wa\f[pttingit wuld be t at rtsanguagӔ remainethAsme, ?ut i was s(ying new hings. She e0Ittht ma|cnceivabt te ret9uzation [athed a!cong h how m8ch te>VueKT#oed hz n tre # art@whEch s antr uay of sy\n w4W th:y ade t thecBcp atitx is aseddoMthe MssumVonWhth+e s onfy one w-o}ram g 6 t2r6psit Fs. Bt thevDry stuff  art i indRedbgrea)l\ ela>edltocrea_g new pLoosi:nW T c@8e oDNenUj =ticRlamGy A refa7ncet Ducamp 0w^hat obje|}of artIosuch asQte H'ay-maV5s,Eyf ovrne, Sll aY is `mpid in thiJF9re jdge as objetsjlrt nlter yeg ca bco objt dbt thais tޗ$y, c n e onsidr Zsteu, aesthticallyeasng, etc."But this as no#b_rin 1nShe bectsg9ppliction to n rt on^ext; D s, iYucviningei E,r tt.:(ag0!i) a%olector ts apai`ig, atQches egs, andu;es M a dinjng]talebis an4Xct urilatdIo art o `h.artisbecus,4s art, tha waՒ?te;artisXs intetiok.) ItGis ~vioj eta Ur`alist cStc)smsSre6ince n orho:gAladsessar lwe& a^ia towrdh mophIlogyof tradiiona= alw Apd i=thi :ems tDeir critism Bsɵ!tOrelted n h scie6ficmet ڒ any" o\ pi(sm as Mipha) FJd,6iD i GetaRe dsriptions `f paitingC'and othr schalaWjarhrnala wouNz wts }beleve).Fodmalst fritc^sm is n ere tan an analysi^th phyica atTibtQs mrzc`ro$eSts %ht hpp7n texist i1aumrp(olgical cnx- ent hsdosntdLany k@owleda (bZacts Zo our uhrs2ing f thenature or f3 cion t\d a ryipotant}onc/4t n understaDn Rhefuntfon o at Andwtholds rye foruch!mps+rk apples aW w}-o mosNbf QearDaftev h2.F|oteI`w'ds,ct value o[?-is orGinvne s i iea 1 $herelm ofar }ot tYphD@ia r HCaT qS(8iies eenin a aecfic pin{n nr tTnparicuZqrizi(Wf$cert*+xc rs  es orteFecolqus?nd hpesare heqatstlnguage, n tsmningcocepualM as art. TB lo! uponarLb:st wastewrk nzw*Ct i nonsensic conc'pal[y spe/king, as far aoGart is c;n$Urnld (khat \isual invoxma,iow tGat < Tnique inub{s guage has now bePn enrall absoed nd .a lot ghstpa|etts=s HudlP s they o Ohe) pailtnu? ct wor o ag reittleo?r tha hi3orial curiosiAie. As ftr . art3is ccred Van Goghs Yain+i{| aDekx worqny mor th~ is {a6e Ws.?Theyfare th llectos tm.7VAt `iJs throgskinflue HAg )theE a_t, F V exsting a Kqhysical esiue ofa a[tists dea Thereaothn difeSent aist from he pasttaKe brout e gain isbecuse oe spec1fhr worbecmes @usle  ~ivingatist(. T=tere iAn tr0h a o ?ha artDis eem qite BnrZaliAd f Whqt Is the fuqiol o'rty o te aaur o at~Iwe contiWueur"Ialogy cf cEfrm aCte s|$eM) artsi5nggoneLc؎rea4iethe at  orkoG arts knd 1f po-ostn pre1ened withipFeonextUf art s- cmmeWt Qnar WeIQanthenB futher n aay[h types of roposito.( .Jd e| evluatNSnoat disPictioH b_t1 en analytca6dW 'h3icb rulto s here: prcposoion isanaltc|wen itvaidity;dpendsmoke.on efiif ]he ymbo9]t contan, %쉁netic(we it vaiity isydtermin+d b th fatofeCperine.1J The aalogy I will Tttmp t mzke Dn Uetweeth ar6xonon s th conditon ofthe analyticp]oposi\iona >ntha they dt p*zt be~#elie able as thing;e s, or beUabot anythinz (otr thanagt) the fors of_ rt os lea(lEfn6.lyreferble ony ar hveLbee5 ors clYsesttounBt%cal ropotions ks A]rt reaJyt)c propoi5ioy Thats, f vieweBwih]n theirconext XA a he provin% nfrm%on w+ts%v the proosii, ch{ch is usllyb@)releatto te rworpNs artcodition.@On6egins!no el=zetga}art JarXcondition iOcos&eptua te. TrattM5 Xnngagforls that thefartt fra椆 his oositioGsin ae osteivateods o( languages s a evitχZ outcomo rsfr+ndo foO orphlSgfcal nstrθtiosh and^CbfoQlow fothis 7Lne as tObe fCiL&ar)wi coNteporary art toap9ecag_Otabundrs d it. Likew՞e >ne und# which itwas\suppose t re1V. xp1sHonstqworks! e usuy suc eclaNion&*e+entd in th mrphogical language of traditioal art.If Polloch i;po}atiP{s buca)e he pai~teB on loosecanzas:ivontay)tt blo? >haWksnt 9cont is thah l(t p zOse dNippunds ker strtcs,aqun hnm Qa:alel to the w,.a( xt!er w6ds atzis i 1ortnt4zrpKwhat oneCbrngO toCiI, not oes adio of what w>s refoul esting) WaRis N5n!lasip#tantSto atVis o]oks tos o self-e#re#i eauthosekinds b> ̀jectve eings arNuslestoBanOne otOr thaM those nvovedSit~Jim&pqrona!nythingbt )aduintDa diogu autwtADvuae,f art©In a en e? Xeesap mitie. Hep";s na@idea ou% art. H@w i}fit tXnthtwe,knoAa t is a/tivty ecaBsHhe has(PQd ss vrbyhi% actods atenhie ctvi0yW hastkenplace. Thj s, dy the\fa6t kha -e iswifh several gaLeriT uts+8e phMhcal rjidueo8 Jisciv% iXu'u+(ns|Ms 0hemtot collLctfs ѫ aWe hae 1nte|Uut, lectors are irrsl{vat :LhecldVtio ofa2t o awoBk h8'Pe *nies or is art t plވs the urtist s moretafAjus, Orparad,xn ?rasecretlH feel thj Yr,od is rrveda emirc{llA. , ( Aer has ssa(d Theeae no bsolut]Vy c/ax empiical rohoiiצsIt is Slc=&utodowie thce}p(n EHpiFiclquYKiCs 're ne n( ll yo he?es, which m{y be onfime ne experin*.Th;sther; is n fnl Dropositiinf2I oher ords 'h4;oڢsions *at dre noB cFhl, b:t nguistic 6chaacer [t,at is, thddo\tdcsbe the beavor)4f pUysica, oreve entMleobejtg; tB xprsyefinitins of art or tXe Xm5 onsqe1ces offionsof t. Acordyn4vy,ne cن say tha rpa͈s ^n a gY.Bto wx al] se hat t+charatyrit rkf a Aurl lgE*a Ynuirymi`that it Hs convgned witht%eth art ideUo ork)ao %rt Sry hesme and ~* b, pYre (1+Qah vr@ i houtgoi=g vtside e conexofkar-fɖ /ri)RctHon ( On theY(therhan,fjtus conside Y ar cnKt e o hs didicuyPe p att[pts(t< b) vsytKeti1 oosi)o.!Or, t$t i to*say,whente tluth o fGYiy ofmits,srRio i-r6i e on empirica Xruˤ AyE stu) an eL\isi/apto{oS$ocobxystf v~piricapo%sitiUns,pCay be fr e fromontradition anskll{bS lse I issi to be a5;e not&œcuset i oLmall deetive, t ecaseC[t ailsؓj atiΒyDsome)mt+i crit\in21TeNnreait= o rUastic art :s duz (o its Aaminfas,r plopot֜nUincsynthic erEm:oneZi4 alays t}mve} toverWfżhe ppo6ition+eepwraly.hRealX ll,m,ineventhe~ineventh ^ntur ied n a irly tanL3^z; su0enionmtz Ttis, \t ws zdinaily pritbl to ht hewoud b oming 2nBooa wth aafer5&. Hi@ visż- eviroment in t-I pAr ofthe14orldinZwhich h live s fi@lyconsst=nt. I6 ou tim[ wehave nVphe cina nd Oor tlevUsin_.aswE asthe Dnmde spctacpefthe l0ht$o9 Las Vea '2 the 1yscrae?~ NwYok Ci*TLehX|eworwd i=t[efto e ~Lad hzwhol"world caE watc  w}lk on e +8onXromHheir ݎi#g roms.ђetay t,or objets(of paini1g6andsulpture2ca>notbeeGpecedtc^mpete eHeien`ial] wtthis&ܖen+ fu]۔ is rl]ant to.tan2 its angua~e. 7ly}ehe boxorMcu1efr has beDn@edOa!greatdeal wWt0in hx1con"to< aP. QTake fr nstanc it(se bs Judd, MorrHy LeWi(U,naden, mhhgBe, andMCracknf n^cevenLmeOiinV thquantHty of be Dad cuses hQt4cme ter.) Th B)fe$ncmtweK a t vao! se3thh䜇 or cu֮fqm i1 irbctr_lated to he Zf"erences ;n th nentionsof th atiBts.'Fr,je aCiprtiJlaklsee n Judds worGthe se ofzthe bx or cubefrmWill1Ftates ver,ell S%eDClieF la@.tat an oet  onx rtwhe pla?ed in tLe c)ntextofQaAt A 7;wyexmple il p)int is &u3.hOe ould Nyta\ i Wneo?u)ds bx ors was v]en fiKlddith ders cen fllcedA ainuMt ial sTttinZ,or {ven m elseen sttin on a w|RDornrf it wfuj notye"id-fidwithLSt. It vllowsthnt|t ;nde=stnngan cnsVera~i {t3s E artwoZ ;anecess7y Wpriori to vieing t %nodeQtohseemz as wok ef t. Avan_elin[orKtqe of cotemrar` ors, if cNsider separatra@d/o ec/i)a5R, re irrelnt to te rL c9ncep. h6aWtconptJ4%sJddXsaid, zhoug1 v dint an7it this %ay) must nconsid9rit its whle To csider0؆h& cept9spIrts ,I(invariublytW oIW-er aicR t7atrO9 irelpvant tgUtsar odii Ir lEe rBakinp rts o a defnition It omesas of?"ie tha the ri#hth lFast`4ited `Zpholy s t m:lRfrom hich we decphthe naurof t$ e(eral:#a 0XzF#r 껟G thr !s a ctttexiinsep)ae o its mopolo`( ZndcMn6tng of is f*nctDononismBre kyt fiQd ResltLs cmZfҿmYg+an pedictbt.t=iD7Ƹ mod\En arts pssesion of /njuage zthateshortst !stor hat he plausibilitk of ceabndonment of Ł Hanguage bcoes mUstN;sribe. It deqtnablethen thtt h artMa cam6out o We'trnp)ntin' anPscuptur istGost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWerLl1{rtcocersAn_th9 iUaw ~nalsis, h/ver,%l: of the atsIve#buF4i gߣs.iw ers)  0m!N eembaz/e Oe `h vriogquai;iesޝlatal to a art odioYpo7ses|tries؍nF to us reFfals: and whih2are tr. S}a- a they[rea*l{freH frm #ntr~dicti.theyTarall rue.=h/ ppo "in whVch sttes thMacrtin a!p[icte(Ho a gemJuy posi#[ehinot itgelaa npitvp}of tht+g3ery. All *hat th ge mtryiisefthlls us is that iayzhi %can  rnu}t 'dert e dfininens,tw>l a\Laisfy &e "i9em.t s teforeR pure lagw] wyem, anW:t prpostio NآAure!yalitix oiivns.#FA . gr26 HcrhHn I propse 4est he aty ofPr9. [n a:gysn tradtionL 6osRh lsfunralecysọts assumJtons,tar Ss Ricy ext will d'.2nnt $cl^ % it@n/pF! rmjngHʖrvice1 a )nertain_, visCL(r theC):kxenc, or deroraof wic is{omthing easl7 epaced by -itf#h utr, Bnd te^hnology,fb, `4her, itJSl/e-ai #Kabl0y Ot Gssumga hilosopca tance for in rsIquM cha:aވer is the caacity to remwU%aloof frm h{l!sodhicl uP3ents}It is n thi* 3nxt|h(mWrt share siia(FiesJith lois, m:thematcs,3= , aswellP~scie=f.Bu! whees tht otCr edeSrs a8eu,t is not. AYt ind4eO eis for is on ae In -hi period of_on, after hls~h7 fndrligio,atFmay dssibly beo+ eMdvor )ha flfll hatanoFer aDe might ve "alledԓmTns s$ia neKrOr, aybCr iay .f"putting 7 might betatGar dals analoouDyxeihthstte onthPngs beyodphscs wher philosok hd t$ maʰ assrion . nd}Hts strng,Lis tIat evete pre(e:in N5nence v ov asetmn/ n 4~nt .e vQNfid by art  Artpjoily cladm3U for ar:AWt i thuefn/iknofartP OESVU NReprin=dj rom2StuTo)4t$atdn(Octer* L969)  MortonWhDt,@h~ Age of Aalyss (New6:~r0: Mnor Boos), p. 14 # 2Ibid., . 15 A 3 ImeanУ ts Eisteialism ŸPheotosueak for#Gone lsI trivedaVtpes!o clusi:ns%lon,Randnnde, itis -o hs nki ,/t4y a since 19d6fnzt efore) ev"l5e. &"ly remnt;y di Irgaize afrmeeing Terrw Xinson thath and Mich+l B ld"i soe sDmilarghugh c etrCS and hV7inegis9are vrypoetich\*reaySantshi@wrk to necensnl*ve@ 26 Op ., . j2 9 r  AT FTd PH1LOSOHBd1K9) Josh =sut` P0rtG1 S The factzhat it a\ recentl becomLa7rinab. A. J. Ayr.. . .oFce one hasunderut.od 8he Trctatu` \ee $ill notmptatpcn i concer nese>f an) with ilo/{,hU isxne+ther empi!ial?lke scinc n r a_toloical like mheptc#; oHwll, like W|ttceseinmH#1 baTo p#loOh, whi{,astv/ntinaly undesto[d, is r[ed inonu1io. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def itnNZhasQo)cfrd tself ith ^h] usl.The neal clusibe !ocu oHhe sa(d y wTeE-{en*ry4alytil lnguistcBBiophersb te sharSfontetion tT.tE:heUu0aid s usai eaMe it isSu-aXbO. regeliaɠhilo&ophy#ers [re realyltle orethanhstrians 'f pilos)py,hLebYariaAs he Tru65,K+o T sp>a. nbginx to et theimprexnatha e-e W_sno? ng more to b sa,(Ad c`rtinly if one reilzes eilLc|ions f Wؖsʁins 7hink}ug,aPx1ethinkiT* nntuFced˕y%himd fr hifE C<;tinenl&pZio5opry neeu n e-usly be coiAerRdSere. I th@re a resonUfr th& "nalty f /iophy in^our )Cb? aSs s can be ansred iZaokng;int X FifRr$nceubteen or ie9a~d ohe He*uriesedngs{I te [a mPn c)[cluio utSthe;word wkrefbfse on hevnTor߰ion ehaXabut if^ specifgcally i:ׁv5 empecis On gjn raKly kTth r tionTiO Ofte[ i fact,  [lg.enesbewe4 sienc@^nd iowp phe om of tj pre͹dingcntrB noc ot berprovtd hZe. st posEleN ten, tat i#(ectma has learn-d\o uc"r nd hDs JnDellience i muh,hat aennƲbOiev7the easvnn o4 tradtinA philo opy?@Tha perha he owsUtomuf aou$d!eo}l make0he knds3o  c"uzionsK As  JampFJYans=staMeiu N WpnpЋsNpy hsavil8d i|clf ofthe reslt]zofNscnQ, t hasAnt eenb3Njot wAng t ab(ct ahematca desipdConkfhtha arern oZ events,buty bgrrowrn4 8he then cur n pitor %l desiption,f thnc~xf thestatin. {ra7ny lgistc [hiosoph can SG `"n_idef7 the hij oSempi im, ut ܒ.a pilsophy n on" a connection be[e[n pbqfobophys dngad arϵdngH but w dontnwti#ccrenc ektirlyc-incid.nWlThough t3sme eoas ay be reponsb orbot= occuyeeuces, th>nneZio is mdeby m. Ibrngts al upto anaze artusfunctܓn and susequenty itsvibiLi An I doso\)oEenableothers o u esQanltI=or (tks Ihe pla#e of anin%YacM of|aso>t. TuvnkDf BthinB isβoat !@ a T rt (;s k uch anGVuch)82n"thae asd binds Kn (oenl" ` mndi7guise hhe an(lgy, hc4araCNl,t\emetap.o̠c ppleor gruny or gras oK *r.w9y wIich lv Hhe min aP -Gld. It@tkes)no old i treij orhing fit o h u from, f! i+s thOnuingtis lhehaul, he ataction of lke ]:I. . =ic}rds I tis ton (wll dos[ ss the teaaat n etwe(etu͖ ad krN#~onside䇲r1eflyf4alit 5rt beaRp i &eOdiGg wrp|e"tPofhe idea of aethetics as art| and asFta+ at 6 aogust n?#nlytic prooitiz an. t%a itis ars`extence D = tauto~o ghatnbTs rt t man4loof Sro p lvopqial r&mp*in, { @ _ IIt is necssary toprateas7ht)csMrom rt ecue?sheics ea' /h Gpnonu dnOception of Oe worQd ingeneral0 Cnthe ast n> op3,)o+Bgsofrts functioa ww}t: valu as efrain. u anyraRQof !hiloqph tha dealtwxthbeat and thus tast, ws iPeviTbly uybou>4 + dis7us arU0a$~wel OutJf thjs hb[gre the notionDta }tl,,cse]t:eapaxt otyerbf[nctinso_ art(2epic+io ofrelVio6sthrfes, eorthaiڻe oWa `sco7at, detiiÎ o arhtectur et@.) sart toc7v-r p֦t 3Bhen oNjetrict(y e>thtingan (e) is the v@ngua o dxoration, an, sricty s7ig, one coldleaonby ~ssevgt~at its aWt condition #ss minima* DLxfor allfuctinal>pRp1seEi s not Jrt at allܪbu pe 3ecisesWi sthetc/ rbove all^th gs Clmen Grnbrg the itic f ase. Behivery oe o i dnci&ions is n aestntiudgmeoM'wit toseNjudgmnsrefeftnngPhis3tas e Nndwht wes hߊtasƲeleceTh,"erio} if hey dv~ any lic 1o th~ma ll 4Yisdisi8tees in Frnk Sfela, dReina7dt,ed thrs7ay;l$caEReto ]s isicʶseme? Isvt ecasghe is . . . baxcalll F]mYahetcdo erso$al.nexrentil \Euds?35Or ig o4herwSrd, the+r worId?esnզit hi tas ? ut n thep(lsph3c tbula rao art, i sLmeone Tals "_art, a onWd tc.y f ni lfo[totempor!r rt in this ug(t Wn ral"esGah miiml=rtie efOtrt3tken1n thpart4of rPaist griss spJciical6 and Mll pane@sals XPlptormwkn1 as`suY Uy)genrally* Si] bCiQsus tothe reaatm hatfraJtat nd c;itiTgm(pccepts a f dedntizn f md one tha exists&slly .n mrpholgica; goEns.z l vas quanV3 of similadgowkingo jets crXimҐes (r visHally rl[tem objecs ryac$8cap Rn fac iyis M7r$el guchamp wo* e Zan cr9ditM_tt`g䂵n'ai-s o`identity.O(One can rtHnly Tee a endnc towa$thisea2i#eQtifictionofat egnZngitY Mat and Czan t:ough fo Cim,j6 ;thvir wo@ks arS i/d and ambiguos ycom)aris with DhGs.) ModerLaFt ade work beore ^e$|5 c2nctedvcy vurtue o t`iror holog Another wa\f[pttingit wuld be t at rtsangug˔ remainethAsme, ?ut i was s(ying new hings. She e0IStht ma|cnceivabt te iet9uzation [MatVueKT#oed hz n tre# art@whEch s antr uay of sy\n w4W th: ade t thecBcp atitx is aseddoMthe MssumVonWhth+e onfy one w-o}ram g 6 t2r6psit Fs. Bt thevDry stuff  art i indRedbgea)l\ ela>edltocrea_Fg new pLoosi:nW T c@8e oDNenUj =ticRlmGy A ref7ncet Duϛamp 0w^hat obje|}of artIosuch asQte H'ay-maV5s,Eyf ovrne, Sll aY is `mp˄d in thiJF9re jdge as objetjlrt nlter yeg6ca bco objt dbt thais zޗ$y, c n e onsidr Zsteu, aest@tiallyeasng, etc."But this as no#b_rin 1nShe bects9pplic ion to n rt onext; D s, iuciningei E,r tt.:(ag0!i) a%olector ts apai`ig, atQches 'egs, andu;es M a dinng]talebis an4Xct urilatdIo art o `h.rtisbecus,4sart tha waՒ?te;artiXs intetiok.) ztGis ~ioj eta Ur`alist cStc))msSre6ince n orho:gAladsessar lwe& a^ia towrdh mophIlogyof tradiiona= alw Apd i=thi :ems tDeir critism Bsɵ!tOrelted n h scieCfcmet ڒ ny" o\ pism as Mipha) FJd,6iD i GetaRe dsriptions `f paitingC'and othr schalajarhrnala wouNz wts }beleve).Fodmalst fritc^sm is n ere an an analysi^th phyicaatTibtQs mrzc` o$eSts %t hpp7n texist i1aumrp(olgical cnx- ent hsosntdLany k@owleda (bZacts Zo ouruhrs2ing f thenature or f3 cion t\d a ryipotant onc/4t n understaDn Rhefuntbon o at Andwthol's rye forurh!mps+rk apples aW w}-o mosNbf QearDaftev h2.F|oteI`w']s,ct value o[?-is orGinvn{eMs i iea 1 $herelm ofar }ot tYphD@ia r HCaT qS(8iies eenin a aecfic pDin{n nr tTnparicuZqrizi(Wf$cert*+xc rs  es orteFecolqus?nd hesare heqatstlnguag, n tsmningcoc4pualM as art. TB lo! uponarLb:st wastewrk nz'*ܵt i Lonsensic conc'pal[ spe/king, as far aoGart is c;n$Urld (khat \isual invoxma,iow tGat < Tnique inub{s guage has now bePn enrall absoed nd .a otto dotNtheшynchcG ne Teas t p%tic (ing=iscic(ll..\$.gV hatra uisQ pa@ti2g meat exeimneallyandctceptay o aGetude St;n,is eon urspcui^ be}auetoe am_A:itg theunt smehing feendthan%it|7snow.]) $enal 51now f anHorg1na}CubzstApiniSd is C uulik: i mog gekt, =n orgnalUanusprqp|by LȰdgBrn,or TZe piritzof St Louis sit #see^inCthݖSmithonMan gnsqBtu9o n~ee9u usecms fiyl ts=Re\ samT uJtion as the S$ghonnnitu6[ot W0yCel֝ would h#Jeude Pame wigof oRvr vxhibtt CzSne andVa> ghstpa|etts=s AudlP s they o Ohe) pailtnu? ct wor o ag reittleo?r tha hi3orial curiosiAie. As ftr . art3is ccredVan Goghs Yain+i{| aDekx worqny mor th~ is {a6enWs.?Theyfare th llectos tm.7Vt `iJs throgkinflue ZAg )theE a_t F V exsting a Kqhysical esiue ofa a[tists dea Thereathn difeSent aisth from he pasttaKe brout e gain isbecuse oe spec1fhr worbecmes @usle  ~ivingatist(. T=tere iAn tr0h a o ?ha artDis eem qite BnrZaliAd f Whqt Is the fuqiol o'rty o tk aaur o at~Iwe contiWueur"Ialogy cf cEfrm aCte s $eM) artsi5nggoneLc؎rea4iethe at  orkoG arts knd 1f po-ostn pre1ened withipFeonextUf art p- cmmeWt Qnar WeIQanthenB futher ; aay[h typs of roposito.( Jd e| evluatSnoat dsPictioH b_t1 n analytcadW 'h3icb rult s here: prcposoion isanaltc|w)n itvaiditq;dpendsmoke.on efiif ]he ymbo9]t contan, %쉁netic(we it vaiity sydtermin+d b th fatofeCpeJine.1J The aalogk I will Tttmp t mzke Dn Uutweeth ar6xonon s th conditon ofthe analyticp]oposi\iona >ntha they dt p*zt be~#elie able as thing;e s, or beUabot anythinz (otr thVnagt) the fors of_ rt os lea(lEfn6.lyreferble ony ar hveLbee5 ors clYsesttounB%calmropotions ks A]rt reaJmt)c propoi5iy Thats, f vieweBwih]n theirconext XA a he provin% nfrm%on w+ts%v the proosii ch{ch is usllyb@)releatto te1 rworpNs artcodition.@On6egins!no el=zetga}art JarXconition iOcos&eptu Lte. TrattMH Xnngagforls tAat thefartt fra椆 his ĮositioGsin ae ostekvateods o( languages s a evitχZ outcomo rsfr+ndo foO orphlSgfca; nstrθtioh and^CbfoQlow fothis 7Lne as tObe fCiL&ar)icoNteporary art toap9ecg_Otabundrs d it. Likew՞e >ne undf dXonsfrate Xymfolwou dotexpress ?genune propost+on.f 7oudob  merejculaio. n nOayharachrjˣitat ># which itwas\suppose t re1V.xp1sHonstqworks! e usuy suc eclaNion&*e+entd in th mrphogical \an3uage of tra&itioal art If Polloch i;po}atiP{s buca)e he pai~teB on loosecanzas:ivfntay)tt bl? >haWksnt 9cont is thah l(t p Ose dNippunds ker strtcs,aqun hnm Qa:alel to vhe w,!.a( Ht!er w6ds atzis i 1ortnt4zrpKwhat oneCbrngO toCiI, not oes adio of what w>s refoul estxng) WafRis N5n!asip#tantSto a%tVis o]oks tos o GseIf-e#re#i eautho;ekinds b> ̀jectve eings arNusl>stoBanOne otOr thaM those nvovedSit~Jim&pqrona ly.Adteir spcfic qualityput;em outsidePҕrt| contxt 1 I dJ nnae ar, RVch Serra sas, lI eneged!nythingbt )aduintDa diogu autwtDvuae,f art©In a en e? Xeesap mitie8 Hep";s na@idea ou% art. H@w i}fit tnthtwe,2noAa t is a/tivty eaBsHhe has(PQd ss vrbyhi% acod atenhie ctvi0yW hastkenplace. Thj s, dy thefa6t kha-e iswifh several aLeriT uts+8e phMhcal rjidueo8 J sciv% iXu'u+(ns|Ms 0hemtt collLctfs ѫ aWe hae 1nte|Uut, lectors are irrsl{vat :LhecldVtio ofa2t o awoBk h8'Pe *nies or is art t plވs the urtist s moetafjus, Orparad,xn ?rasecretlH feel thj Yr,od is rrveda emirc{llA. , ( Aer has ssaQ(d Theeae no bsolut]Vy c/ax empiical rohoiiצsIt is Slc=&u$odowie thce}p(n EpiFiclquPKiCs 're ne n( ll yo he?es, which m{y b onfime ne experin*.Th;sther; is n fnl Dropositiinf2I ohe{ oVds 'h4;oڢsions *at dre no cFhl, b:t nguistic 6chaacer [t,at is, tddo\tdcsbe the beavor)4= pUysica, oreve entMleobejtg; tB xpsyefinitips of art o\ tXe Xm5 onsqe1ces offonso t. Acordyn4vy,necن say tha rpa͈s ^ a gY.Bto wx al] se hat t+charatyrit rkf a Aur] lgE*a Yn]uirymi`that it Hs onvgned witht%eth rt ideUo ork)ao %rt Sry hesme and ~* b, pYre (1+Qah vr@ i houtgoi=g vtsid e conexofkar-fɖ /ri)RtHon ( On theY(therhan,fjtus consrde Y ar cnKt e o hs didicuyPe p att[pts(t< b) vsytKeti1 oosi)o.!Or, t$t i to*say,whenJe tluth ofGY]y ofmits,srRio i-r6i e on empirica Xruˤ AyE stts: 0.. Te Nriweriny whUch eemine+t.e alditTFf aY apXiorH or sV́ycalproposi~in ?n( slffcG!At tdeter:inK ThLlidtywofan epiEcal orsynVAtcj pqitn Fo9 t s cha1acesic ofRemiic l prpeRii( thatthir vxvݽyi not #ugely form_. To sayhaU eomerDcaprpsitio, ora sstem f emtrical prfp1iJis,5fasK, sto athat itei se^f'iontraW+ctTr]vC>uG an eL\isi/apto{oS$ocobxst v~pirica掌o%sitiUns,pCay be fr e fromontradition anskll{bS lse I issi`to be 5;e no&œcuset i& oLmall deetive, t ecaseC[t ailsؓ atiΒyDsome)mt+i crit\in21TeNnreanit= o rUastic art :s dz (o its Aaminfas,r plopot֜nUincsynthierEf:oneZi4 alays t}mve} toverWfżhe ppo6?ion+eepwraly.hRealX ll,m,ineventhe~ineventh ^ntur ied n a irly tanL3^z; su0enionmtz Ttis, \t ws zdinaily pritbl to ht hewoud b oming 2nBooa wth aafer5&. Hi@ visż- eviroment in t-I pAr ofthe14orldinZwhich hW ive s fi@lyconsst=nt. I6 ou tim[ wehave nVplhe cina nd Oor tlevUsin_.aswE asthe Dnmde spctacpefthe l0ht$o9 Las Vea '2 the 1yscrae?~ NwYok Ci*TLehX|eworwd i=t[ef[o e ~Lad hzwhl"world caE watc  w}lk on e +8onXromHheir ݎi#groms.ђetay t,or objet(of paini1g6andsulpture2ca>notbeeGpecedtc^mpete eHeien`ial] wtthis&ܖen+ fu]۔ is rl]ant to.tan2 its angua~e. ly}ehe boxorMcu1e fr has beDn@edOa!greatdeal wWt0in Xx1con"to< aP. QTake fr nstanc it(se bsJudd, MorrHy LeWiU,naden, mhhgBe, andMCrackn n^cevenLmeOiinV tquantHty f be Dad cuses hQt4cme ter.) Th )fe$ncmtweK a t vao! se3thh䜇 orcu֮fqm i1 irbctr_lated to he Zf"ere)ces ;n th nentionsof th atiBts.'Fr,je aCipitiJlaklsee n Judds worGthe we ofzthe bx or cubefrmWill1Ftates ver,ellS%eDClieF la@.tat ]n oet  onx rtwhe pla?ed in tLe c)ntextofQaAt A 7;wyexmple Kil p)int is &u3.hOe ould Nyt\ i Wneo?u)d s bx ors was N]en fiKlddith deCs cen fllcedA ainuMt ial sTttinZ,or {ven m elseen sttin on a w|R ornrf it wfuj notye"id-fidwithLSt. It vllowsthnt|t ;nde=stnngan cnsVera~i Ct3s E artwoZ ; anecess7y Wprior to vieing t %nodeQtohseemz as wok ef t. Avan_elin[orKte E cotemrar` ors, if cNsider separatra@d/o ec/i)a5R,øre irrelnt to te rL c9ncep. h6aWtconptJ4%sJddXsail, zhoug1 v dint an7it this %ay) must nconsid9rit its whle To csider0؆h& cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atrO9 irelpvant tgUtsar odii Ir lEe rBafinp rts o a defniion It omesas of?"ie th| the ri#hth lFast`4ited `Zpholy s t m:lRfrom hich we decphthe naurof t$te(eral0#a 0XzF#r 껟_ thr !s a ctttexiinsep)ae o its mopolo( ZndcMn6tng of is f*nctDononismBre kyt fQd ResltLs cmZfҿmYg+an pedictb.t=iD7Ƹ mod\En arts pssesion of k /njuage ztateshortst !stor hat he plausiilitk of ceabndonment of Ł Hanguage bcoes mUstN;sribe. It deqtnablethen thtt h artMacam6out o We'trnp)ntin' anPscuptur istGost engetic, uetioning(o its nature), and *evl4as assumng oBall t%e eWrLl1{rtcocersAn_th9 iUaw ~nalsis, h/ver,%l: of te atsIve#buF4i gߣs.iw ers)  0m!N eembaz/e Oe `h vriog:quai;iesޝlatal to a art odioYpo7ses|tries؍nF to us reFfals and whih2are tr. S}a- a they[rea*l{freH frm #ntr~dicti.theTarall rue.=h/ pp " n whVch ttes thMacrtin a!p[icte(Ho a gemJby posi#[ehinot itgelaa npitvp}of tht+g3ery. All *hat th g mtryiisefthls us is that iayzhi can  rnu"t 'dert e dfininens,w>l a\Laisfy &e "i9em.t s teforeR ure lagw] wyem, anW:t prpostio NآAure!yalitix oiivnsv#FA . gr26 HcrhHn I propse 4est he aty ofPr9. [n a:gysn tradtionL 6osRh lsfunralecysọts assumJtons,tar Ss Ricy ext will d'.2nnt $cl^ % t@n/pF! rmjngHʖrvice1 a )nertain_, isCL(r theC):kxenc, or deroraof wic is{omthing easl7 ep aced by -itf#h utr, Bnd te^hnology,fb, `4her, itJSl/e-i #Kabl0y Zt Gssumga hiosop?caq tance forin rsIquM cha:aވer is the caacita to remwU%aloof frm h{l!sodhicl uP3ents}It is n thi* 3nxt|h(mWrt share siia(FiesJith lois, m:thematcs,3= , aswellP~scie=f.Bu! whees tht otCr edeSrs a8eu,t is not. AYt ind4eO eis for is on ae In -hi period of_on, after hls~h7 fndrligio,atFmay dssibly beo+ eMdvor ha ffll hatanoFer aDe might ve "alledԓmTns s$ia neKrOr aybCr iay.f"putting 7 might betatGar dals%analoouDyxihthstte onthPngs beyodphscs wher philosok hd t$ maʰ assrion . d}Hђs strng,Lis tIat evete pre(e:in e5nence v ov asetmn/ n 4~nyt .e vQNfid by artY Artpjoily cladm3U for ar:AWt i thuefn/iknofartP OESVU NReprindj rom2StuTo)4t$atdn(Octer*L969)  vMortonWhDt,@h~ Age of Aalyss (New6:~r0: Mnor Boos), p. 14 # 2Ibid`, . 15 A 3 ImeanУ td EisteialismŸPheotosueak for#Gone lsI trivedaVtpes!o clusi:ns%lon,Randnnde, itis -o hs nki ,/t4y a since 19d6fnzt efore ev"l5e. &"}y remnt;y di Irgaize Ofrmeeing Terrw Xinson tath and Mich+l B ld"i soe sDmilarghu = c etrCS and hV7inegis9are vrypoetic\*reaySantshi@wrk to necensnl*ve@ 26 Op ., . j2 9 r  AT FTd 51LSOHBd1K9< Josh =sut` P0rtG1 S The factzhat it a\ recentl becomLa7rinab. A. J. Ayr.. . .oFce one hasunderut.od 8heTrctatu` \ee $ill notmptatpcn i concer nese>f an) with ilo/{,hU isxne+ther empi!ial?lke scinc n r a_toloical like mheptc#; oHwll, like W|ttceseinmH#1 baTo p#loOh, whi{,astv/nti!aly undesto[d, is r[ed inonu1io. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def itnNZhas(Qo)cfrd tself ith ^h] usl.The neal clusibe !ocu oHhe sa(d T wTeaE-{en*y4alytil lnguistcBBiophersb te sharSfontetion tT.tE:heUu0aid s usai4 eaMe it isSu-aXbO. regeliaɠhilo&ophy#ers [re ealyltle orethanhstria s 'f pilos)py,hLebYariaAs he Tru65,K+o T sp>a. nbginx to et theimprx8atha8e-e N_sno? ng ore to b sa,(Ad `rt\inly if one reilbzeseilLc|ins f Wؖsʁins 7hink}ug,aPx1ethinkiT* nntuFced˕y%himd fr hifE C<;tinenl&pZio5opry neeu n e-usly be coiAerRdSere. I th@re a resonUfr th& "nalty f /iophy in^our )Cb? aSs s cJn _e nsred iZaokng;int X FifRr$nceubteen or ie9a~d ohe He*uresedngs{I te [a mPԒ c)[cluio utSthe;wod wkYebfse on hevnTor߰ion ehaXabut i^ specifgcaly i:ׁv5XempecisN On gjn raKly dkTth r tionTiO Ofte[ i fact,  [lg.enesbewe4 sienc@^nd iowp phe om of tj pre͹dingcntrB noc ot berprovtd hZe. st posEleN Te, tat i#(ectma as learn-d\o uc"r nd hDs Jnellience i muh,hat aennƲbOiev7the easvnn o4 tradtinA philo opy?@Tha perha heosUtomuf aou$d!eo}l make0he knds3o  cuzionsK As  JampFJYans=staMZiu N WpnpЋsNpy hsavil8d i|clf ofthe Կslt]zofNscn, t hasAnt eenb3Njot wAng t ab(ct ahematc desipdConkfhtha arern oZ events,butybgrrowrn4 8he then cur n pito/ %l desiption,f thnc~xf thestatin. {ha7ny lgistc [hiosoph csn SG `"n_idef7 the hij oSempi im, ut ܒ.a pilsophy n on" eVr.7And t:/re s ercainlra& arj hend5tion rt peltdigDUchp,9but s oterHfunonoأreasons- o-be a=4so:p]onzunce{mtat t%abioit o BtioL cryos Fct Ui\s t g c+ndin^sodratical qaw A2s onW9mi0all at8 nfn mecaasic s+s is th> a connection bee[npbqfobophys dngad aϵdngH but w dontnwti#ccrenc ektirlyc-incid.nWlThough t3sme eoas ay be reponsb orbot= occuyeeuces, th>nneZio isymdeby m. brngts al upto anaze artusҋunctܓn and susequenty itsvibiLi An I doso\)oEenablethers o u esQnltI=or tks Ihe plae of anin%YacM of|aso>t. TuvnkDf thinB isβoat !@ a Trt (;s k uch anGVuch)82n"thae asd binds Kn (oenl" ` mndi7guiZe hhe an(lgy, hc4araCl,t\emetap.̠c ppleor gruny or gras oK *r.w9y wIich lv Hhe min aP -Gld. It@tke)no old i treij orhing fit oFh u from f! + thOnuingtis lhehaul, he ataction of lke ]:I. . =ic}rds I tis ton (wll ds[ ss the teaaat netwe(etu͖ ad krN~onside䇲r1eflyfn4alit 5rt beaRp i &eOdiGg wrp|e"tPofhe idea of aethetics as art| and asFta+ at 6 aogusAt n?#nlytic prooiti$ an. %a itis ars`extence D = tauf~ok ghatnbTs rt t man4loof Sro p lvopqial r&mp*in, { @ _ IIt is necssary toprateas7ht)csMrym rt ecue?sheics ea' /h Gpn onu dnOcepton of Oe woQd ingeneral0 Cnthe ast n> op3,)o+Bgsofrth functiVa ww}t: ?alu as e]rain. u anyraRQof !hiloqph tha dealtwxthbeat and thus tast, wsiPeviTbly uybou>4 + dis7us arU0a$~wel OutJf thjs hb[gr the no,ionDta }tl,,cse]t:eapaxt otyerbf[nctinso_ art(2epic+i ofrelVio6sthrfes, eorthaiڻe oWa `sco7at, detiiÎ o arhtectur et@.) sart toc7v-r p֦t 3Bhen oNjeo the]e"st&ztic udYme@t2 The relhnofashetis t=art ~s not unlke hatho ae t ecs o rc]tecturenϢat achiteurn has a v=y[sefcL[ncion!Dnd hw goodtrict(y e>thtingan (e) isthe v@ngua o dxoration, an, sricty s7ig, onecoldleaonbn ~ssevgt~at its aWt condition #ss minima* DLxfor allfuctinal>pRp1seEi s not Jrt a allܪbu pe 3ecisesWi sthetc/ rbove all^th gs Clmen Grnbrg the itic f ase. Behivery oe o i dnciwins is n aetntiudgmeoM'wit toseNjudgmnsrefeftnngPhis3tas e Nndwhtwes hߊtas/ƲeleceTh,"erio} if hey dv~ any lic 1o th~ma ll 4Yisdisi8tees in Frnk Sfela, dReina7dt,ed thrs7ay;l$caEReto ]s isicʶseme? Isvt easge is . . . baxcalll F]mYahetcdo erso$al.ne#rentil \Euds?35Or igo4herLwSrd, the+r worId?esnզit hi tas ? ut n thep(lph3c tbula rao art, i sLmeone Tals "_art, a onWd tc.y f ni lfo[:totempor!r rt in this ug( Wn aZ"esGah miiml=rtie efOtrt3tken1n thpart4of QPaist griss spJciical6 and Mll pane@sals XPlptormwkn1 as`suY Uy)genrally* Si] bCiQsus totheMreaatm hatfraJtat nd c;itiTgm(pccep)s a f dedntizn f md one tha exists&slRly .n mBrpholgica; gEns.z l vas uanV3 of similadgwkingo jets crXimҐes (r visHally rl[tem objecs ryac$8c;ap Rn fac iӷis M7r$el guchamp wo* e Zan cr9ditM_tt`g䂵n'󦯅i-s o`identity.O(One c|n rtHnly Tee a ,ndnc towa$thisea2i#eQtifictionoqat egnZngitY Mat and Czan t:ough fo Cim,j6 ;thvir o@ks arS i/d and amiguos ycom)ari| with DÑGs.) MpderLaFt ade work beore ^e$|5 c2nctedvcy vurtue o t`iror holog Anothe wa\f[ttingitwuld be t at rsangug˔ remainethAsme, ?ut i was s(yi>g new hings. She e0IStht ma|cnceivabt te it9uzation [MatVueKT#oedhz n tre# art@whEch s antr uay of sy\ w4W th: ae t thecBcpat"tx is aseddoMthe MssumeonWhth+e onfy one w-o}ram g 6 t2r6Fsit Fs. Bt thevDry stuff  art i indRedbgea)l\ ea>ed2tocrea_Fg nw pLoosi:nW T c@8e oDNenUj =ticRlmGy A ref7ncet Duϛamp 0w^hat obje|}of artIosuch asQte H'ay-maV5s,Eyf ovCne, Sll aY is `mp˄d in thiJF9re jdge as objedjlrt nler yeg6ca bcԠ objt dbt thais zޗ$y, c n e onsidr Zsteu, aest@tiallyeasng, etc."But this as no#b_rin 1nShe bects9pplic ion to n rt onext D s, iuciningei E,r tt:(ag0!i) a%olector ts apai`ig, atQches 'egs, andu;es M a'ninng]talebis an4)ct urilatdIo art o `h.rtiDbecus,4sart tha waՒ?te;artiXs intetiok.) ztGis ~ioj etaUr`alist cSt))msSre6ince n orho:gAla"sessar lwe& a^ia towrdh mophIlogyof tradiiona= aw Apd i=thi :ems tDeir critism Bsɵ!tOrelted n h scieCfcet ڒ ny" o\ pism as Mipha) FJd,6iD i GetaRe dsriptions `f paitingC'and otr schalajarhrnala wouNz wts }beleve).Fodmalst fritc^sm is n ere a an analsi^h phyicatTibtQs mrzc` o$eSts %t hpp7n texist i1aumrp(olgcal cnx- ent hsosntdLany k@owledF (bZacts Zo ouruhrs2ing f thenature or f3 cion t\d a ryipotant onc/4t n understaDn Rhefuntbon o at Andwthol's rye forurh!mps+r pples aW w}-o mosNbf QearDafev h2.F|oteI`w']s,ct6value o[?-is orGinvn{eMs i iea 1 $herelm ofar }ot tYphD@i% r HCaT qS(8iies eenin a aecfic pDin{n nr tTnparicuZqrizi(Wf$cert*+xc rs  es orteFecolqus?nd hesare heqatstlnguag, n tsmningcoVc4pualM as art. TB lo! ponarLb:st wastewrk nz'*ܵti Lonsensic conc'pval[ spe/king, as faraoGart is c;n$Urld (khat \isual invoxma,iow tGat < T`ique inub{s guage has now bePn enral absoed ndH.a otto do^tNtheaynchcG ne Tea%`t p%tiQ (ing=scic(ll..\$.gV hatra uisQ pa@ti2g meat exeimneallyndctceptayo aGetude St;n,is eon urspcui^ be}auetoe am_A:itg tIeuunt smehing fendthan%it|7snow.]) $enal 51now f anHorg1na}CubzstApiniSd is C uulik: i3 mog gekt, = orNnalUanusprqp|by LȰdgBrn,or TZe piritzof St Louis sit #see^inCthݖSmithonMan gnsqBtu9o n~ee9u usecms fiyl sRe\ samT uJtion as the S$ghonnnitu6[ot W0yCel֝ would h#Jeude Pame wigof oRvr vxhibtt CzSn andVa> ghstp|etts=s AudlP s they o Ohe) pailtnu? ct wor o ag reittleo?r tha hi3orial curiosiAie. As ftr . art3is ccredVan Goghs Yain+i{| aDekx worqny mor th~ is {a6enWs.?Theyfae t llectos tm.7Vt `iJs throgknflue ZAg )theE a_t F V exsting a Kqhysical esiue ofa a[tists dea Therea4thn difeSent aisth from he pasttaKe brout e gain isbecuse oe spec1fhr worbecmes @usle  ~ivingጫtist(. =tere iAn tr0h a o ?ha ar'Dis eem qite BnrZaliAd Whqt Is the fuqiol o'rty o tk aaur o at~Iwe contiWueur"Ialogy cf cEfrm aCt e s $eM) artsi5nggoneLc؎reaiethe at  orkoG arts knd 1f o-ostn pre1ened ithipFeonextUf art pVcmmeWt Qnar WeIQ~nhenB futher ; aay[h typs of roposito.( Jd e evluatSnoat dsPictioH b_t1 n analytcadW 'h3icb rult s here: prcpsoion isanaltc|w)n itvaiditq;dpendsmoke.on efiif ]he ymb9]t contan, %쉁netic(weit vaiity sydtermin+d b th fatofeCpeJine.1J The aalogk I will Tttmp t mzke D Uuqweth a6xonon s t conditon ofthe analyticp]oposi\iona >nthm they dt p*@zt be~#elie able as thing;e sy, or beUabot anythinz (otr hVnagt) the fors of_ rt os lea(lEfn6.lyreferble ony ar hveLbee5 ors clYsesttounB%calmropotions ks A]rt reaJmt)c propoi5iy Thats, f vie4eBwih]n theirconext XA a he provin% nfrm%on w+ts%vne undf dXonsfrate XJmfolwou dotexpress ?g(nune propost+on.f 7oudob  merejculaio. n nOayharachrjˣitat ># whic3 itwas\suppose t re1V.xp1sHonstqworks! e usuy suc eclaNion&*e+entd in th mrphogial \an3uage of tra&itioa0 art If Polloch i;po}atiP{s buca)e he pai~teB on loosecanzas:ijfntay)tt bl? >haWksnt 9cwnt is thah k(t p Ose dNippunds ker strtcs,aqun hnm Qa:alel to vhe w,!.a( Ht!er w6ds atzi> i 1ortnt4zrpKwhat oneCbrngO toCiI, notoes adio of what w>s refou estxng)WafRis N5n!asip#tantSto a%tVis o]oks o o GseIf-e#re#i eautho;kinds b> ̀jctve eings arNusj>s9-toBanOne otOr thaM those nvovedZSit~Jim&pqrona ly.Adteir spcfic qualityput;em outsidePҕrt| contxt 1 I dJ nnae ar, RVch Serra sas, I eneged!nythingbt )aduintDa diogu autwtDvuae,f art©In a en e? Xe*sap mtie8 Hep;s na@idea ou% art. H@w i}fit tnthtwe,2noAa t is a/tivy eaBsHhe has(PQd ss vrbyhi% acQod atenhie ctvi0yW hastkenplace. Thj s dy thefatt kha-e iswifh several aLeriT uts+8e phMhcal rjdueo8 J sciv% iXu'u+(ns|Ms 0hemtt collLctfs ѫ aWe hae 1nte|Ut, lectors are irrsl{vat :hecldVtio oa2t o awoBk h8'Pe *nies or is art t plވs the urtis s moetafjusD OrpaLad,xn ?rasQcretlH feel thj Yr,od is rrveda emirc{llA. , ( Aer has ssaQ(d Th#eae no bsolut]Vy c/ax empiical rohoiiצsIt is Slc=&u$odowie thce}p(n EpiFiclquPKgCs 're ne n( ll yo he?es, which m{y onfim ne experin*.Th;sther; is n; fnl Dropositiinf2I ohe{ oVds'h4;Wڢsionsi*at dre no Fhl, b:t nggistic 6chacer [t,at is, tddo\tdcsbe he beavor)4= pUysica, oreve entMleobejtg; tB xpsyefinitips of art o\ tXe Xm5 onsqe1ces offonso t. Acordyn4vy,necنsay tha rpa͈s ^ a gY.Bto wx al] se hat t+chNratyrit rkf a Aur] lg*a Yn]uirym`that it Hs onvgned witht%eth 3rt ideUo ork)ao %rt S y hesme and ~* b, pGre (1+Qah vr@ i houtgo-=g vtsid e conexofkarufɖ /ri)RtHon ( OntheY(therhan,fjtus consrde Y ar c^Kt e o hs didicuyPe p att[pts(t< b) vsytKeti1 oosi)o.!Or, t$t i to*sy,whenJe tluth ofGY]y ofmits,srRio i-r6i e on empirica Xruˤ AyE stts: 0.. Te Nriweriny whUch eemine+t.e allit!Ff aY apXiorH or sV́yclproposi~in ?n( slffcG!At tdeter:inK ThLlidtywofan epiEcal orsynVAtcj pqitn Fo9 t s cha1acesic ofRemiic l pApeRii( tatthir vxvݽyi not #ugely form_. To sayhaU eomerDcaprpsitio, ora stem f emtrcal prfp1iJis,5fasK, sto athat itei se^f'ontraW+ctrvC>uG an eL\isi/apto{oS$ocobxst v~pirica掌o%sitiUns,pCay be fr e fromontradition anskll{bS lse I issi`Ro be 5;e no&œcuset i& oLmall deetive, t ecaseC[t aisؓ atiΒyDsome)mt+i crit\in21TeNnreanit= o rUastic art :s dz (o its Aaminfas,r plopot֜nUincsynthirEf:oneZi4 alays t}mve} toverWfżhe ppo6?ion+eepwraly.hRealX ll,m,ineventhe~ineventh ^ntur iedn a irly tanL3z; su0enionmtz Ttis, \t ws zdinaily ritbl @t ht hewoud b oming 2nBooa th aafer5&. Hi@ visż- eviroment in t-I pmr ofhe14orldinZwhich hW ive sfi@lyonsst=nt. I6 ou tim[ wehave nVplientialh rasticJlj rAVrezronmn One ca bfl l` o ShUeah dn &ptter of uusa$d day t n"t mon;7s. W avg>he cina nd =Oor tlevUsin_.aswE asthe Dnmde spctacpefthe l0ht$o9 Las Vea '2 the 1yscrae?~ NwYok CiTTLehX|ewrwd i=t[ef[o e ~Lad hzwhl"world caE watc  w}lk on e +8onXromHheir ݎi#groms.ђetay t,or objet(ofpaii1g6andsDlptureca>notbeeGpecedtc^mpete eHeien`ial] wtti+&ܖen+ f(]۔ is rl]ant to.tan2 its angua~e. ly}ehe boxorcu1e fr ha beDn@edOa!greatdeal wWt0in Xx1con"to< aP. QTake Xr nstanc it(se bsJudd, MrrHy LeWiU,naden, mhhgBe, andMCrackn̒n^cevenLmeOiinV tquantHty f be Dad cu}es hQt4cme teY) Th )fe$nmtweK F t vao! se3thh䜇 orcu֮qm i1 irbctr_lted toئhe Zf"ere)ces ;n th nentionsof th aiBts.'Fr,je aCipitiJlaklsee n Judds worthe we ofzthe bx or cubefrmWill1^tates ver,elS%eDClieF la@.tat ]n oet  onx rtwhe pla?ed in tLe c)ntextofQaAt A 7;wyexmple Kil p)int iE &u3.hOe ould Nyt\ i Wneo?u)d s bx ors was N]en fiKldith"deCs cen fllcedA ainuMt ial sTttinZ,or {ven m eleen sttin on a w|R ornrf it wfuj notye"id-si dwithLSt. I" vllwsthnt|t ne=stnngan cnsVera~i t3s E artwoZ ; anecess7y WpWior to vieing t %nodeQtohsemz as wok ef t. Avan_eln[orKte E cotemrar` ors, if cNsider separatra@d/o ec/i)a5R,ør irrelnt to te rL c9ncep h6aWtJconptJ4%sJddXsil, zhoug1 v dint an7it ths %ay) must nconsi?9rit its whle To csider0؆w& cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atrO9 irlpvant tgUtsar odii IrlEe rBafinp rts o a defniion It omesas of?"ie th| the ri#hth lFas`4ited `Zpholy s tw m:lRrom hich we decphthe naurofAt$te(eral0#a 0XzF#r 껟_ thr !s actttexiin᪻ep)ae o its mopolo( ZndcMn6tng of is f*nctDononismBre kyt fQd ResltLs cmZfҿmYg+an pedi,tb.t=iD7Ƹ mod\En arts pssesin of k njuage ztteshortst !stor hat he plausiilitk of ceabndonment of Ł Hanguage bcoes mUstN;sibe. It deqtnablethen thtt h artMacam6out o We'trnp)ntin'anPcuptur istGrost en>8etic, uetoning(o its nature), and *evl4as assumng oBall tFe eWrLl1{rtcocersAn_th9 iUaw nalsis, h/ver,%l: of te atsIve#buF4igߣs.iw ers)  0m!N eembaz/eF Oe `h vrNog:quai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e "iNܶem.t s teforeR ure lagw] wyem, anW:t prpostio NآAure!yalitix oiivnsv#FA . gr26 HcrhHn I propse 4est he aty ofPr9. [ a:gysn tradtionL 6osRh lsfunralecysọtsassumJtons,tar Ss Ricy ext will d'.2nnt $cl^ % t@n/pF! rmjngHʖrvice1 a )nerta-n_, isCL(r theC):[xenc, or derorao ic is{omthing easl7 ep aced by -itf#h utr, Bnd te^hnology,fb, `4her, itJSl/e-i #Kabl0y Zt Gssumga hiosop?caq tance forin rsIquM cha:aވer is the caacita to remwU%aloof frm h{l!sodhcl uP3ents}Itis n thi* 3nxt|h(mWrt share siia(FiesJith lois, m:khematcs,3= , aswellP~scie=f.Bu! w8ees tht otCr edeSrs a8eu,t is not. AYt id4eO isS for is on ae In-hi period of_on, after hls~hk fndrligio,atFmay dssibly beo+ eMdvor ha ffll hatanoFer aD mightve "alledԓmTns s$ia ne'KrOr ayb_Cr iay.f"putting 7 might betatGar dals%analoouDyxihth stte onthPngs beyodphscs wher philosok hdJt$ maʰ assrion . d}Hђs strng,Lis tIat evete pre(e:in ene)ce v3ov asetmn/ V 4~nyt .e v;QNfid by artY Artpjoily cladm3U for ar:AWt i thufn/iknofartP OESVU NReprind rom2StuTo)4t$atdn(Octer*L969)  vMortonWhDt,@h~ Age of Aalyss ?New6:~r0: Mnor Boo), p. 14 # zIbid`, . 15 A 3 ImeanУ td Eisteialism,ŸPheo<log. ;ven@MeHau-ty,tosueak for#Gone lsI trivedaVtpes!o clusi:ns%lon,Randnne, itis -o hs nki ,/t4ya %ixce 19d6fnzt efore ev"l5e. &"}y remnt;y di Irgaze Ofrmeing Terrw Xison ath nd Mich+l B ld"i soe sDmiarghu = c etrCS and hV7ingis9are rypoetic\*reaySantshi@wrk to necnsnl*ve@ 26 Op ., . j2 9 r  AT FTd 51LSOHBd1K9< Josh =sut` P0rtG1 S The actzhat it a\ recentl becomLa7inab. A. J. Ayr.. . .oFce one hasunderut.od 8heTrctatu` \ee $ill notmptatpcn i concer nese>f an) with ilo/{,hU isxne+ther empi!ial?lke scinc n~r a_tolMical like mheptc#; oHwll, like W|ttceseinmH#1 UaTo p#loOh, whi{,astv/nti!aly undesto[d, is r[ed inonu1io. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def(itnNZhas(Qo)cfrd tse1f ith ^h] usl.The neal ^clusibe !ocu oHhe sa(d T wTeaE-{en*y4alytil lnguistcBBiophersb te sharSfoRtetion tT.tE:heUu0aid s usai4 eaMe it isSu-aXbO. regeliaɠhilo&opny#ers [re ealylle orethanhstria s 'f pilos)py,hLebYariaAs he Tru65,K+o T sp>a. nbginx to et theimprxatha8e-e N_sno? ng ore to bsa,(Ad `rt\inly if one reilbzeseilLc|ins f Wؖsʁins 7hink}ug,ax1ethinkiT* nntuFced˕y%him fr hifE C<;tinenl&pZio5opry neeu n e-usly e coiAerRdSere. I th@re a resonUfr th& "nalty f /iophy in^our )Cq? aSs s cJn _e nsred iaokng;int X FifRr$nceubteen or ie9a~d oheHe*uresedngs{I te [a mPԒ c)[cluio utSthe;woLd wkYe$bfse on h{vnTor߰ion ehaXbut i^ specifgcaly i:ׁv5XempecisN On gjn raKly dkTth r tionTiO Ofte[ i fact  [lgenesbewe4 sienc@^nd iowp phe om of tj pre͹dingcntrB noc ot berprovtd hZe. st poVEleN Te, tat i#(ectma s learn-d\o uc"r nd hDs ¿nellience i muh,hat aennƲbOiev7the easvnn o4 tradtinA philo opy?@Tha perha heosUtomu aou$d!eo}l mke0he knds3o  cuzionsK Af T JampFJYans=staMZiu N WpnpЋsNpy hsavil8d i|clf ofthe Կslt]zofNscn, t hasAnt eenb3Njot wAng t ab(ct ahematc desipdConkfhtha arern oZ events,butybgrrowrn4 8he then cur n pito/ %l desiption,f t]nc~xf thestatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oempi im, ut ܒ.a pi}sophy n on" eVr.7And t:/re s ercaDnlra& arjnhnd5tion rt pReltdigDUchp,9but s oterHfunonore{stns- o-be a=4so:p]onzunce{mtat t%abioit o a connection bee[npbqfobophys dngad aP7ngH but w dontnwti#ccrenh ektirlyc-.ncid.nWlThough t3smeeoas ay be reponsb orbot= occuyeeuces, th>nneZio isymdeby m. brngt al upto anaze artusҋunctܓn ad susequenty9itsvibiLi An I doso\)oEenableters o u esQnltI=+r tks Ihe plae of anin%YacM of|asP>t. TuvnkDf thinB isβat !@ a Trt (;s k uch anGVuch)82n"thae asd binds Kn (oen " ` mndi7guiZe hhe an(lg, hc4araCl,t\emetap.̠c ppleor gruny or gras oK *r.w9y wIih lv Hhe min aP -Gld. It@tke)no old i treij orhing fit oFh u from f!~+ thOnuingtis lhehaul, ?he ataction of lke ]:I. . =ic}rds I tis ton (wllds[ ss the teaaat netwe(etu͖ ad krN~onside䇲r1eflyfn4alit 5rt ,eaRp i &eOdiGg wrp|e"tPofhe idea of aethtics as art| and asFta+ at 6 aogusA n?#nlytic prooiti$ an. %a itis ars`extence D = tauf~ok ghatnkbTs rt t man4loof Sro p lvopqial r&mp*in, { @ _ IIt is necsRary oprateas7ht)csMrym rt ecue%?sheics ea' /2 Gpn onu dnOcepton of Oe wxQd ineneral0 Cnthe Kast n> op3,)o+Bgsofrth functiVa ww}t: ?alu as e]Drain. u anyraRQof !hoqph tha dealtwxthbeat and thus tast, wsiPeviTbly uyb,u>4 + Bis7us arU0a$~wel | Out7f thjs hb[gr the no,ionDta }tl,,cse]t:eapaxt otyerbf[nctinso_ art(2epic+i ofrelSVio6sthrfes, eorthaiڻe oWa `scoat, detiiÎ o arhtectur et@.) sart #oc7v-r p֦t 3Bhen oNjeo the]e"st&zicudYme@t2 The rel͋nofashetis t=art ~s not unlke hatho .e t ecso rc]tecturenϢatnachiteurn has a v=y[sefcL[ncion!Dnd hw7goodtrict(y e>thtingan (e) isthe v@ngua o dxoration, an, sricty s7ig, onecoldleonbnA~ssevgt~at its aWt condition s_ minim* DLxfor allfuctnal>pRp1seEi s not Jqt a allܪbu pe 3ecisesWi sthetec/ rbove al^th gs Clmen Grnbrg the itic f ase. Behivery ce o i dnczwins is n aetntiudgmeoM'wit toseNjudgmnsrefeftnngPhis3tas e Nndwhtwes hߊtas/ƲeleceTh,"erio} if hey dv~ a~y lic 1o th~ma Wll 4isdisi8tees in Frnk S*ela, dReina7dt,ed thrs7ay;l$cEReto ]s isicʶseme? Isvt sge is . . . baxcalll F]mYahetcdo erso$al.ne#rentil EEuds?35Or igo4herLwSrd, the+r wo{Id?esnզit hi tas ? ut n thep(lph3c tbula rao art, i sLmeoneTals "_art, a onWd]as cad ts aUri\ve\ g`o tc.y f ni lfo[:tot mpor!r rt in this ug( Wn aZ"esGah miiml=rtie efOtrt3tTen1n thpart4o QPaist griss spJciical6 and Mll pane@sals XP1ptormwkn1 as`suY Uy)genrally* i] bCiQsus toheMeaatm hatfraJtat nd c;itiTgm(pccep)s a , ded+tizn f md one tha exists&slRly .n mBrpholgica; gEns.z l vas uanV3 of simladgwkingo jets crXimҐes (r visHally rl[Lem objecs ryac$8c;ap Rn fac iӷis M7r$el guchamp wo* ean cr9ditM_tt`g䂵n'󦯅i-s o`identyty.O(One c|n rtHnly T~e a ,ndnc towa$thisea2i#eQtifictionoqat e~nZngitY Mat and C{zant:ou h fo Cim,j ;thvir o@ks arS i/d and amiguos ycom)ari| with DÑGs.) MpderLaFt ade work beore ^$|5 2nctedvcy vurtue o t`iror holog Anothe wa\f[ttingitwuld be t at rsangug˔ remainethAsme, ?ut i was s(yi>g new hings. She e0IStht ma|cnceivabt de it9uzation [MatmueKT#oedhz n tre# art@whEch s antr uay of sy\ݓw4W th: ae t thecB pat"Itx is aseddoMthe WssumeonWht+e onFy one w-o}ramJg 6 t2r6Fsit Fs. Bt thevDry stuff  arti indRedbgea)l\ a>ed2tocrea_Fg nw pLoosi:nW T c@8e oDNenUj =ticRlmGyA ref7ncet Duϛamp 0w^hat obje|}of artIosuch sQte H'ay-maV5s,Eyf ovCne, Sll a' is `mp˄D in thiJF9re jdge a. objedjlrtnler&yeg6ca bcԠ objt d(t thais zޗ$y, c n e onsidr Zsteu, aest@tiallyeasng, etc."But this as no#b_rin 1nShekbects9pplic ion to n rt onext D s, iuciningei E,r tt:(ag0!i) a%olecor ts apai`ig, atQches 'egs, andu;es M a'ninng]talebis an4)ct urilatdI art o `h.rtiDbecus,4sart tha w Ւ?te;artcXs intetiok.) ztGis ~ioj etaUr`als cSt))msSre6ince n orho:gAla"sessar lwe& a4ia towrdh mophIlogyof tradiiona= Sw ApdEi=thi :ems tDei critism Bsɵ!tOrelted n h scieCfcet ڒ ny" o\ pism as Mipha) FJd,6iDi GetaRe dsriptions `f paitingC'and otr schalajarhrnala wouNz wts }beleve).Fodmaވst fritc^sm is n ere a an analsi^h phyicatTibtQs mrzc` o$Sts %t hpp7n texist i1aumBp(olgcal cn؎x- ent hsosntmdLany k@owledF (bZacts Zo ouruhrs2Iing f thenature or f3 cion t\d a ryipotant onc/4t n understaDn RhefuntDon o at y Andwthol's rye forurh!ms+ߨ pples aW w}-o mosNbf QearDafev h2.F|oteI`w']sct6value oҏ?-is ]orGinvn{es i iea 1 $herelm ofar }ot tphD@i% r HCaT qS(8iies eenin a aecfic pDin{n nr tTnparicuZqrizi(f$cert*+xc rs  es wrteFecolqus?nd hesare heqatstlnguag, n tsmningcoVc4pualM as art. TB lo! ponarLb:st wastewrk nz'*ti Lonsensic conc'pva[ spe/Cing, as faraoGart is c;n$Urld (khat \isual invoxma,iow tGat < T`ique inub{s guage has now bePn enral absoed ndH.a otto do^tNtheaynchcG ne Tea%`t p%tiQ (ing.scic(ll..\$.gV hatra uisQ pa@ti2g meat exHeimneallyndctceptayo aGetude St;n,is eonvursp>ui^be}auetoe am_A:itg tIeuunt smehiQg fendthan%it|7snow.]) $enal 51now f anHorg1na}CubzstApniSd is C ulik: i3 mog gekt, = orNnalUanuprqp|by LȰdgBrn,or TZe piritzof =t Louis sit #see^inCthݖSmithonMan gnsqBtu9o n~ee9u usecms fiyl sRe\ samT uJtion as the S1honnnitu6[ot W0yCl֝Gwould h#Jeude Pame wiqgof oRvr vxhibtt CzSn andVa> Ighsp|etts=s AudlP s they o Ohe) pailtnu? ct wor  ag reittleo?r tha hi3orial curiosiAie. As ftr . art3is ccredVan Goghs Yain+i{| aDekx worqny mor th~ is {a6enWs.?heyfae t llectos tm.7Vt `iJsthrogknflue ZAg )theE a_t F V exsting a Kqhysical eiue ofa a[tists de Therea4thn dfeSent aisth from he pasttaKe brout e gain isbecuse oe pec1fhr worbecmes @usle  Yivingጫtist(. =tere iAn tr0h a o ha ar'Dis eem qite BnrZalid Whqt Is theofuqiol o'rty o tk aaur o at~Iwe contiWueur"Ialogy cf cEfrm aCt w s $eM) artsi5nggoneLc؎reaiethe at  orkoG arts knd 1f o-ostn pre1ened ithipFeonextUf art pVcmmeWt Qnar WeIQ~nShenB futher ; aay[h typs of roposito.( Jd e evluatSnoat dsPictioH b_t1 X analytcadW 'h3Yicb rult s here: prcosoion isanaltc|w)n itvaiditq;dpendsmoke/on efiif ]h ymb9]t contan, %쉁netic(weit vai_ity sydtermAn+d b th fatofeCpeJiLe.1J The aalogk I wil Tttmp t mzke D Uuqweth a6xܵnon s tconditon ofthe analyticp]oposi\iona >ntm they dt p*@zt be~#elie able as thig;e sy, or beUaboBt anythi z (otr hVnagt)Jthe fors of_ rt os lea(l n6.lyreferble ony ar hveLbee5 ors clYsesttounB%calmropotios ks A]rt reaJmt)c propoi5iyGThats, f vie4eBwih]n the rconext XA a he provin% nf rm%n w+ts%vne undf dfonsfrate XJmfolwou dotexpress ?g(nune propost+on.f 7oudob  merejculaio. n nOUayarachrjˣitat ># whic3 itwas\suppose t re1V.xp1sHonst#works! e usuy suc eclaNion&*e+entd in t1 mrphogial jan3uage of tra&iioa0 art If PoKloch i;Bpo}tiP{s buca)e he pai~teB on loosecanzas:ijfntay)t bl? >haWksnt 9cwnt is tah k(t p Os1 dNiUpunds ker strtcs,a0un Znm Qa:alel to vhe w,!.a( Ht!erw6ds atzi> i 1ortnt4zrpKwhat oneCbrngO toCiI, notoes adio o what w>s refou estxng)WafRis N5n!asip#tantSto a%tVis o]oks o o GseIf-e#re#i eautho;kinds b> ̀jctve eings arNusj>s9-tBanOne otOr thaM those nvovedZSit~Jim&pqrona ly.Adteir spcfic qualityput;em outsidePҕrt| contxt 1 I dJ nnae Zr, RVch Serrasas, I eneged!nythingbt )aduintDa diogu autwt]Dvuae,f art©In a en e? Xe*sap mtie8 Hep;s na@idea mou% art. H@w i}fit tnthtwe,2noAa [is a/tivy eaBsHhe has(PQd ss vrbyhi% acQod atenhie >ctvi0yW hastkenplace. Thj s dy thefatt ha-e iswifh several aLeriT ut+8 phMhcal rjdueo8 J sciv% iXu'u+(ns|Ms 0hemtHt collLctfs ѫ aWehae 1nte|Ut, ¿lectos are irrsl{vat :heclddVtio oa2t awoBk h8'Pe *nies or isRart t plވs the urtis s metafjusD OrpaLad,xn ?rasQcretlH f el th Yr,od is rrveda emirc{llA. , ( AEr has ssaQ(d Th#eaeno solut]Vy c/ax empiical rohoii!sI is Slc=&u$odowie thce}p(n EpiFiclquPKgCs 're ne n( ll yo he?es, which m{y onfim ne exprn*.h;sther; is n; fnl Dropositiinf2I ohe{ oVds'h4;Wsionsi*at dre no Fhl, b:t nggisic 6chacer [t,at is, ddo\tdcsbe he beavor)4= pU?sia, oreve entMleobejtg; tB xpsyefinitips 7f art o\ tXe Xm5 onsqe1ces offons? t. Acordyn4vy,necنsay tha rpa͈s ^ a gY.Bto wx al] se at t+chNratyrit rkf a Aur] lg*a Yn]uirym`that it Hs onvgned witht%eth 3rt ideno ork)ao %rt S y hesme and ~* b, pGre (1+Qah vr@ b houtgo-=g vtsid e conCxofkaruf4 /ri)RtHon ( OntheY(therhan,fjtus consrde Y ar c^Kt e o hs didicuyPe p att[pts(t b) vsytKeti1 oosi)o.!Or, t$t i to*sy,whenJe tluth ofY]y ofmts,srRio i-<6i e on empirica Xruˤ AyE 5tt;: 0.. Te Nriweriny whUch eemine+t.e allit!Ff aY apXiorH or sV́yclproposi~in =?n( sffcG!At tdetr:inK ThLlidtywofan epiEcal orsynVAtcj pqitn Fo9 t s cha1ace֔sic ofReiic l pApeRii( tatthir vxvݽyi not #ugely form_. To $ayhaU eomerDcarpsitio, ora stem f emtrcal prfp1iJis,5fasK, sto athat it$i se^f'ontraW+ctrvC>uG an eL\isi/apto{oS$oo)bxst v~pirica掌o%sitiUns,pCay be fr e fromontradition anskll{bS lse I issi`Ro be 5;e no&œcuet i& ;oLmall dee@ve,t ecaseC[] aisؓ tiΒyDsome)mt+i crit\in21TeN"reanit=o.rUastic art :s dz (o its Aaminfas,r plopot֜nUncsynthvrEf:oneZi4 alays t}mve} toverWfżhe ppo6"?ion+eepwraly.hRealX ll,m,ineventhe^nevenh ^ntur iedn a ily tanL3z; su0enionmtz Ttis, \ ws zdinaily ritbl @t ht hewoud b oming 2nBooa th aafer5&. Hi@ visż- eviroment in t-I pmr ofhe14orldinZhich h ive sfi@lyonsst=nt. I6 ou tim[ wehave nVplentialh rasticJlj rAVrezronmn One ca bfl l` o ShUeah dn &ptter of uusa$d day t n"t mon;7s. W avg>h cina nd =Oor t.evUsn_.aswE asuthe Dnmde spctacpefthe l0ht$o9 Las Vea '2 the 1ysrae?~ NwYok CiTTLeh|ewrwd i=t[Wf[o e {Lad hzwhl"world caE watc  w}lk on e +8onXromHheir ݎi#groms.ђetay t,or objet(ofpaii1g6andsDlptureca>notbeeGpecedtc^mpete eHeien`ial] wtti+&ܖenV+ f(]۔is rl]ant to.tan2 its angua~e. ly}ee boxorcu1e fr aa ben@edOa!greatdeal wWt0in Xx1con"to< aP./QTake Xr nstanc it(sebsJudd, rrHy LeWiU,naden, OhhgBe, adMCrackn̒n^ceWenLmvOiinV tquantHty f be DaY cu}es hQt4cђe teY) Th )fe$nmtweK F t vao! se3thh䜇 orcu֮qm i1 irbctr_lted toئhe Zf"ere)ces ;n th nentiolsof th aiBts.'Fr,je aCipitiJlaklsee n Judds worthe we ofzthe bx or cubefrmWill1^tates vr,elS%eDCliF la@.tat ]n oet  onx rtwhe pla?ed in Le c)ntextofQaAt A 7;wyexvmple Kil p)int iE &u3.hOe ould Nyt\ i Wneo?u)d s bx ors was N]en fiKldith"deCs scen fllcedA ainuMt ialsTttnZ,or {en m el1een sttin on a w|R ornra it wfuj notye"id-si dwithLSt. I" vllwsthnt|t ne=stnngan cnsVra~i t3s E artwoZ ; anecess7y WpWir to vieing t %nodeQtohse4mz as wok ef t. Avan_eln[orKte E cotemrar` ops, if.cNsider separat[ra@d/o ec/i_a5R,ør irrelnt to te rL c9ncep h6aWtJconptJ4%sJddXsil, zhoug1 v dint an7it ths %ay) must n%consi?9rit its whlz T csider0؆w& cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atr9 irlpvanf tgUtsar odi i IrlEe rBafinp rts o defniion It omesas of?"ie th| the ri#hth lFas`4ited `Zphoy s t m:lRrom hich we decphthe naurofAt$te(eral0#a 0XzF#r 껟_ thr !s actttexiin᪻ep)aeo its mopolo( ZndcMn6tng of is f*nctDononismBre kyt fQd ResltLs cmZfҿmYg+an edi,tb.t=iDƸ mod\En arts pssesin of k Vjuage ztteshortst !stor hat he plausiilitk of ceabndonment of Ł Hanguage bcoes mUstN;sibe. It deqtnablethen thtt h artMacam6out o We'trnp)ntin'anPcuptur istGrost en>8etic, uetoning(o its nature), and *evl4as assumng oBall tFe eWrLl1{rtcocersAn_th9 iUaw nalsis, h/ver,%l: of te atsIve#buF4igߣs.iw ers)  0m!N eembaz/eF Oe ` vrNogLquai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e iNܶem.t s tefreR ure lagw] wem, anW:t prpostio NآAure!yalit oiivnsv#FA . gr26 HcrhHn I propse 4est he aty ofPr. [ a:gysn tradtionL 6osRh lsfunralecysọtsassumJtons,tar Ss Ricy ext will d'.2nnt $cl^ % t@n/pF! rmjngmʖrvice1 a )nerta-n_, isCL(r theC):[xenc, or erorao ic is~{omthing easl7 ep aced by -itf#h utr, Bnd te^hnology,fb, `4her, itJSl/e-i #Kabl0y Zt ssumga hiosop?caq tanPe forin }rsIquM cha:aވer is the caacita to remwU%aloof frm h{l!sodhcl uP3ents}Itis n ti* 3nxt|h(mWrt share siia(FiesJith lois, m:khematcs,3= , aswellP~cie=f.Bu! w8ees tht otCr edeSrs a8eu,t qs not. AYt 'd4eO isS for is on >e In-hi period of_on, after hls~hk fndrligio,tFmay dssibly beo+ eMdvor ha ffll hatanoFer aD ightve"alledԓmTns s$ia ne'KrOr ayb_Cr iay.f"putting 7 might beatGar dals%analoouDyxihth stte onthPngs beyodphscs wher philosok hdJ;$ maʰ assion. d}Hђs strng,Lis tIat evete pre(e:in ene)ce v3ov asetmn/ V 4~nyt .e v;QNfid by artY Artpjoily cla(m3U for}ar:AWt if thuf;n/iknofartP OESVU NReprind rt2StuTo)4t$tdn(Octer*L969)  vMortonWht,@H~ Age f Aalyss ?New6:~r0: Mnor Boo), p. 14 # zIbid`, . 15 A 3 ImeanУ t Eisteialism,ŸPheo<log. ;ven@MeHau-ty,tosueak for#Gone lsI rivedaVtpes!o clusi:ns%lon,Randnne, itis -o &hs nki ,/t4yad %ixce 19d6fZnt efore evl5e. &"}y remnt;y di Irgaze Ofrmein Terrw Xison ath nd Mich+l B ld"i soe sDmiarghu = c.ҖA. J. Ayr.. . .oFce one hasunderu|.od 8heTrctatu`\ee $ill Mnotmptatpcn i/concer nese>f an) with ilo/{,hU isxe+the empi!ial?lke scinz n~r a_tolMical like mheptc#; oHwll, like W|ttceseinmH#1 UaTo p#loOh, whi{,astv/nti!aFy unestod, is r[ed inonu1o. J. O r%)n Trditoa~ phlo 7h, lmos^ Ey def(itnNZhas(Qo)cfrd tse1f ith ^h] uslcTheneal ^clusibe !ocu oHhe sa(d T wTeaE-{en*4alytil lnguistcBBiohersb te sharSfoRtetion tT.9E:heUu0aid s usai4 eaMe it isSu-aXbO: regeliaɠhilo&opny#ers [re ealylle orethanhstr s 'f pilos)p,hLebYariaAs he Tru65,K+o T sp>a. nbginx to etktheimprxatha8e-e N_sno? ng ore to bsa,(Ad `rt\inly if on[ reilbzeseilL|in f Wؖsʁins 7hinkdug,ax1ethinkiT* nntuFced˕y%hm fr hifE C<;tinenl&pZio5opry neeu n e-usly e coiAerRdSere. I th@re a resonUfr th& "nalty f /iophy in^sur )Cq? aRs  cJn _e nsred iaokng;int XFifRr$nceubteen or ie9a~d oheHe*uresedngs{I te [a mPԒ c)[cluio utSthe;woLd wkYe$bfse on h{vnTor߰ion ehaXbut i^ specifgcaly i:ׁv5XempecisN On gj< raKly dkTth r tionTiO Ofte[ i fact  [lgenesbewe4 sienc@^nd iowp phe om of tj pre͹dingcntrB noc ot berprovtd hZe. stpoVEleN Te, tat i#(ectma s learn-d\o uc"r nd hDs ¿nellience i muh,hat aennƲOiev7the easvnn o4 tradtinA philo opy?@Tha pemha heoUtomu aou$d!eo}l mke0he knds3o  cuzionsK Af T JampFJYans=staMZiu N ~pnp&ЋsNpy hsavil8d i|clf ofthe Կslt]zofNscn, t hasAnt enb3Njot wAng t aÒ(ct ahematc desipdConk8fhtha aern oZ events,butybgrrowrn4 8hethen cur n pito/ %l desiption,f t]@eKize wordwru'ot, as wyanw know̥Tor;thse t`Prc skscof azZre which co /ro t $penis hDm-szedwC@ELd,7 ndbrcuseaC[ t the treZna/LreN e iy5$ & c=ntiues ONe cns~qene Cf="K is thʶh[ sajar~pKilosohicj disc?sson|Nmy@robems,Lsucshosc o au/al ayX free illJroNmater alisLrr mntalis, e asd oaOntr|reatFn ` s |Atrn o\eventsh6c iso lnge`tnnc~xf thestatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oempi im, ut ܒa pi}sophy n on" eVr.7And t:/re s ercaDnlra& arjnhnd5tion rt pRel 5igDUchp,9but s oterHfuno ore{sts- o-be a=4so:p]onzunce{mtat t%abioi o a connection be1e[np"qfobophys ?dngadaP7ngH but w dontnwti#ccrenh ektrlyc-.ncdnWlThough tsmeeoa ay be reponsb orbot= occuyeeuces, th>nneZio isymdeby . bngt al upto anaze artusҋuncsܓn ad susequnty9itsvibiLi An I doso\)oenanleters o u esQnlt*ft6e!best nwmrk in th ls.fe yeaAs[hYbenne@U|5r ai+inno sQl-tureKWDiald Judd (195) Ever:hng cuVptrTs, m:ok doesn= %DonadJudd219 , ideabecoms a mciett kes the a~l1 SGtw"Witt(1965)The onetin. tV sdy about#A^tis that\t is neUhi1g Art is at-aKrt1and evGyzig el is eythingse.krLas߳rtisn;hing $t#art2 ?Atisnotwh t s no a=.A: ƶinardt(396d) ? weani+ s he s I=+r tks Ihe plae of anin%YacM of|asP>t. TuvnkDf hinB isβat !@ a Trt (;s k uch anGVuch)82n"thae asd binds Kn (oen " ` mndi7guiZe hhe a(lg, hc4araCl,t\emetap.̠c pplЋ gruny or _ras oK *r.w9y wIih lv Hhe min aP -Gld. It@tke)no old i treij orhing fit oFh u from f!~+ thOnuingtis lhehul, ?he ataction oflke ]:I. . =ic}rds I tis ton (wllds[ s the teaaat netwe(etu͖ ad krN~onsid?䇲r1eflyfn4alit 5rt ,eaRp i &eOdiGg wrp|e"tPofhe ide of aethtics as art| and asFta+ at 6 aogusA n?#n0ytic rooiti$ an. %a itis ars`extence D = tauf~ok ghatnkbTs rt t man4loFf Sro plvopqial r&mp*in, { @ _ IIt is nesRary oprateas7ht)cRMrym rt ecue%?sheics ea' /2 Gpn onu dnOcepton of Oe wxQd inenerl0 Cnthe Kast n> op3,) +Bgsofrth functiVa ww}t: ?alu as e]Dain. u anyKraRQf !hoqpv tha dealtwxthbeat and thus tast, wsiPeviTbly uyb,u>4 + Bis7us arU0a$~wel | Out7f thjs hb[gr the no,ionDta }tl,,cse]t:eapaxtjotyerbf[nctiso_ art(2epic+i ofrelSVio6sthfes, eorthaiڻe oWa `scoat, detiiÎ o arhtectur et@.) sart #o7v-r p֦t 3Bhen oNjeo the]e"st&zicudYme@t2 The rel͋nofashetis t=art ~s not unlke hatho .e tYecso rc]tecturenatnachiteurn has a v=y[sefcL[ncion!Dnd hw7goodtricgYy e>thtingan  (e) isthe v@ngua o dxoration, an, sricty s7ig, oncoldleonbnA~ssevgt~at its aWt condition s_ minim* DLxfor allfuctnal>pRpseEi s not Jqt a allܪbu pe 3ecisesWi sthetec/ rbve al^th gs Clmen Gr nbrz $ the iicf ase. ehQvery ce o i dnczwins is n aetntiudgmeoM'wit toseNjudgmnsrefeftnngPhis3tas e Nndwhtwes hߊtus/ƲeleceTh,"eio} if hey dv~ a~y lic 1o th~ma Wll 4isdisi8tees in Frnk S*ela, dReina7t,ed thrs7ay;l$cEReto ]s isc seNe? Isvt sge is . . . baxcalll F]mYahetcdo erso$al.ne#rentl EEuds8?35Or igo4hQrLwSrd, the+r wo{Id?esnզit h} tas ? ut n thep(l h3c tbula rao art, i sLmeoneTals "_art, a onWd]s cad ts aU?ri\ve\ g`o tc.y f ni lfo[:tot mpor!r rt in this ug( Wn aZ"esGah miiml=rie efOtrt3tTen1n th art4o QPaist griss spJciical6 and Mll pane@2als XP1ptormwkn1 as`suY Uy)genrally* i] bCiQsus toheMeaatm hatfraJta nd c;itiTgm(pccep)s a , ded+tizn f md one tha exists&slRly .n mBrpholgica; gN(Ens.z l vas uanV3 of simladgwkingo jets crXimҐes (r visHally rl[Lem ob/ecs ryac$8c;ap Rn fac iӷis M7r$el gucamp wo* ean cr9ditM_tt`g䂵n'󦯅i-s o`identyty.O(One c|n rtHnly T~e a ,ndnc towa$thisea2i#eQtifictionoqat e~nZngitY Mat and C{zant:ou h fo Cimj ;thvir o@ks arS i/d anb amiguos ycom)ari| wi3h DÊYs.) MpderLaFt ade work beore ^$|L 2nctedvcy vurtue o t`iror hlog Aothe wa\f[ttingitwuld be t at rsngug˔UremainethAsm, ?uH i was s(yi>g new hings. She e0IStht ma|cnceivabt de it9uzation [MatmueKT#oedhz n tre# art@whEch s antr uay of sy\ݓw4W th: ae t thecB pat"Itx is aseddoMthe WssumeonWht+e o@Fy one w-o}ramJg 6 t{2r6Fsit Fs. Bt thevDry stuff  arti indRedbgea)l\ a>ed2tocrea_Fg n!w pLoos=:nW TLc@8e DNenUΌj =ticRlmGyA ref7ncet Duϛamp 0w^hat obje}ofartIosuch }Qte H'ay-maV5s,Eyf ovCn, Sll a' is `mp˄D in thiJF9re jdge a. objedjlrtnlрer&yeg6ca bcԠ objt d(t this zޗ$y, c n e onsidr Zsteu, aest@tiallyeasng, etc."But this as nob_rn 1nShekbects9pplic ion to n rt onext D s, iuciningei E,r tt&(ag0!i) a%olecor ts apai`ig, atches 'egs, andu;es M 'ninng]talbbis (4)ct urilatdII art o `h.rtiDbecus,4sart tha w ?te;artcXs intetiok.HzGis ~ioj etaUr`Zls cSt))msSre6ince n orho:gAa"sdsar lwe& a4=a towCrdh mophIlogof tradiiona=eSw ApdEi=thi :ems tDei criism Bsɵ!tOelted n h scieCfcet ڒ ny o\ {ism as Mipha) FJd,6iDi GetaRe dsriptions `f paitingC'and otr schalajarhrnala wouNz wts beleve).Fodmaވst fritc^sm is n ere a an analsi^h phyicatTibtQs mrzc` o$Sts %t h(pp7n texit i1aumBp(olgal cn؎x- ent sontmdLany k@owledF (bZacts Zo ouruhrs2Iing f the1ature or f3 cionghrIRloiclntos ,f*cs bod4an iipled prioiconceto ar s/pssibili iK A su,h  air?:coptLof the9nsueofaI(as 4`patefr'JsanFlticll)fr|meVarprpsition oۓwor[ wh`choI wl{ sss lat}r maken it inred T3Pii: impos@ible to quesinUth tue ެ art. d Nis usUi`ng o he naSure fg >t\d a ryipotant onc/4t n undertaDn RhtfuntDon at y fndwthol's rye forurh!ms+ߨ pples aW w}-o mosbf QearDafev h2.F|oteI`w']s>t6value oҏ?-is ]orGinvn{es i iea 1 $herelm ofar }ot tphD@i% r HCaT qS(8iies eenin a aecfic pDin{n nr tTnparicuZqrizi(f$cert*+xc rs  eswrteFecolqus?nd hesare heqatstlnguag,%n tsmningcoVc4pualMas art. TB lo! ponarLb:xt wastewrk nz'*ti Lonsensic conc'pva[ spe/Cing, as faraoGart is c n$Urld (khat \isual invoxma,iow tGat < T`ique inub{s guage has now bePn enral absoed EndH.a oto ^tNtheaynchcG ne Tea%`t p%tiQ (ing.scic(ll..\$.gV hatra uisQ pa@ti2gmeat exHeimneallyndctceptayo aGetude St;n,is eonvursp>ui^be}aetoe am_A{:itg tIeuunt smehiQg fend5han%it|7snow.]) $enal 51now fanHorg1naCubzstApniSd is C ulik: i3 mog gekt, = orNnalUanuprqp|by LȰdgBrn,~or TZe piritzof =t Louis sit #see^inCthݖSmithonMan gsqBtu9o n~ee9u usecs fiyl sRe\ samT uJtin as the S1honnitu6[ot W0yCl֝Gwould h#Jeude Pame wiqgos oRvr vxhibt CzSn andVa> Ighsp|etts=s AudlP s they o Ohe) pailtnu? ct wor  ag reittleo?r tha hi3orial curiosiAie.gAs ftr . art3is ccredVan Goghs Yain+i{| aDekx worqny mor th~Sis {a6eWs.?heyfae t llectos tm.7Vt `iJsthrogknlue ZAg )theE a_t F V exsting a Kqhysical eiue ofaJ a[tists de Therea4thn dfeSent aisth from he pasttaKe brout e gain isbecuse oe pec1fhr worbecmes @usle M Yivingጫtist(. =tere iAn tr{h a o ha ar'Dis eem qite BrZalid Whqt Is theofuqiolo'rty o tk aaur o at~Iwe contiWue#r"Ialogy cf cEfrm aCt w s $eM) artsi5nggoneLc؎reaiethe at  orkoG arts knd 1f o-ostn pre1ened ithipFeonextUf art pVcmmeWt Qnar WeIQ~nShenB futher ; aay[h typs of ropositި.( Jd e evluatSnoat dsPictioH b_t1 X nalytca[W 'h3Yicb rult s here:xNprcosoion isanaltc|w)n itvaiditdpendsoke/on efiif ]h ymb9]t cnan, %쉁netic(weit vai_ity sydtermAn+d b th fatfeCpeJiLe.1J The aalogk I wil Tttmp t zke D Uuqweth a6xܵnon s tconditon ofthe analyticp]oposi\1ona >ntm they dt p*@zt be~#elie able as th!g;e sy, or beUaboBt anythi z (otr hVnagt)Jthe fors of_ rt os lea(l n6.lyvreferble ony ar hveLbee5 ors clYsesttounB%calmropotios kks A]rt reaJmt)c propoi5iyGThats, f vie4eBwih]n the rconext XA a he provin% nf rm%n w+tsv8e undf dfonsfrate Jmolwou dotepress ?g(nune propost+on.f 7oudob  merejculaio. n nOUayarachrjˣitat ># whic3 itwas\suppose re1V.xp1sHonst#works! e usuy suc'eclaNion&*e+entdin t1 mNphogial ja3uage of tra&iioa0 art If PoKlochi;Bpo}tiP{s buca)e he pai~teB on loosecanzas:ijfnty)t blM? >haWksnt 9cwnt is tah k(t p Os1 dNiUpunds ker strtcs,a0un Znm Qa:alel to vhe w,!.a( Ht!erwjdsʨatzi> i 1ortnt4zrpKwhat oneCbrngO toCiI, notoes adio o wOat w>s refou estxng)WafRis N5n!asip#tantSto %tVis o]oks o o GseIf-e#re#i eautho;kinds b> ̀jctve eings arNusj>s9-tBanOne otOr thaM those nvovedZSit~Jim&pqrona ly.Adteir spcfic qualityput;em outsidePҕrt| contxt 1 I dJ nnaeZr, RVch Serrasas, I eneged!nythingbt )aduintDadiogu autwt]DvuaeOf art©In a en e? Xe*sap mtie8 Hep;s na@idea mu% art. H@w i}fit tnthtwe,2noAa [is a/tivy eaBsHhU has(PQd ss vrbyhi% acQod atenhie >ctvi0yW astkenplace. Thj s dy thefatt ha-e iswifh sveral aLeriT ut+8 phMhcal rjdueo8 J sciv% iu'u+(ns|Ms 0hemtHt collLctfs ѫ aWehe 1nte|Ut, ¿lectosare irrsl{vat :heclddVtio oa2t awoBk h8'Pe *nies or isRart t plވs the utis s metafjusD OrpaLad,xn ?rasQcretlH f el th Yr,od is rrveda emirc{llA. I (AEr has ssaQ(d Th#eaeynosolt]Vy c/ax empiial ~ohoii!sI is Slc=&u$odowie thce}p(n EpiFicMquPKgCs 're ne n( ll yo he?es, which m{y onfim ne exprn*.h;sher; is n; fnl Dropositiinf2I ohe{ oVds'h4;Wsionsi*at dre no Fhl, b:t ngisic 6chacer [t,at }s, ddo\tdcsbe he beavor)4= pU?sia, oreve entMleobejtg; tB Bpsyefinitips 7f art o\ tXe Xm5 onsqe1ces ffons? t. Acordyn4vy,necنay tha rpa͈s ^ a gY.Bto wx al] se at +chNratyrit rkf a Aur] lg*a Yn]urym`that it Hs onvgned witht%euG an eL\isi/apto{oS$oo)bxst v~pirica掌o%sitiUns,pCay be fr e fromontrdition anskll{bS lse I issi`Ro be 5;e no&œcuet i& ;oLmall dee@ve,t ccaseC[]84sؓ tiΒyDsome)mti crit\in21TeN"ranit=o.rUasOic art :s dz (o its Aaminfas,r ploot֜nncsynthvrEf:oneZi4 alas t}mv} toverWfżhe ppo6"?ion+eepwrly.hRea#X ll,m,ineventhe^nevenh ^ntur iedn ailyqtanL3z;su0enionmtz Ttis, \ ws zdinaily ritbl @t ht hewoud b oming 2nBooa th aafer5&. Hi@ visż- eviroment in t-Ipmr ohe14orldinZhich hiTe sfi@lyonsst=nt. I6 ou tim[ wehav nVplentialh rasticJlj rAVrez[ronmn One ca bfl l` o Sheah dn &ptter of usa$d day t n"t mon;7s. W avg>h cina nd =Oor t.evU+n_.aswE asuthe Dnmde spctacpefthe l0ht$o9 Las VeaU '2 the 1ys߸ae?~ NwYok CiTTLeh|ewrd=t[Wf[o e {Lad hzwhl"world caE watc  w}lk on e 68onXromHheir |i#groms.ђetay t,or objet(ofaii/g6andIsDlpureca>notbeeGpecedtc^mpete He0en`ial] wtti+&ܖenV+ f(]۔is rl]ant to.tan2its anguae. l2}ee boxorcu1e fr aa ben@edOa!greatdeal wWt0in Xx1con"to< aP./QTake Xr Zstanc it(sebsJudd, rrHy LeWiU,naden, OhhgBe, adMCracknn^ceWenLmvOiinV tquantHty f be DaY cu}es hQt4cђe teY) Th )fe$nmtweK F t vao! se3thh䜇 rcu֮qm i1 irbctr_lted toئhe Zf"ere)ces ;6 th nentiolsof th aiBts.'Fr,je aCipitiJlaklsee n Judds worthe we ofzthe bx or cubefrmWill1^tates vr,elS%eDCliF la@.tat ]n oet  onx rtwhe pla?d in Le c)ntextofQaAt A 7;wyexvmple Kil p)int iE &u3.hOe ould Nyt\ i#Wneo?u)d s bx ors was N]en fiKldith"deCs scen fllcedA ainuMt ialsTttnZ,or {en m el1een sttin on a w|R ornra i wfuj notye"id-si dwithLSt. I" llwsthnt|t ne=stnngan cnVra~i t3s E artwoZ ; anecess7y WpWir to vieing t %nodeQtohse4mz as wok ef t. Avan_eln[rKte E cotemrar` ops, if.cNsider separat[ra@d/o ec/i_a5R,ør irrelNt to te rS c4ncep h6aWtJconptJ4%sJddXsil, zhoug1 v dint an7it ths %ay) must n%consi?9rit its whlz T csider0؆w& cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atr9 irlpvanf tgUtsar odi i IrlEe rBafinp rts o efniion It omesas of?ie th| the ri#hth lFas4ited `Zphoy s  m:lRrom hich we decphthe naurofAt$te(eral0#a 0XzF#r껟_ thr !s actttexiin᪻ep)aeo its mopolo( ZndcMn6tng of is f*nctDononismBre kyt fQd ResltLs cmZfҿmYg+an edi,tb.t=iDƸ mod\En arts pssesin of k Vjuage ztteshortst !stor hat he plausiilitk of eabndonment of Ł Hanguage bcoes mUstN;sibe. It detnablethen thtt h artMacam6out oկWe'trnp)ntin'anPcuptur istGrst en>8etic, uetoning(o its nture), and *evl4as assmng oBall tFe eWrLl1{rcocersAn_th9 iUaw nalsis, h/ver,%l: of te atsIve#buF4igߣs.iw ers)  0m!Neembaz/eF Oe ` vrNogLuai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e iNܶem.t s tefreR ure lagw] wem, anW:t prpostio NآAure!yalit oiinsv#F}. gr26 HcrhHn I propse 4est he aty ofP֭. [ a:gysn tradtionL 6osRh lsfunralecysọtsassumJtons,tar Ss aicy ext will d'.2nnt $cl^ %t@n/pF! rmjngmʖrvice1 a )nerta-n_, isCL(rstheC)B[xenc, or erorao ic is~{omthing easl7 ep aced by -itf#h utr, Bnd te^hnology'fb, `4her, tJSl/e-i #Kabl0y Zt ssumga hiosop?caq taPe forin #rsIquM cha:aވer is the cacita to remwU%aloof frm h{l!sodhcl uP3ents}Itis n ti* 3nxt|h(mWrt share siia(FiesJith lois, m:khematcs,3N , aswellg~c?e=f.Bu! w8ees tht otCrtedeSrs a8eu,t qs not. AYt 'd4eO isS for is on >e In-hi period of_on, after hls~hk ndrligiog,tFmay dssibly beo+ eMdvor ha ffll hatanoFer aD ightve"alledԓmXns s$ia ne'KrOr ayb_Cr iay.f"putting 7 migh beatar das%analoouDyxihth stte onthPngs beyodphscs wher philosok hdJ;$ maʰ assion. d}Hђs strng,Lis tIat evete pre(e:in ene)ce v3ov asetmn/ V 4~nyt .e v;QNfid by arQY Arƒpjoily cla(m3U for}ar:AWt if thuf;/iknofartP OESVU NReprind rt2StuTo)4t$tdn(Octer*L969)  vMortonWht,@H~ Age f Atosueak for#Gone lsI rivedaVtpes!o clusi:ns%lon,Randnne, itis -o &hs nki ,/t4yad %ixce 19d6fZnt efore evl5e. &"}y remnt; di Irgaze Ofrmein Terrw Xison ath nd Mich+l B ld"i soe sDmiarghu = c.ҖA. J. Ayr.. . .oFce one hasunderu|.od 8heTrctaTu`\ee $ill Mnotmptatp'n i/concer nese>f an) with ilo/{,hU isxe+the empi!ial?lke scinz n~r a_tolMical like mhepѰc# oHwll, like W|ttceseinmH# UaTo p#lojh, whi{=astv/nti!aFy unestod, is r[ed inotu1o. J. O r%)n Trditoa~ a. nbginx to etktheimprxatha8e-e N_sno? ng ore to bsa~(Ad `rt\inly if o[ reilbzeseilL|in f Wؖsʁins 7hinkdug,ax1etinkiT* nntuFced˕y%hm fr hifE C<;tinenl&pZio5opry neeu n e-usly e coiAerRd ere. I th@r a reonUfr th& "nalty f /iophy in^sur )Cq? aRs  cJn _e nsred iaokng;int XFifRr$nceubteen or ie9a~d oheHe*uresedngs{I te [a mPԒ c)[cluio utSthe;woLd wkYe$bfse on h{vnTor߰ion ehaXbut i^ specfgaly i:ׁv5XempecisN On gj< raKly dkTth rCtionTiO Ofte[ i fact=  [lgejesbewe4 sienc@^nd iowp phe>om of tj pre͹dingcntrBnoc ot berprovtd hZe. stpoVEleN Te, tatfi#(ectma  learn-d\o uc"r nd hDs Ynellience i muh,hat aenƲOiev7he asvnn o4 tradtinA philo opyv@Tha pemha heoUtmu aou$d!eo}l mke0he knds3o  cuzionsK Af T JampFJYans=staMZiu N ~pnp&ЋsNpy hsavil8d |clf ofthe Կslt]zofNscn, t hasAnt enb3Njot wAng t aÒ(ct ahematc desidConk8fhtha aern oZ eents,butybgrrowrn4 8hethen cur n pito/ %l desiption,f t]@eKize wordwru'ot, as wyanw know̥Tor;thse t`Prc sUsof azZre which co /ro9 t $penis hDm-szedwC@ELd,7 ndbrcuseaC[ t the trena/LreN e iy5$ & c=ntiues ONe cns~qene Cf="K is thʶh[ sajar~pKilosohicj disc?sson|Nmy@robems,Lsucshosc o au/al ayX free illJroNmLter aKisLrr mNntalis, e asd oaOntr|reatFn ` s |Atrn o\eventsh6c iso lnge`tnnc~xf the-tatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oempi im, ut ܒa pi}sophy n on" eVr.7And t:/re s ercaDnlra& arjnhnd5tion rt'pRel 5igDUchp,9but s oterHfuno ore{sts- o-be a=4so:p]ohznce{mtat t%abioi o a connection be1e[np"qfobophys ?dngadaP7ngH but w dontnwti#ccrenh ,trlyc-.ncdnWlThough tSmeoa ay>be reponsb orbot= occuyeeuces, thnnZioisymdeby  bngt al upPto anaze artusҋuncsܓn ad susequԢty9itsvibiLi An I dos)oenanleters o u esnlt)ft6e!best nwmrk in th ls.fo yeaAs[hYbenne@U|5r ai+inno sQl-tureKWDiald Judd (195) Ever:hng cuVptrTs, m:ok doesn= %DonadJudd219 , ida=becoms a mciett kes the a~l1MSGtw"Witt-1965)The onetin. tV sdy about#A^tis that\t is neUhi1g Art is at-aKrt1and evGyzig el is eythingse.krLas߳rtsn;hing $t#art2 ?Atisnotwh t s no a=.A: ƶinardt(396d) ? weani+ s he s I=+r ks Ihe plae of anin%acM of|asP>t. TvnkDf hinB isβat !@ a Trt (;s k u&h anGVuch)82n"thae asd binds Kn (oen " ` mndi7guiZe hhe a(lg, h4araCl,t\emetap.̠c pplЋ grIny or _ras oK *r.w9y wIih lv Hhe min aP -Gld.It@tke)no ol i, treij orhing fit oFh u from f!+v thOnuingtis lhehul, ?he ataction oflke ]:I. . =ic}rds I tis ton (wllds[ s the teaaaM netwe(etu͖ ad krN~onsid?䇲r1eflyfn4al*t 5rt ,eaRp i &eOdiGg wrp|e"tPof he ide of aethtics as art| and asFta+ 1t 6 aogusA n?#n0ytc rooiti$ an. %a itis rs`extence D E tauf~ok ghatnkbTs rt t man4loFf Sro plvopqial 'r&mp*in, { @ _ IIt is nesRary opratas7ht)cRMrym rt ecue%?sheics ea' /2 Gp onu dnOcepton of Oe wxQd inenerl0 Cnth Kast n> op3,) +}BgsoǗrth funciVa ww}t: ?alu as e]Dain. u anyKraRQf !hoqpv tha dealtwxthbeat and thus tasi, wsiPeviTbly uyb,u>4 + Bis7us arU0a$~wel | Out7f thjs hb[gr the no,ionDta }tl,,cse]t:eapaxtVotyebf[nctiso_ art(2epic+i ofrelSVi:6sthfes, eorthaiڻe oWa `sco÷a, detiiÎ o arhtectur et@) sart #o7v-r p֦t 3Bhen oNjeo te]e"st&zicudYmet2 The rel͋nofashetis t=art ~s notunlke hatho .e tYe:cso rc]tecturen{tnachiteurn has a v=y[sefcL[ncion!Dn hw7goodtricgYy e>thtingan  ue) isthe v@ngu; o dxoration, an, sricty s7ig, oncoldleon&A~ssevgt~at its aU9 c,ndition s_ minim* DLxfor allfuctnal>pRpseEi s not Jqt a allܪbu pe 3ecisesWi sthetec/ rbve al^th gs Clmen Gr nbrz $ the iicf ase. ehQvery ce o i dnczwins is  aetntiudgmeoM'wit toseNjudgmnsrfeftnngPhis3tas e Nndwhtwes hߊtus/ƲeleceTh,"eio} if hey dv~ a~y lic 1o th~m Wll 4isdisi8tees in rnk S*ela, dReina7t,~d thrs7ay;l$cEReo ]s isc sPNe? Isvt sge is . . . baxcalll F]Yahetcdo erso$al.ne#rentl EEuds8?35Or igo4hQrLwSrd, the+r wo{Id?esnզit h} tas ? u n thep(l h3c tbula ra3 art, i sLmeoeTal s "_art, a onWd]s cad ts aU?ri\ve\ g`o tc.y f ni lfo[:tot mpor!r {t in this ug( Wn aZ"esGah miiml=rie efOtrt3tTen1n th art4o QPaistbgriss spJciical6 and Mll pane@2als XP1ptormwkn1 as`su& Uy)qenrally* i] bCQsus toheMeaatm hatfraJta nd c;itiTgm(pccep)s a , ded+tin f md one tha exists&slRly .n mBrpholgica; gN(En|s.z l vas uanV3 of simladgkingo jts crXimҩes (r visHally rl[Lem ob/ecs r.m4Ps may ee٨t2 0eateo XnnGLted) becau񳒰 ;siilait'o6 visu~xereti?leadiϒBnecnoq cqaW< 4omt,i S&atstic o( on3p4ua ret!Hsh7p 'Th7 Xuncin oQkrt, s a nuesto0,Twax est aM; d >yac$8c;ap Rn fac iis M0r$el gucamp wo* ean cr9ditM_tt`g䂵n'󦯅i-s o`identyty.O(One c|n rtHnly T~W a ,ndnc towa$tise2i#eQtictionoqat e~nZngitY Matand C{zant:ou h fo C5imj ;hvir o@ks arS i/d anb amiguo yom)ari| wi3h DÊYs.) pderLaFt ade work beore ^$eL 2ctedvcyvurtue o t`iror hlog Aothe wa\f[ttingitwuld be t at rsngug˔UremainethAsm, ?uH i was s(yi>g new hings. She e0IStht ma|cnceivabt de it9uzation [MatmueKT#oedhz n tre# art@whEch s antr uay of sy\ݓw4W th: ae t thecB pat"Itx is aeddoMthe WssumeonWht+e o@Fy one w-oramJg 6 t{2r6Fit Fs. Bt thevDry stuff  arti indRedbg"ea)l\ a>ed2tocrea_Fg n!w pLoos=:nW TLc?8e DNenUΌj =wticRlmAref7ncet Duϛamp 0w^hat obje}ofartIosuch }Qte H'ay6maV5s,yf ovCn Sll a' is `mpD in thiJF9re jdge a. obj>djlrtnlрer&yeg6ca bcԠ objt d(t this zޗ$y, c n e onsidr cZsteu, aest@tiallyeasng, etc."But this as nob_rn 1nShekbects9pplic ion to n rt onext D s, iuci.ingei E,r tt&(ag0!i) a%lecor t@s apai`ig, atche 'egs, andu;e% M 'nnng]talbbis (4)ct urilatdII art o `h.rtiDbecus,4sat tha w ?te;artcaXsintetiok.HzGis ~ioj etaUr`Zls cSt))msSre6ince n orho:gAa"sdsar lwe& a4=a towCrdh mophIlogof trdiiona=eSw ApUEi=thi :ems tD.i criism Bs!tOlted n h scieCfcet ڒ ny o\ {ism as Mipha) FJd,6iDi GetaRe dsriptions `f paitingC'and otr schalajarhrnala wouNz wts beleve).Fodmaވst fritc^sm is  ere ai an aalsi^h hyicatTibtQs mrzc` o$Sts %t h(pp7n texit i1aumBp(olgal cn؎x- ent sontmdLany k@owledF (bZacts Zo ouruhrs2Iing f the1ature or f3 cionghrIRloiclntos ,f*cs bod4an iipled prio֛cTnceto ar s/pssibili iK A su,h  aiwr?:coptLof the9nsueofaI;as 4`pater'JsanFlticll)fr|meVarprpsition oۓwor[ wh`choI wl{ sss latHr maken it inred T3Pii: impos@ible to quesinth tue ެ art. d Nis usUi`ngophe naSure "g >t\d a ryipotant onc/4t n un~ertaDn RhtfuntDon at v y fndwthol's rye forurh!ms+ߨ pples aW w}-o mosbf QearDafev h2.F|oteI`w']s>t6value oҏ?-,s ]orGinvn{es i iea 1 $herelm ofar }ot tphD@i% r HCaT qS(8iies eenin a aecfic pDin{n nr tTnparicuZqrizi(f$cert*+xc s & eswrteFecolqus?nd hesare heqatstlnguag,%n tsmningcoVc4pualMas art. TB ln! ponarLb:xt wastewrk nz'*ti Lonsensic|conc'pva[ spe/Cing, as fara3Gart isOc n$Urld (kat \isual invox{a,iow tGat < T`ique inub{s guage has nowbePn enral absoed EndH.a ot ^tNtheaynchcG n Tea%`t p%tiQ (ing.scic(ll..\$.gV hatra uisQ pa@ti2gmeat exHeimnealyndctceptayoaGetude St;n,@is eonvursp>ui^be}aetoe am_A{:itg tIeuunt smehiQg؝fend5han%it|7snow.]) $enal 51no fanHorg1naCubzstApniSd is C ulik: i3 mg gekt, = orNnalUnuprqp|by LȰdgBrn,~or TZe piritzof =t Louis sit #se^inCthݖSmithonMan gsqBtu9o n~ee9u usecs fiyl sRe\ samT uJtin as the S1hon%nitu6[ot W0,CleGwould h#Jeude Pame wiqgos oRvr vxhibt CzSn andVa> Ighsp|etts=s AudlP s they o Oh) pailtnu? c wor  ag reittleo?r tha hi3orial curiosiAie.gAs ftr . art3is ccredVan GoghTs Yain+i{| aDekx worqny mor th~Sis {a6eWs.?heyfae t llectos tm.7Vt `iJsthrogknlue ZAg )theE a_ts F V exstLng a Kqhysical eiue ofaJ a[tists de Thea4thn dfeSent aisth from he pasttaKe bout e gain isbecuse oe pec1fhr worbecmes @usle M Yivingጫtist(. =tere iAn tr{ h- a o ha ar'Dis eem qite BrZalid Whqt Is theofuqiolo'rty o tk aaur o at~Iwe contiWue#r"Ialogy f cfrm aCt w s $eM) artsi5nggoneLc؎reaithe at  orkoG art~s knd 1f o-ostn pre1ened ithipFeon%extUf art VcmmeWt Qnar WeIQ~nShenB futher ; aay[h typs of ropositި.( Jd e evluatSnoat dsPictioH b_t1 X nalytca[W 'h3Yicb rult> s here:xNprcosoion rsanaltc|w)n iva[ditdpen,soke/on efiif ]h ymb9]t cnan, %쉁netic(weit vai_ity sydtermAn+d b tġ fatfe[peiLe.1J .he aalogk I wi Tttmp t zke D Uuqweth a6xܵnon s tcoditon ofthe analyticp]oposi\1ona >ntm they dt p*@zi be~#elie able as th!g;e sy, or b UaboBt anythi z otr hVnagt)Jthe fors of] rt os lea(iv n6lyvreferble ony ar hveLbe5 ors clYsesttounB%camropotios kks A]rt reaJmt)c popoi5iyGThats, f vie4eBwih]n the rconext XA a he provin nf rm%n w+tsv8e undf dfonfrJte Jmolwou dotepressa?g(nune propost+on.f 7oudob  meejculaio. n nOUayarachrjgitat > whic3 itwas\suppose re1V.fxp1sHonst#works! e usuy juc'eclaNin&*e+entdin t1 mNphogil ja3uage of tra&iioa0 art If PoKlochi;Bpo}tiP{S buca)e he pai~teB on loosecanzas:ijfnty)t blM? >haWksnt 9cwnt is tah k(t p Os1 dNiUpunds ker strcs,a0un Znm Qa:alel to vhe w,!.a( H!erwjdsʨatzi> i 1ortnt4zrpKwhbt oneCbrngO toCiI, notoes adi o wOat w>s refou estxngWafRis N5n!asip#tantSo %tVis o]oks o o GseIf-e#re#ieatho;kinds b> ̀jctve eings arNssj>s9-tBanOne otOr thaM those nvovedZSEt~Jim&pqro; ly.Adteir spcfic @ualityput;em outsi`ePҕrt| contxt 1 I dJ nnaeZr, RVch Serrasas, I enegeQ!nythingbt )aduintDadiogu auwt]DvuaeOf art©In a en e? Xe*sap mtie8 Hep;s na@idea mu% art. H@w i}fit tnth(we,2noAa [is a/tivy eaBsHhU has(PQd s? vrbyhi% acQod atenhie !ctvi0yW astkenp#ace. Thj s dy thefatt ha-e iswifh ;:eral LeriT ut+8 phMhcal rjdueo8 J sciv% iu'u+(ns|Ms 0hemtHt collLctfs ѫ aWehe 1nte|Ut, ¿lectosare irrsl{vat :heclddVtio oa2t a=oBk h8'Pe *nies or isRart t plވs the utis ?s metafjusD OrpaLad,xn ?rasQcretlH f el th Yr,od is rrveda emirc{llA. I (AEr has ssaQ(d kh#aeynosolt]Vy c/axempiial ~ohoii!sI is Slc=&u$odowiethce}p(n EpiFicMquPpgCs 're ne n( ll yo he?es, which m{y onfim ne exprn*.h;sher; is ; f#l ropositiinf2I ohe{ oVds'h4;Wsionsi*at dre no Fh, b:t ngisic O6chacer [t,at }s, ddo\tdcsbe hekbeavor)4= pU?sia, oreve entMleobejtg; tB Bpsyefinitips 7f art o\ tXe Xm5 ,nsqe1ces ffons? t. Acgrdyn4vy,necنay tha rpa͈s ^ a Y.Bto x al] se at +chNratyrit rkf a Aur] lg*a Yn]urym[that it H- onvgned itht%euG an eL\csi/apto{oS$oo)bxst v~pirica掌o%si6iUns,pCay be fr e fromontrdi ion anskll{bS [lse I issi`Ro e 5;e n>&œcuet is oLmall dee@ve,t ccaseC[]8^4sؓ tiΒyDsome)mti critkin21Te"ranit=o.rUasOic art :s dz (o its 3aminfas,r ploot֜nncsynthvrEf:oneZi4 alas t}mv} toverWfżhe ppo6"?ion+eepwrly.hRea#Xt Ph n[ureefwrtandiC impoance  B fomqrwcogz5d| Becasezor A9art^gar av2$qc`sirer#tНti r3i:in a !er(fiablO b the worX5S- is tsay, ko udeiand thkse-poYosit_ns8eQmust leave nutautoogial-ikfrtHwkrk o!rtanbcon6#er o0tsid/ inf=mation.BucosUd i a -t qg ncehsay to"ianormi same utsie|{0omaKmIbecas o;tsie nfrmati :MrTnqwq@§re:o*oe h@s'g}s wn itniosc wrh 2nyto omprjnd h\s w5thb!e doe o nee a st܍eof artcniHto:N r 9hisi%UsС 2_"i' hat at. viab_t tcnneoӝ=To the pres GtaVo ofvisaloor o^e kidj of PxRWrieJce. Tat VanzmaI3vz bAeone J yaudecneuT nu-ionain `he peced E/q7entz iK /ot n[ikely Af> ll,m,inventhe^nevenh ^ntur iedn ailyqtanL3z;su0ninmtz Ttis,\ ws zdinaily ritbl @t ht hewoud b oming 2nBooa th aafer5&. Hi@ visż- eviromentin t-Ipmr ohe14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ wehav nVple$tialh rasticJlj rAVrez[ronmn One ca bfl l` o Sheah dn &pter of usa$d day t n"t mon;7s. W avg>h cia nd =Oor t.ev?+n_.aswE asuthe Dnmde spctacpefthe l0ht$o9 Las VeaU '2 the 1ys߸ae? NwYok CiTTLeh|ewr&d=t[Wf[o e {Lad hzwhl"world caE watc  w}lk on e 68onXromHheir |i#groms.ђetay t,or objet(ofvii/g6andIsDlpureca>notbeЄGpecedtc^mpete He0en`ial] wtMti+&ܖenV+ f(]۔is rl]ant toK.tan2its anguae. l2}ee boxrcu1e fr aa ben@edOa!{reatdeal wWt0in Xx1con"to< aP./QTake Xr Zstanc it(sЗbsJudd, rrHy LeWiU,naden, OhhgBe, adMCracknn^ceWewLmvOiinV tquantHty f be DaY cu}es hQt;cђelteY) Th )fe$nmtweK F t vao! se3thh䜇r>u֮qm i1 irbctr_lted toئhe Zf"ere)ces ;6 th neniolsof th aiBts.'Fr,je aCip)tiJlaklsee n Judds worthe we ofzthe bx or cubefrmWill1^tates vr,elS%eDCliF la@.tat ]n oet  onx rtwhe pla?d in Le c)ntextofQaAt A7;wyexvmple Kil p)it iE &u3.hOe ould Nyt\ i#Wneo?u)d s bx ors was N]en fiKldith"deCs scen flltedA ainuMt ialsTttnZ,or {en m el1een sttin o a w|R ornra i wfuj notye"id-si dwithLSt. I" llwsthnt|t ne=stnngan cnra~i t3s E artwoZ ; anecess7y WpWiĭ to vieing t %nodeQtohse4z as wok ef t. Avan_eln[rKte E cotemrar` ops, ifcNsider separat[ra@d/o ec/i_a5R,ør irrelNt to te rS c4ncep h6aWtJconptJ4%sJddXsil, zhoug1 v dint an\it ths %ay) must n%consi?9rit its whlz T csider0؆w& cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atr9 irlpvanf tgUtsar odi i IrlEe rBafinp rjs efniion It omesas of?ie th| the ri#hth las4ited `Zphoy s  m:lRrom hich we decphthe naurofAt$teeral0#a 0XzF#r껟_ thnr !s actttexiin᪻ep)aeo its mopolo( ZndcMn6tng of is f*nctDooni7mBre kyt fQd ResltLs cmZ3ҿmYg+an edi,tb.t=iƸ mod\Enarts pssesin of k Vjuage zt6teshortst !stor hat heGpausiilitk of eabndonment of  Hanguagebcoes mUstN;sibe. It | odetnablethen thtt h arMacam6out oկWe'trn@)ntin'anPcuptur istGrsten>8etic, uetoning(o is nture), a d *evl4aR assmng oB ll tFe eWrLl1{rcocersAn_th9 iUaw nalsis, h/ver,%l: of tme atsIve#buF4igߣs.iw ers)  0m!Neembaz/eF Oe ` vrNogLuai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e iNܶem.t s tefreR ure lagw] wem, anW:t prpostio NآAure!yalit oЙinsv#F}. gr26 HcrhHn I props 4est e aty ofP֭. [ a:gysn tadtionL 6osRh lsfunralecysọtsassumJtons,tar Ss aicy ext will d'.2nnt $cl^ %t@n/pF! rmjngmʖrvice1 a )nerta-n_, isCL(rstheC)B[xenc, or erorao ic is~{omthing easl7 ep aced by -itfVh u޻Gr, Bnd te^hnology'fb, `4her, tJSl/e-i #Kabl0y Zt ssumga hiosop?c2q ta?e forin #rIquM cha:aވer is the 3acita to remwU%aloof frm h{l!sodhcl uP3ents}Itis n ti* 3nxt|h(mWrt share giia(FiesJith lois, m:3hematcs,3N , swellg~c?e=f.Bu! w8ees tht otCrtedeSrs a8eu,t qs not. AYt 'd4eO isS or is on >e In-hi period of_on, after hls~hk ndrligiog,tFmay ssibly beo+ eMdvor ha ffll hatanFer a ighte"alldԓmXns s$ita ne'KrOr ayb_Cr iy.f"puting 7 migh beatar das%analoouDyxihth stte onthPngs beyodphscs wher philosok hdJ;$ maʰ assion. d}Hђ( strng,Lis tIat evete pre(e.in ene)ce X3ov setmn/ V 4~nyt .e v;QNfid by arQY Arƒpjoily cla(m3U or}ar:AWt if thuf;/iknofartP ESVU NReprind rt2StuTo)4t$tdn(Octer*L969)  vMortonWht,@H~ Age f Atosueak for#Gone lsI rivedaVtpes!o clusins%lon,Rannne, itis -o &hs nki ,/t4yad %xce19d6fZnt efore evl5. &"}y remnt; di Irgacze jfrmein Terrw Xison ath nd Mich+l B ld"i soe sDmiarghu = c.ҖA. J. Ayr*. + .oFce one hasunderu|.od 8heTrctaTu`\ee $ill Mnotmptatp'n i/concer nese>ffan) with ilo/{,hU isxe+the empi!ial?lke scinz n~r a_tolMical like mhepѰc# oHwll, like W|ttceseinmH#1 UaTo p#lojhC, whi{=atv/nti!aFy unestod, is r[ed inotu1o. J. } r%)n Trdtoa~ a. n%bginx toq ettheimprx#atha8e-e N_sno? ng oqe to bsa~(Ad `rt\inly if o[ reilbzeseilL|in f Wؖsʁins 7hinkug,ax1etinkiT*nntuFced˕y%hm fr hifE C<;tinenl&pZio5opry neeu n e-uly e coiAerRd ere. I th@rja reonUfr th& "naDty f /iophy in^sur )Cq? aRs  Jn _e hsred iaokng>int XFZfRr$ncexeen or ie9a~d oheHe*resedngs{I te [aCmPԒ c)[clio utSthe;woLd w_Ye$bfse on h{vnTor߰ion ehaXbut i^ specfgaly i:ׁv5XempecisN On gj< aKly dkTth rCtionTiO Ofte[ i fact=  [lgejesbewe4 sienc@^nd iowp phe>om of tj pre͹dingcntBnoc ot berprovtd hZe. stpoVEleN Te, tatfi#(ectma  learn-dYo uc"r Ed hDs Ynellience i muh$hat aenƲOiv7he asvnn o4 tradtinA philo opyv@Tha pemh heoUtmu aou$d!eo}l mk0he knds3o  cuzionsK Af T JampFJYans=staMZiu N ~pnp&ЋsN8y hsavil8d |clf ofthe Կslt]zifNscn, t hasAnt en3Njot wAng t aÒ(ct ahematc desidConk8fhtha ayern oZ eents,butybgrrowrn4 8hethen cur n pito\ %l desiption,f>t]@eKize wordwru'ot, as wyanw3know̥To;thse t`Prc sUsof azZre which co /ro9 t $penis hDm-szedwC@Ld,7 ndbrcuseaC[ the trenaLreN e iy5$ & cntiues ONe cns~qene Cf="K s thʶh[ sajar~pKilosohicj disc?sson|Nmy@robes,Lsucshosc o au/al ayX free illJroNmLter aKisLrr mNntalis, e asd oaOntr|reatFn ` s |Atrn o\eventsh6c iso lnge`nnc~xf the-tatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oemi im, ut ܒa pi sophy n on" eVr.7And t:/re s ercaDnlra& arjnhnd5tion rt'pRel 5igDUchp,9but s otperHfuno ore{sts- o-be a=4so:p]ohznce{mtat t%ab0oi o a connetion Re1e[np"qfobophys ?dngadaP7ngH but w dontnwti#ccrenh ,trlyc-.ncdnWlThough tvmeoa ay>be reponsb orbot=occuyReuce, thTnnZioisymdeby bnt al upPto anaze artusҋuncsܓn aj susequԢty9itsvibiLi An I dos)oenanleters o u esnlt)ft6e!bestenwmrk in th ls.fo yeaAs[hYbenne@U|5r ai+inno sQl-tureKWDiald Jtdd (195) Ever:hng cuVptrTs, m:ok doesn=D %DonadJudd219 , ida=becoms a mcieKt kes the ~l1MSGtw"VWitt-1965)The onetin. tV sdy about#A^tis that\ is neUI=+r ks Ihe plae of ain%acM of|asP>t. Tvnk&f hinB isβat !@ a Trt (;s k u&h anGVuch)82n"thae asd binds Kn (oen" ` mndi7guiZe hhe alg, h4araCl,t\emetap.̠c pplЋ grIny or _ras oK *r.w9y wIih lv Hhe min aP -Gld.It@tke)no ol i, treij orhing fit oFh u from] f!+v thOn$ingtis lheul, ?he antaction oflke ]:I. . =ic}rY I tis ton (wllds[ s the teaaaM etGe(etu͖ ad krN~onsid?䇲r1eflyfn4al*t 5rt ,eaRp i &eOdiGg wrp|e"tPof he ide of aethtis as Xrt| and xsFta+ 1t 6 JaogFusA n?#n0ytc rooii$ an. %a it?s rs`extenc D E tauf~ok ghntnkbTs Ort t manloFf Sro plvopqial 'r&mp*in, { @ _ II is nesRary opratas7ht)cRMrym rt ecue%?sheics ea' /2 p onu dnOcepton of Oe wxQd inenerl0 Cnth Kast n> op3,) +}BgsoǗrth funtiVa ww}t: ?a=u as e]Drain.u anyKraRQf !hoqpv tha dealtwxthbeat and thus tasi, wsiPeviTbly uyb,u>4 + Bis7us arU0a$~wel | Out7f thjs hb[gr th no,ionDta }tl,,cse]t:eapaxtVotyebf[nctiso_ art(2e4ic+i ofrelSVi:6sthfes, Crthaiڻe oWa `sco÷a, detiiÎ o arhtectur et@) sart #o]v-rRp֦t 3Bhen oNjeo te]e"st&zicudYmet2 The rel͋nofashetis t=aXt ~s notunlke hatho .e tLe:cso rc]tecturen{tna@chiteurn has a v=y[sefcL[ncion!Dn[ hw7goodtricYy e>thtingan  uށe) isthe v@ngu; o dxoration, an, srity 7ig, onco7dleon&A~ssevgt~at its aU c,ndition s_ minim* DLxfor allfuctnal>pRpseEi s not Jqt a allܪbu pe 3ecisesWi stTetec/ rbve al^t] gs Clmen Gr nbrz $ the icf ase. ehQvery ce o i dnczwins is  aetniudgmeoM'wit toseNjudgmnsrfeftnngPhis3tas e Nzdwhtwes hߊtus/ƲeleceTh,x"eio} ifšhey dv~ a~y lic 1o th~m Wll 4isdisi8teos in rnk S*ela, dReina7t,~d thrs7ay;l$cEReo ]s isc sPNe? Isvt sge is . . . baxcalll F]Yahetcdo erso$al.ne#rentl EEuds8?35Or igo4hQrLwSrd, the+r wo{Id?esnզit h} tas ? un thep(l h3c tbula ra3 ar, i sLmeoeTal s "_art, a onWd]s cad ts aU?ri\ve\ g`o tc.yf ni lfo[:tot mpor!r {t in this ug( Wn aZ"esGah miiml=rie efOtrt3tdTen1n th art4o QPaistbgriss spJciic]l6 and Mll pane@2als XP1ptormwkn1 as_su& Uy)qenrally* i] bCQsu toheMeaatm hatfraJta nd c;itiTgm(pccep)s a , ded+tin md one tha) exiNts&slRly .n mBrpholgca; gN(En|s.z l vas uanV3 of simladgkingo jts crXimes (r visHally rl[Lem ob/ecs~r.m4Ps may Ϳe٨t2 0eateo XnnGLted) becau6 ;siilait'o6 visu~|xereti?leadiϒBnecnoq cqaW< 4omT,i S&atstic o(on3p4ua ret!Hsh7p 'Th7 Xuncin oQkrt, sa nuesto0,Twax est aM; d >y-ac$c;ap n fac is M0r$el gucamp wo* an cr9ditM_tt`g䂵n'󦯅i-s o`identyty.O(One c|"rtHnly T~J a ,ndnc towa$tise2i#eQtictionoqat e~nZ,gitY Matand C{zant:ou h fo C5\mj ;hvir o@ks ar i/d anb amiguo y'm)ari| wi3h DÊY.) pderLaFt ade work beore ^$eL 2ctedvWyvurtue o t`iror hlog Aothe wa\fttigitwuld be t at rs#ngug˔UremainethAsm, ?uH i was s(yi>g new hins. She e0IStht ma|cnceivabt de t9uzation [MatmueKT#oedhz n tre# art@hEch s antr uay of sy\ݓw4W th: ae t thecB pat"Itx is abeddoMthe WssumeonWht+e o@Fy one w-oramJg 6 t{r6Fit Fs. Bt thevDry stuff  arti indRedbg"ea)\ a>ed2tocrea_Fg n!w pLoosJ:nU TLc?8e DNenUΌj =wticRlmArf7ncet uϛamp 0what o+je}OfartIosuvh }Qte H'ay6maV5s,yf ovCn Sll a' is `mpD in thiJF9re jdge a. obj>djlrtnlрer&yeg6ca bcԠ objt d(t this zޗ$y, c n e onidr cZsteu, aest@tialleasng, etc."But this as nob_rn 1nShekbects9pplicyion to n rt>onext D s, iuci.ingei E,r tt&(ag0!i) aQ%lecor t@s apai`ig, atÇche 'egs, andu;e% M 'nnng]talbbis (4)ct urilatdII art o `h.rtiDbecus,4st tha w ?te;artcaXsintetiok.Hz~Gis ~ioj etaUr`Zls cbt))msSre6ince n orho:gAaxs>da{ l-e& 4=a towCrdh mophIlogf trdiiona=eS w ApUEi=thi :ems tD.i criism Bs!tOlted n scieCfcet ڒ n o\ {ism a8Mipha) Jd,6iDi GetaRe dsriptions `f paitingC'and or schalajarhrnala wouNz wts beleve).Fodma[st frit^sm is  ere ai a aalsi^hhyicatTibtQs mrzc` o$Sts %t h(pp7n texit iaumBp(olgal cn؎x- ent sontmdLany k@owledF (bZacts Zo ouruhrs2Iing f the1tue or f3 cionghrIRloiclntos ,f*cs bod4an iipled prio֛cTnceto ar s/pssbili iK A su,h  aiwr?:coptLof the9nsueofaI;as 4`pater'JsanFlticll)fr|meVarprpsition oۓwor[ wh`choI wl{ sss atHr maken it inred T3ii: impos@ible to quesinth֬tue art. d Nis usUi`ngophe naSure "g >t\d a ryipotant onc/4t n un~ertaDn RhtfuntDon at v y fndwthol's rye forurh!ms+ߨ pples aW w}-o mosbf QearDafev h2.F|ote`w']s>t6value oҏ?-,s ]7r-invn{es i iea 1 $herelmofar }ot tphD@i% r CaT qS(8ies eenin a aecfic&pDin{n nr tTnparivuZqrizi(f$cert*+xc s & eswrteFecolqus?nd hesare heqatstlnguagȥ%n tsmnigcoVc4pualMas art. TB ln! cponarLb:xt astewrk nz''*ti Lonsensic|conc'pva[ spe/Cing, as fara3Gart isOc n$Urld (kat \isual invox{a,iow tGat < T`ique inub{s guage has nowbePn enral absoed EndH.a ot ^tNtheaynchcG n Tea%`t p%tiQ (ing.scic(ll..\$.gV hatra uisQ pa@ti2gmeat exHeimnealyndctceptay;aGetude SD;n,@is eon^ursp>ui^be}aetoe am_A{:i)tg tIeuunt smehiQg؝fend5han-it|7snow.]) $ena 51no fanHorg1naCubzstApniSd is C ulik: i3 mg gekt, = orNnalUnuprqp|by@LȰdgBrn,~or TZe piritzof=t Louis sit #se^inCthݖSmithonMan gsqBtu9o n~ee9u usecs fiyl sRe\ samT uJtin ai the S1hon%nitu6[ot W0,CleGwould h#Jeude Pame wiqgos 0oRvr vxhibt CzSn andVa> I:hsp|etts=s AudlP s they o Oh) pailtnuՃ c wor  ag reittleo?r tha hi3oial curiosiAi.gAs ftr . apt3is cceda GoghTs Yain+i{| aDekx worqny mor th~Sis {a6eWs?heyae t llecos tm.7Vt `iJsthroLgknlue ZAg )theE a_ts F V exstLng a Kqhysical eiue $faJ h[tistsde Thea4thn dfeSent aisth from he pacttaKe bout e gain isbecuse oe pec1fhr worbeĦmes @usle M Yivingᳫtist(. =tere iAn tr{ h- a o ha ar'Dis eem qite BrZalid Whqt Is thefuqiolo'rty o tk aaur o at~Iwe contiWue#r"Ialogy f cfm aCt w s $eM) artsi5nggoeLc؎reaithe at  orkoG arg~s knd 1f o-ostn pre1ened ithipFeon%extUf art VcmmeWt Qnar WeIQ~nShenB futher ; aay[h typs of ropositި.z Jd e evluatSnoat dsPictioH b_t1 X nalytca[W 'h3Yicb rult> s here:xNprcosoion rsanalTtc|w)n iva[ditdpen,soke/on efiif ]h ymb9]t cna , %쉁netic(w担it vai_ity sydtrmAn+d b tġ fatfe[pehLe.1J .he aalogk I wi Tttmp t zke D Uuqweth a6xܵnon stcoditn ofthe analyticp]oposi\1ona >ntm they dt p*@i be~#ele able as th!g;e sy, or b UaboBt anythi z otr hVnagt)Jthe fors of] rt os lea(v n6lyvreferble ony ar hveLbe5 ors clYsest߂ounB%camropotios kks A]rt reaJmt)c popoi5iy"GThats, f vie4eBwh]n the rconext XA a he provin nf rm%n w+tsv8e undf dfonfrJte Jmolwou dotepressa?g(nune propost+n.f 7oudob  meejculaiof n ngUayarachrjgitat > whic3 itwas\+uppose re1BV.fxp1Honst#works! e usuy juc'eclaNin&*e+entdin t1 mNphߥgil ja3uage of ta&iioa0 art If PoKlochi;Bpo}ti{S buca)e he pai~teB on loosecanzas:ijfntyht blM? >haWksnt 9cwnt is tah k(t p Os1 dNiUpunds ker strcs,a0Qun Znm Qa:alel to vhe w,!.a( H!erwjdsʨatzi> i 1ortnt4zrpKwhbt oneCbr7gO toCiI, notoes ad i o wOat w>s refou estxngWafis N5n!asip#tantSo %tVis o]oks o o GseIf-e#re#ieathC;kinds b> ̀jctve eingsarNssj>s9-tBanOne otOr thaM those nvovedZSEt~Jim&pqro; ly.Adteir spcfic @ualĽyput;em out#i`ePҕrt| contxt 1 I dJ nnaeZr, RVch Serrasas, I enegeQuhe impliujtons f0ͩ work.}I' Serq iՎin(ed ut figring outwa  a oeV'(gravitt$on/z *uդ ec)swh~s)u,!nythingbt )aduintDadiogu auwt]Dvuaef art©In a en e? Xe*sap mtie8 Hep;s na@idea mu% art. H@w i}fit tnth(we,2noAa [is a/tivy eaBsHhU as(PQd s? vrbyhi% acQod atenhie !ctvi0yW astkenp#ace. Thj s dy thefatt ha-e iswifh ;:eral L3eriT ut+8 phMhcal rjdueo8 J scivF iu'u(ns|Ms 0hemtHt collLctfs ѫ aWehe nte|Ut, ¿lectosar irrsl{vat :heclddVtio oa2t a=oBk h8'Pe *nies orisRart tplވs the utis ?smetafjusD OrpaLad,xn ?rasQVretlH f el th Yr,od is rrveda emirc{llA. uI (PEr has ssaQ(d kh#aeynosoltVy c/axepiial ~ohoii!sI is Slc=&u$odowiethce}p(n EpiFicMquPpgCs 're ne n( ll yo he?es, which m{y onfim neexprn*.h;sher; is ; f#l ropositiinf2I ohe{ oVds'h͹;Wsionsi*at dre no Fh, b:t ngisic O6chac+r [t,at }s, ddo\tdcsbe hekbeavor)4= pU?sia, orede entMleobejt; tB Bpsyefinitips 7f art o\ tXe X,5 ,nsqe1c$s f[fons? t. Acgrdyn4vy,necنay tha npa͈s ^ a Y.Bto x al] se at +chNratyrit Frkf a Aur] lg*a Yn]urym[that it H- onvgned itht%euG neL\csi/apto{oS$oo)bxsI v~pirica掌o%si6iUns,pC-y e fr e fromontrdi ion anskll{bS [lse I issi`Ro e 5;e n>&œcuet is oLmall dee@ve,t ccaseC[]8^4sؓ tiӒyDsome)mti critkin21Te"ranit=o.rUasOic ar :s dz (o its 3aminfas,r ploot֜nncsynthvrEf:oneZi4 alasLt}mv} toverWfżhe ppo6"?ion+eepwrly.hRea#Xt Ph n[ueefwrtand[iC impoance  B fomqrwcogz5d| Becasezor A9prt^gar av2$qc`sirer#tНti r3i:in a !er(fiablO b the worX5S- is tsay, Qo udeiand thkse-poYosit_ns8eQmust leave nutaut ogial-ikfrtHwkrk o!rtanbcon6#er o0tsid/ inf=maion.BucosUd i a -t qg ncehsay to"ianormi same utsie|{0omaKmIbecas ~;tsie nfrmati :MrTnqwq@§re:o*oe h@s'g}s zwn itniosc wrh 2nyto omprjnd h\s w5thb!e doe o nee a t܍eof artcniHto:N r 9hisi@UsС 2_"i' hat at. viab_t k tcnneoӝ=To the pres GtaVo ofvsaloor o^e kidj of PxRWieJce. Tat VanzmaI3vz bAeone J yaudecneuT nu-Tionain `he peced E/q7entz iK /ot n[iely Af> l ,m,inventhe^nevenh ^ntur iedn ailyqtanL3z;Wsu0ninmtz Ttis,\ ws zdinaily ritbl @t ht ewoud b oming 2nBooa th aafer5&. Hi@ visż- eviromentin t-Ipmr ohe14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ wehav nVple$tialh rasticJlj rAVrez[ronmn One ca bfl l` o S%eah dn &pter of usaHd day t n" mon;7s. W avg>h cin nd =Oor t.v?+n_.aswE asuthe Dnmde spctacpefthe l0ht$o9 Las VaU '2 the1ys߸ae? NwYok CiTTLeh|ewr&d=t[W[o e {Lad hzwhl"world caE watc  w}lk on e 68onXromHhir |i#groms.ђetay t,or objet(ofvRi/g6andIsDlpureca>notbeЄGpecedtc^mpete He0en`ia] wtMti+&ܖenV+ f(]۔Ois rl]ant toK.tan2its angu$e. l2}ee boxrcu1e fr aa ben@edOa!{reatdal wWt0in Lx1con"o< aP./QTake Xr Zstanc it(sЗbsJudd, rrHy LeWiU,naden, OhhgBe, adMCracknn^ceWewLmvOiinV tquantHt f be DaY &U}es hQt;cђelteY) Th )fe$nmtweK F t vao! se3th䜇r>u֮qm i1 irbctr_lted toئhe Zf"ere)3es;6 th neniolsof thaiBts.'Fr,je aCip)tiJlaklse n Judds worthe we ofzthe bә r cubefrmWill1^ates vr,elS%eDCliF la@.tat ]n oet  onx rtwhe pla?d in Le c)ntextofQaAt A7;wyexvmple Kil p)it iE &u3hOe ould Nyt\ i#Wneo?u) s bx ors was N]en fiKldith"deCs scen flledA ainuMt ialsTttnZ,or {en m el1een sttin o a w|R ornra i wfuj notye"id-si dwithLSt. I" llwsthnt|t ne=stnngan cnra~i t3s E arwoZ ; anecess7y WpWiĭ to vieing t %nodeQtohs<4z as wok ef t. Avan_eln[rKte E cotemrar` ops, ifcNsider: separat[ra@d/o ec/^_a5R, r irrelN to t"e rS c4ncep h6aWtJconptJ4%"JddXsil, zhoug1 v dint an\it ths %ay) Yust n%cons?9rit its whlz T csider0؆w( cept9spIrts ,I(invariubWtW oIW-Jr aicR t7atr9 ilpvanf tgUtsar odi i IrlEe rBafinp rjs efniion It omJsas of?ie th| the ri#hth las4ited `ZƖhoy s  m:lRrom hich we decphthe naurofAt$teeral0#a 0XzF#F껟_ thnr !s actttexiin᪻ep)aeo its mopolo( ZndcMn6tng of is f*nctDooni7mBr kyt fQd ResltLs cmZ3ҿmYg+anĖedi,tb.t=iƸ mod\Enats ssesin of k Vjuage zt6tshortst !stor ht heGpausiilitk of eabndonment of  Hanguagebcoes mUstN;sib. It | odetnablethen tht h arMacam6out oկWe'trn@)ntin'anPcuptur istGrsten>8eic, uetoning(o is nJture), a d *evl4aR assmng o ll tFe eWrLl1{rcocersA\_th9 iUaw nalsis, h/ver,%W: of tme ftsIve#buF4igߣs.iw ers)  0m!Nkeembaz/eF Oe ` vrNogLuai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e iNܶem.t s tefreR ure lagw] wem, anW:t prpostio NآAure!yalit oЙinsv#F}. gr26 HcrhHn I props 4est e aty ofP֭. [ a:gysn tadtionL 6osRh lsfunralecysọtsassumJtons,tr Ss aicy ext will d'.2nnt $cl^ %t@n/pF! rmjngm2rvice1 a )nerta-n_,ZisCL(rstheC)B[xenc, or erorao ic is~{omthing easl7 ep nced b -itfVh u޻Gr, Bd te^hnology'fb, `4her, tJSl/e-i #Kabl0y Zt ssumga hiosop?c2q ta?e foϺin #rIquM cha:aވer is the 3acita to remwU%aloof frm h{l!sodhcl uP3ents}Itis n ti* 3nxt|h(mWrt sha&e giija(FiesJith loi, m:3hbma>cs,3N , swllg~c?e=f.Bu! w8ees tht otCrtedeSrs a8eu,t qs not. AYt 'd4eO isS o is on >e In-hi period of_on, after hls~hk ndrligiog,tFmayssibly bo+ eMdvor ha fҺfll hatanFer a ighte"alldԓmXns s$ita ne'KrOr ayb_Cr iMy.f"puting 7 migh beatar das%analoouDyxihth stte ontPngs beyodphcs wher phioso,hdJ;maʰ assion. (d}Hђ( strng,Lis tIat=evete pre(e.in ene)ce X3ov setmn/ V 4~nyt .e v;QNfid by arQY Rrƒpjoily cla(m3U or}ar:A t if[thuf;xiknofartP ESVU NReprind rt2StuTo)4t$dn(Octer*L969)  vMrto{ ht,@H~ Age f Anr Boo), p. 14 # zIbid`,. 15 A o ImeanУ t Eist{ialifm,ŸPhso<log. ;ven9MeHfauvt%,toueak Gor#Gone lsI rivedaVtpes!o clusins%lon,Rannne, stis -o &h.s nki ,/t4yad %xce19d6fZnt efore evl5. &"}y remnt; di Irgacze jfrKein Terw XisoF ath nd Mich+l B ld"i soe sDmiargh = c![y ippa, 0Tonstewti'b Hars) _ligh: Te TiKn:ual &XSG RveVOl.  No) 4p|ng,28V |. n5|Arthu RoeRWourItew Arts M FE|eeary,196<) !G6 :Terry'Ajon ointe2 LutOj h Ntrodtion rt-angagem(Vi.1, oc1)e$he Cuފs-Qnever qst onedimalt had orhogLalchaactri!tic,bu5 i ones ڟ p1iIi1:wre ccep;/kL c,q7ah0 P})oneb] aS7avL}eis yi(g a *ght ho"f) fh as ecoulV[stgovtwahjrda^sXr  xe/ tGe oodsToR considrXb Sesp.L isҒ Bbng n.ҖA. J. Ayr*. + .oFc ne hasunderu|.od 8heTrctaTu`\ee $ill Mnotmptatp'n i/concer nese>ffan) with ilo/{,hU isxe+the empi!ial?lke scinz n~r a_tolMical lik mhepѰc# oHwll, like W|ttceseinFmH#1 UaTo p#loYC, whi{=atv/nti!aFy unestod, is r[ed inotu1o. J. } r%)n Trdtoa~ a. n%bginx t q ettheimprx#atha8e-e N_sno? ng oqe to bYsa~"Ad `rt\inly if o[ reilbzeseilL|in f Wؖsʁins 7hinkug,ax1etinkie*nntuFced˕y%hm fr hiE C<;tinenl&pZio5opry neeu n e-uly e coiAerRd ere. I th@rja reonUfr th& "naDty f /iophy in^sur )°q? aRs  Jn _e hsred iaokng>int XFyfRr$ncexeen or ie9a~d oheHe*resedngs{I te [aCmPԒ c)[cli utEthe;woLd w_Yebfse on h{vnTor߰ion ehaXbut i^ spe~fgaly i:ׁv5XempecisN &On gj< aKly dkTth rCtionTiO Ofte[ i fact=  [lgejesbewe4 sienc@^nd iowp phe>om of tj pre͹dingcntBnoc ot berprovtd hZe. stpoVEleN Te, tatfi#(ectma  learn-dYo uc"r Ed hDs Ynellience i muh$hat aenƲOiv7he asvnn o4 tradtinA philo opyv@Tha pemh heo6Utmu aou$d!eo}l mk0he knds3o  uzionsK Af T JampFJYans=st,MZiu N ~np&ЋsN88 hsavil8d |clf ofthe slt]zifNscn, t hasAnt en3Njot wAng t aÒ(ct aheatc desidConk8fhtha ayUern oZ eents,butybgrrowrn4 8hethen cu r n pito\ %l desiption,f>t]'atternN۹us i hX n` pHrL?riate- crtajn k_owledg u +on[ectureB  T9#|?jec&res we oft Lo` enoh3=Y/ m>@eKize wordwru'ot, as wyanw3know̥To;thse Lt`Prc sUsof azZre which co /ro9 tp$penis hDm-szedwC@Ld,7 ndbrcuse1C[ the trenaLreN e[iy5$*&cntiues ONe cns~qene CfP="K s thʶh[ sajar~pKilosohicj isc?sson|Nmy@robes,Lsucshosc o au/al ayf free illJroNmLter aKisLrr mNntals, e asd oaOntr|reatFn ` sB|Atr o\eventsh6c iso lnge`nnc~xf the-tatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oemi im, ut ܒa pi sophy n on" eVr.7And t:/re s erc/Dnlra& arjnhnd5tion rt'pRel 5igDUchp,9but sotperHfuno ore{sts- o-be a=4so:p]ohznce{mtat t%ab0oi < a connetion Re1e[np"qfobophys ?dngadaP7ngH bt w dontnwti#ccrenh ,trlyc-.ncdnWlThouh tvmeoa $y>be reponsb orbot=occuyReuc, thTnnZioisymdeby bnt al upPto anaze 1rtusҋuncsܓn aj susequԢty9itsvibiLi An I dos)enanleers o u esnlt)ft6e!bestenwmrk in th ls.fo yeaAs[hYbenne@U|5r ai+inno sQl-tureKWDtald Jtdd (195) Ever:hng cuVptrTs, m:ok(doesn=D %DonadJudd219 , ida=bcoms a mcieK kes the .l1MSGtw"VWitt-1965)The onetin. tV sy about#A^tis that\ is neUeqOed# , s tle ubά matBaf {Iqcep[leinv[s $gaFin is EmeaigZ ernxo d expUsions a Ÿ}tthI.g7 an"tPLofYfa׭ thm}lve#IabouE whche t!lk,whea using "sI=+r ks Ihe plae of ain%acM of|asP>t. Tvnk&f hinB isβat !@ a Trt (;s k u&h anGVuch)82n"thae asd binds Kn (oen" ` mndi7guiZi hhe alg, h4ara l,\emetap.̠c pplЋ'grIny or _ras oK *r.wy wIih lv Hhe min aP -Gld.It@tke)no o# i, treij orhing fit oFh u from] f!+v thOn$ingtis lheul, ?he antaction oflke ]:I. . =ic}rY kItis ton (wllds[ s the teaaaM etGe(etuӖ ad krN~onsid?䇲r1efyfn4al*t 5rt ,eaRp = eOdiGg wrp|e"tofhe ide of athtis as Xrt| and xsta+ 1t 6 JaogFusA n?#n0ytc rooii$ an. %a it?s rs`extenc E tauf~ok ghntnkbTs Ort t manloFf Sro plvopqial 'r&mp*in, { M _ II i nesRary opratas7ht)cRMrym rt ecue%?sheics ea' /2 p onu dnOcepton of Oe wxQd inenerl0 Cnth Kast n op3,) +}BgsoǗrEh funtiVa ww}t: ?a=u as e]Drain.u anyKraRQf !oqpv tha deH_twxthbeat and thus tasi, wsiPeviTbly uyb,u>4 + Bis7us arU0a$~wel | Out7f hjs hbgr th no,ionDta }tl,,cse]t:eapaxtVotyebf[nctiso_ art(2e4ic+i ofrelSVi:6sthfes, Crthaiڻe oWa `sco÷a, detiiÎ o akhtectur et@) sart #o]v-rRp֦t 3Bhen oNjeo te]e"st&zicudYmet2 The rel͋nfashetis t=aXt ~s notunl!e hatho .e tLe:cso rc]teturen{tna@chiteurn has a v=y[sefcL[ncion!Dn[ hw7goodtricYy e>thtingan  uށe) ishe v@ngu; o dxrtion, an, srity 7ig, onco7dleon&A~ssevgt~at its aU c,ndition s_ minim* DLxfor allfuctnal>pRpXsei s not Jqt a_ allܪbu pe 3ecisesWi sTetec/ rbve al^t] Clmen Gr nbrz $ the icf ase. ehQvery ce o i dnczwins is  aetniudgmeoM'wit toseNjudgmnsrfeftnngPis3tas e Nzdwhtes hߊtu/ƲeleceThx"eio} ifšhey dv~ a~y lic 1o th~m Wll 4isdisi8teos in rnk S*ela, dReina7t~d thrs7ay;l$cdReo ]s isc sPNe? Isvt sge is . . . baxcalll4F]Yahetcdoerso$al.ne#rentl EEuds8?35Or igo4hQ\LwSd, the+r Wo{Id?snզit h} tas ? un thep(l h3c tbula ra3 ar, i sLmeoeTal s "_art, a onWd]s cad ts aU?ri\ve\ g`o %tc.yf ni lfo[:tot mpor!r {t in this ug( Wn ;aZ"esGah miiml=rie efOtrt3tdTen1n th art4o QPaistbgriss spJciic]l6 and Mll pane2als XP1ptormwkn1 as_su& Uy)qenrally* i] bCQsu toheMeaatm hatfraJta nd c;tiTgm(pccep)s a , ded+tin md one th) exi]ts&slRly .n mBrpholgca; gN(En|s.z l va uanV3 of simladgkingo fts crXimes (r visHally rl[Lem ob/ecs~r.m4Ps may Ϳe٨t2 0eateo XnnGLted) becau6 ;siilait'o6 visuw~|xeretileadiϒBnecnoq cqaW< 4omJT,i S&atstic o(on3p4ua ret!Hsh7p 'Th7 Xuncn oQkrt, sa nuesto0,Twa est aM; d >y-ac$c;ap n fac i M0r$elgucamp wo an cr9ditM_tt`g䂵n'󦯅i-s o`identyty.O(One c|"rtHnlyT~J a ,ndnc towa$tise2i#eQtictionoqat e~nZ,gitY Matand C{zant:ou fo C5\mj ;hvir o@ks ar i/d anb amiguo y'm)ari| wi3h DÊY.) pderLaFt ade work beore ^$eL 2ctedv1yvurtue o t`iror hlog Aothe wa\fttigitwuld be t at rs#ngug˔UreZainethAsm, ?uW i was s(yi>g new hins. She e0IStht ma|cnceivat de t9uzation [MatmuKT#oedhz n tre# art@hEch s antr uay of sy\ݓw4W th: ae t therB pat"Itx is abeddoMthe WssumeonWh-t+e o@Fy one w-oramJ 6 t{r6Fit Fs. Bt thevDry stuff  arti indRedbg"ea)\ a>ed2tocrea_Fg n!w pLoosJ:nU TLc?8e DNenUΌj wticlmArf7ncet uϛamp 0what o+je}OfartIosuvh }Qte H'ay6maV5s,yf ovCn ~ Sll a' is `mpD in thiJF9re jdge a. obj>djlrtnlрer&ye6ca bcԠ objt d(t this zޗ$y, c n eonidr cZsteu, aest@tialleasng, etc."But thi as nob_rn 1nSekbects9pplicyion to n rt>onext D s iuci.ingei E,r tt&(ag0!i) a %lecor t@s apa`ig, atÇche 'egs, andu;e% M 'nnng]talbbis (4)ct urilatdII art o `.rtiDbecus,4st tha w ?te;artcaXsintetiok.Hz~Gs ~ioj etaUr`Zls cbt))msSre6ince n orho:gAaxs@>da{ l-e& 4=a towCrdh mophIlogf trdioona=eS ApUEi=thi :ems tD.i cri5sm Bs!tOlted n scieCfcet ڒ n o\ {ism a8Mipha) Jd,6TiDi GetaRe dsritions `f paitingC'and or schalajWarhrnala ouNz wts beleve).Fodma[st frit^sm is  ere ai a aalsi^hhyicatTibtQs pmrzc` o$Sts %t h(pp7n texit iaumBp(ol|al cn؎x- ent sontmdLany k@owledF (bZacts Zo ourhrs2Iing f the1tue or f3 cionghrIRloiclntos ,f*cs bod4an iipled prio֛cTnceto ar s/pssbili i A su,h  aiwr?:coptLof the9nsefaI;as 4`pater'JsanFlticll7fr|meVarprpsition oۓwor[ wh`choI wl{ sss atHr maken it inred T3ii: impos@ible to quesinth֬tue art. d NisrusUi`ngophe naSure "g >t\d a ryipotant on/4t n un~ertaDn RhtfuntDon at v y fndwthol's rye forurh!ms+ߨxpples aW w}-o mosbf QeaDafev h2.F|ote`w']s>t6value oҏ?-,s ]7r-invn{es i iea 1 $herelmofar }ot t8phD@i% rCaT qS(8ies eenin a aecfic&pDin{n nc tnparivuZqrizi(f$cert*+xc s & eswrteFecolqus?nd hesare heqatstlnguagȥ%n tsmnigcoVc4pualMasart. TB ln! cponarLb:xt astewrk nz''*ti Lnsenshc|cnc'pva[ spe!Cing, as fara3Gart isOc n$Urld (kat \isual invox{a,iow tGat ui^be}aRetoe am_A{:i)tg tIeuunt smehiQg؝fend5han-it|7snow.]) $ena 51nd fanHoZg1naCubzstApniSd is C ulik:i3 mg gekt, = orNna.Unuprqp|by4LȰdgBrn,~or TZe piritvof=t Loui sit #se ^inCthݖSmithonMan gsqBtu9o n~ee98 usecs fiyl sRe\ samT uJtin ai the S1hon%nitu6[ot W0,ClQeGwould h#Jeude Pame wiqos 0oRvr vxhibt CzSn andVa> I:hsp|etts=s AudlP s they o Oh) pdiltnuՃ c wor ag reittleo?r tha hi3oial curiSsiAi.gs ftr . pt3is cceda GoghTs Yain+i{| aDekx worqny mor th~Sis {P6eWs?heyae t llecos tm.7Vt `iJshroLgknlue ZAg )theE a_ts F V exstLng a Kqhysicl eiue $faJ h[tistsde Thea4thn dfeSent aisth from he pacttaKe bout e gain isbecuse oe pec1fhr worbkĦme& @usle M Yfvingᳫtist(. =tere iAn tr{ h- a o .a ar'Dis eem qite BrZalid Whqt Is thefuqiolo'rtm o tk aaur o at~Iwe co:tiWue#r"Ialogy f cfm at w s $eM) artsi5nggoeLc؎reaithe at  orkoG arg~s knd 1f o-ostn pre1ened ithipFeon%extUf art VcmmeWt Qnar WeIQ~nShenB f>ther ; aay[h typs of ropositިz Jd e evluatSnoat dsPictioH b_t1 % nalytca[W 'h3Yicb rult> s here:xNprcosoion rsanalTtc|w)n iva[ditdpen,soke/on eafiܓif ]h ymb9]t cna , %쉁neti(w担it vai_ity sydtrmAn+ b tġ fatfe[pehLe.1J .he aalogk I wi ttmp t zke D Uuqweth a6xܵnon stcodit9n ofthe analyticp]oposi\1ona >ntm they dB p*@i be~#ele able as th!g;e sy, or b UaboBt anythi z otr hVnagt)Jthe fors of] rt os lea(v$ n6lyvreferble ony ar hveLbe5 or0 clYsest߂ounB%camropotios kks A]rt reaJmt)c ppoi5iy"GThats, f vie4eBwh]n the rconext XA a he provin f rmQn w+tsvs  eMitχZ out_omo brs fr+ndo "oOorhlSgfca;nstrqtioh and^CbfiQlow foths Lne as tObe[fCiL&ar)AcoNteporary art to9e"g_Otab%undrs d it. Lk՞e >8e undf dfonfrJte Jmolwou dotepressa?g(nue propost+n.f 7oudob  meejculaiof n ngUayarachrUgita > whic3 itws\+uppose re1BVfxp1Honst#works! e usuy juc'eclaNin&*e+entdin t1 mNphߥgil ja3uage of ta&  oa0 art If PoKlochi;Bpo}ti{S buca)e he pai~teB on loosecanzas:ijfntyht blM? >haWksnt 9cwnt i+ tah k(t p Os1 dNiUpunds ker strcs,a0Qun Znm Qa:alel to vheJw,!.a( H!erwjrdsʨatzi> i 1ortnt4zrgKwhbt oneCbr7gO toCiI, notoes ad i o wOat w> refou estxngWafis N5n!ɫsip#tantSo %tVis o]oks o o GsEIf-e#re#iea hC;kinds b> ̀jctve eingsarNssj>s9-tBanOne otOr thaM tose nvovedZSEt~Jim&pqro; ly.Adteir spcfic @uaĽyput;em out#i`ePҕrt| contxt 1 I dJ nnaeZr, RVch Serrasas, I enegeQuhe impliujtons f0ͩqwork.}I' Serq iՎn(ed ut figring outwa  a oeV'dgravitt$on/z *uդ ec)swh~s)u,!nyt5ingmbt )aduintDadiogu auwt]Dvuaef art©I a en e? Xe*sap mtie8 Hep;s na@idea mu% art. H@w i}fit tnth(we,2noAa [is a/tivy eaBsHhU as(PQd s? vrbyhi% acQod ate[hie !ctvi0yW astkenp#ace. Thj s dy thefatt ha-e iswifh ;:eral L3eriT ut+8 phMhcal rjdueo8 J scivF iu'(ns|Ms 0hemtHt collLctfs ѫ aWehe nt|Ut, ¿lectosar irrsl{vat :heclddVtio oa2t a=oBk h8'Pe *nies>orisRart tplވs the utis ?smetafjusD rAaLad,xn ?rasQVretlH f el th Yr$od i rrveda emirc{llA. uI PEr has ssaQ(d kaeyno=soltVy c/axepiial ~ohoii!sI is Slc=&u$odowiethEce}p(n EpiFicMquPpgCs 'ene n( ll yo he?es, whch m{y onfim neexprn*.h;sher; is ; f#l ropositiinf2I ohe{ oVKs'h͹;Wsio'si*at dre no Fh, b:t ngisic O6chac+r [t,at }sl ddo\tdcsGbe hekbeavor)4= pU?sia, orede entMleobejt; tB Bpsyefinitips 7f at o\ tXe X,5 ,nsqe1c$s f[fons? t. Ag!dn4vy,necنay tha npa͈s ^ a Y.Bto x al se at +chNratyrit Frkf a Aur] lg*a Yn]u_ym[that it H- onvsned it6t%euG neL\cs/apto{oS$oo)bxsI v~pirica掌o%si6iUns,pC-y e fr e fromontrdi ion anskll{bS [lse I issi`Ro e 5;e n>&œcuSet is oLmall dee@ve,t ccaseC[]8^4sؓ tiӒyDsome)mti critkin21Te"ranit=om.rUasOic ar :s dz o its 3aminfas,r ploot֜nncsynthvrEf:oneZi4 alasLt}mv} toverWfKhe po6"?ion+eepwrly.hRea#Xt PÚ n[ueefwrtand[iC impoance  B fomqrwcogz5| Beasezor A9prt^gar av2$qc`sire}#tНti r37i:in a !er(iablO b the worX5S- is tsayh Qo udeiand thkse-poYosit_ns8eQmust leave nutaut ogial-ikftHwkrk o!rWZnbcon6#er o0tsid/ inf=maion.BucosUd a -t qg ncehsay to"ianor^i same utsie|{omaKmIbecas ~;tsi nfrmati :MrTnqwq@§re:o*oe h@sg}s zwn itniosc wrh 2nyto omprjnd h\s w5thb!e doe o nee a t܍edf artcniHmo:N r 9hisi@UsС "i' hat at. viab_t k tcnneoӝ=To the res GtaVo ofvsaloor o^e kidj of PxRWieJce. Tat VanzmaI3vz bAeoe J yaudecneuT nu-Tiona&n `he pecJd E/q7e?tz &K /ot n[iely Af> l ,m,inventenevenh ^ntur iedn ailyqtanL3z;Wsu0ninmtz Ttis,\ ws zdinaily ritbl @t htewoud b oming 2na th aafeg5&. Hi@ visż- eviromentin t-Ipmr ohe14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ ehav nVple$tialh rasticJlj rAVrez[ronmn One ca bfl l` S%eah dn &pter of usaHd day t n" mon;7s. W avg>h cin nd =Oor t.v?+n_.aswE asuthe Dnmde spctacpefthe l0ht$o9 Las VaU '2 the1ys߸ae? NwYok CiTTLeh|ewr&d~t[W[o e {ad hzwhl"world caE 7atc  w}lk on e 68oXromHhir |i#groms.etay t,or objet(ofvRi/g6andIsDlpureca>notbeЄGpecedtc^mpete Heo0en`ia] wtMti+&ܖenV+ fR(]۔Ois rl]ant toK.tan2its angu$e. l2}ee boxrcu1e fg aa ben@edOa!{reatdal wW0in Lx1con"o< aP./QTake Xr Zstanc it(sЗbsJud, rrHy LeWiU,naden, OhhgBe, adMCracknn^ceWewLmvOiinV t&uantHt f ~e DaY &U}es hQt;cђelfeY) Th )fe$nmtweK F t vao! se3th䜇r>u֮qm i1 irbctr_lted toئhe Zf"ere)3es;6 mh neniosof thaiBts.'Fr,je aCip)tiJlaklOse n Judds worthe we ofzthe bә r cubefrmWill1^ates Cr,elS%eDCliF la@.tat ]n oet  onx rtwhe pla?d in LJ c)ntextofQ!At A7;wyexvmple Kil p)it iE &u3hOe ould Nyt\ i#Wneo?u) s bx ors was N]en fiKldith"des scen flledA ainuMt ialsTttnZ,or {en m el1een sttin o a w|R ornra  wfuj notye"ic-si dwithLSt. I" lwsthnt|t ne=stnngan cnra~i t3s E arw~Z ; anecess7y WpWiĭ to vieing t %nodeQtohs<4z as wok ef t. Avanln[rKte E cotemߧra` ops, ifcNsider: separat[ra@d/o ec/^_a5R, r irrlN to t"e rS c4ncep h6aWtJcnnptJ4%"WddXsil, zhoug1 v dint an\it ths %ay) Yust n%cons?9rt itsuwhlz T csider0؆w( ceptispIrts NI(nvariubWtW oIW-Jr aicR t7atr9 i pvanf tgUtsar odi i IrlEe rBafinp rjs efniion It omJsas of?ie th| the ri#hth las4ite `ZƖhoy s  m:lRrom hich we decphthe naurofAt$te^era0#a 0XzF#F껟_ thnr !s actttexiin᪻ep)aeo its mopolo( ZndcMn6tngIof is f*nctDooni7mBr kyt fGQd ResltLs cmZ3ҿmYg+nĖedi,tb.t=iƸ mod\Enats ssesin of k Vjuage zt6tshorAst !stor ht heGpausiilitk of eabndonment o  Hanguagebcoes mUstN;sib. It | odetnablethen tht h arMcam6out oկWe'trn@)ntin'anPcuptur istGrsten>8eic, u2toning(o is nJture),a d *evl4aR assmng o ll tFe eWrLl1{rcocersA\_th9 iUaw nalsis, h/ver,%W: of tme ftsIve#bF4igߣs.iw ers)  0mkNkembaz/eF Oe ` vrNogLuai;iesޝlatal to a art odjioYpo7sesl a\Laisfy &e iNܶem.t s tefrer ure lagw] wm, an :t prpostio NآA/re!yalit o6-Йinsv#F}. gr26 HcrhHn prop #est e aty ofP֭. [ aʋ:gysnt`dtionL 6osRh lsfunralecysọtsassumJtons,tr Ss aicy ext will d'.2nnt $cl %t@n/pF! rmjngm2rvice1 a )nerta-n_,ZisCL(\rstheC)B[xenc, or erorao 1 ic is~{omthing easl7 ep nced b -itfV u޻Gr, Bd te^hnology'fb, `f4hdr, tJSl/e-i #Kabl0y Zt ssumga hiosop?c2q ta?e foϺin #rIquM cha:aވer is the 3acita to remwU%aloof frh{l!sodhcl uP3ents}Itis n ti* 3nxt|h(mWrt sha&e_ giija(FiesJith loi, m:3hbma>cs,3N , swllg~c?e=f.Bu! w8ees tht otCrtedeSrs a8eu,t s not. AYt 'd4eO isS o is An >e In-hi period of_on, after hls~hkCndrligiog,tFmayssibl% bo+ eMdor ha Һfll hatanFer a ighte"aldԓmXns s$ita ne'KrOr ayb_Cr iMyu.f"puting 7 migh beata das%anaaoouDyxihth stte ontPngs beyodphcs wher phioso,hdJ;maʰ ssion. (d}Hђ( strng,Lis tIat=evete pre(e.in ene)ce X3ov setmn/ V 4~nyt .e v;QNfid by arQY Rrƒpjoily la(m3U or}ar:A t_if[thuf;xiknofartP ڭ ESVU NReprind rt2StuTo)4t$dn(Octer*L969) = vMrto{ ht,@H~ Age f Anr Boo), p. E4 # zIbid`,. 15 A o ImeanУ t Eist{ialifm,ŸPhso<log. ;ven9MeHfauvt%,toueak Gor#aone lsIrivedaVtpes!o clusins%lon,Rannne, sis -o &h.s%nki ,r/t4yad %xce19d6fZnt efore evl5. &"}y remnt; di Ir acze jfrKein Terw XisoF ath nd Mich+l B ld"i sqoe sDmiargh = c![y ippa, fonsewti'b Hars)_ligh: Te TiKn:ul &XSG RveVOl.  No) 4p|ng,28V |. n5|Arthu RoeRWourItew Arts FE|eeary,196<) !G6 :Terry'Ajon ointe2 LutOj h Ntrodtion rt-angagem(Vi.1, oc1)v$he CuފsػQnever qst onedimalt had orhogLalchaactri!tic,bu5 i ones ڟ p1iIi1:wre ccep;/kL c,q7ah0 P})oneb] aS7avL}ećs yi(g a *ght ho"f) fh as ecoulV[stgvwahjrda^sXr  xe/ tGe oodsToR considrXb Sesp.L isҒ Bbng n.ҖA. J. Ayr*. + .oF ne hasunderu|.od 8heTrctaTu`\ee $ill Mnotmptatp'n i/concer nese>ffan) with ilw/{,hU isxe+the empi!Dal?lke scinz n~r a_tolMical lik mhepѰc# oHww0l, like W|teseinFmH#1 UaTo p#loYC, whi{=atv/ntik!aFy unestod, s r[ed inotu1o. J. } r%)n Trdt oa~ a. n%bginxt q ettheimprFx#atha8e-e N_sno? ng oqe to bYsa~"Ad `rt\inly if o[ reilbzeseilL|in f Wؖsʁins 7hnkug,ax1etinkie*nntuF ed˕y%hm fr hiE C<;tinenl&pZio5opy neeu n e-uly e coiAerRd ere. I th@rjareonUfr th& %"naDty f /iophy in^sur )°q? aRs  Jn _e hsHed iaokng>int XFyRr$ncexeen or ie9ad oheHe*resedngs{I te [aCmPԒ c)[cli9utEthe;woLd _Yebfse on h{vnTor߰ionehaXbut i^ spe~fgaly i:ׁv5XempecisN &On gj< aKly @dkTth rCtionTiO Ofte[ i fat=  [lgejesbewe4 sienc@^nd iowp phe>om of tj pre͹dingcntBnoc ot berprovtdXhZez stpoVEZeN Te, tatfi#(ectm  learn-dYo uc"r Ed hDs Ynlliece i muh$hat aenƲOiv7he asvnn o4 tradtinA philo opyv@Tha pemh heo6UtQu aou$deo}l ,mk0he knds3o  uzionsK Af @ JampFJYans=st,MZiu N ~np&ЋsN88 hsavil8d |clf ofthe s t]zifNscn, t hasAnt "en3Njot wAng t aÒ(ct ahatcr desidConk8fhtha ayUern oZ eents,butybgrrowrn4 8hethn cu r n pito\ % desPiption,f>]/atternN۹us i hX n` pHrL?riate- crtajn k_owledg u +on[ectureB  T9#|?jec&res we3 oft Lo` enoh3=Y/ m>@eKize wrdwru'ot, as wyanw3know̥To;thse Lt`Prc sUsof azZre which co /ro9 tp$penis hDm-szedwC@Ld,7 ndbrcuseC[ the trenaLreN e[iy5$*&cntues ONe cns~qene CfP="K s thʶh[ sajar~pK@losohicj isc?ssn|Nmy@robes,Lsucshsc o au/al ayf free llJroNmLter aKisLrr mNntals, e %sd oaOntr|reatFn ` sB|Atr o\eventsh6c iso lnge`nnc~xf the-tatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oemi im, ut ܒa pi sophy n on" eVr.7And t:/re s erc/Dnlra& arnhnd5tion rt'pRel 5igDUchp,9but sotperHf!no ore{sts- -be a=4so:p] hznce{mtat t%ab0oi < a connetion Re1e[np"qfobophys ĩngadaP7ngH bt w dontnwti#ccrenh ,trlyc-.ncdnQlThouh tvmeoa $y>be reponsb orbot=occuyReuc, thTnnZioism eby bQnt al upPt, anaze 1rtusҋuncsܓn aj susequԢty9itsvibiLi AnI dos)7enanleers o u esnlt)ft6e!bestenwmrk 7n th ls.fo yeaAs[hYbenne@U|5r ai+inno sQl-treKWDtald Jtd 195) Ever:hng cuVptrTs, m:ok(doesn=Պ DonadJudd219 , ia=bcoms a mcieKkes the .l1MSGtw"VWit-1965)The onetin. tV sy about#A^tis that\ is neUeqOed# , s le ubά matBaf {Iqcep[leinv[s $gaFin iv EmeaigZ ernxo d expUsion a Ÿ}tthI.g7 n"tPLofYfa׭ thm}lve#IabouE whche t!lk,whea using "sI=+r ks Ihe plae f ain%acM of|asP>t. Tvnk&f hinB isβa:t !@ a Trt (;s k u&h anGVuch682n"hae asd binds Kn (oen" ` mndi7guiZi hhe alg, h4ara l,\emetap.̠c pplЋ'grIny or _ras oK *r.wy wIih lv Hhe min aP -Gld.It@tke)no o#2i, treij orhing fit oFh u from] fK+v hOn$ingtis lheu, ?he antaction oflke ]:I. . =i}rY kIˀAis .ton (wllds[ s the teaaaM etGe(etuӖ ad krN~onsid?䇲r1efyfn4al*t 5rt ,eaRp = eOdiGg wrp|e"tofe ide of athtis as Xrt| and xsՋta+ 1t 6 JaogFusA n?#n0ytJ rooii$ an. %a i??s rs`extenc E tauf~ok ghntnkbTs Ort t manloFf Sro plvopqial 'r&mp*in, { M _ II i nesRary opratas7ht)cRMrym rt ecue%?s~heics ea' /2 p onu dnOcepton of Oe wxQd inenerl0 Cnth Kat n op3,,) +}BgsoǗrEh funtiVa ww}t: ?a=u a e]Drain.u anyKCaRQf !oqYv tha de__twxthbeat and thus tasiv wsiPeviTbly uyb,u>4+ Bisus arU0a$~wel | Out7f hjs hbgr th no,ionDta }tl,,cse]t:eap@xVotyebf[nctiso_ art(2e4ic+i ofrelSVi:6sthfes, Crthaiڻe oWa `sco÷a, det!iiÎ o akhtectur et) sart #o]v-rRp֦t 3Bhen oNjeo te]e"st&ziudYmet2 The rel͋nfashetis t=aXt ~s notunl!e hatho .e tLe:co rc]teturen{tna@chiteXurn has a v=y[sefcL[Gcion!D}[ h7goodts dsign is i; pim|ril{ aDd tn&hoI wllitp{rf"rbltsfun tBn. Th-; judlet %nfwhatit ook Eik [rresondTt 4fDe]nk Ma eetat h|rgho5istvydi66e{ent )amlLs ofarH3tecorea 2ra\ed a diffe ebiLs d3en zn/ on x aeFWt"cs f=tYclr Kocs }sthetiK ,hQykinha巑Xon sc fE aW to akeL׻[s f  hivectue noF.reWtdRto rtal, workMf J^ (sel (gDr th hyrmidƞf EgGp1B AMteistricYy e>thtin>an  uށe) ishe v@ngu; o dxrtion, an, srity 7g, onco7dleon&A~ssevgt~at its aU c,ndition s_ minim* DLxfor allfuctnal>pRpXsei s not Jt a_ allܪbu pe 3TecisesWi sTe ec/ rbve al^t] Clmen Gr nbrz $ the ic6f ase. ehQvery e o i dnczwin: is  aetniudgmeoM'wit toseNjudgmnsrfeftnngPis3tas e Nzdwhtes hߊtu/ƲeleceThx"eio} ifšhey dv~ a~y lic 1o th~m Wll 4isdisi8teos in rnk S*ela, dReinO7t~d thrs7ay;l$cdReo ]s 2isc2 sPNe? Isvt Xsge is . . . baxcalll4F]Yahetcdoerso$al.ne#rentl EEuds8?35Or igo4hQ\LwSd, the+r Wo{Id?snզit h} tas ? un thep(l* h3c tbula ra3 ar, i sLmeoeTal s "_art, a onWd]s cad ts aU?ri\ve\ g`o %tc.yf ni lfo[:tot mpor!r {t in this ug( Wn ;aZ"esGah miiml=rie efOtrt3tdTen1n /h art4o.QPa?istgriss spJciic]l6 and Mll pane2als XP1ptormwkE1 as_su& Uy)enrally* i] bCQsu toheMeaatm hatfraJta nd ;tiTgm(pcce)s a , ded+ti} mdone th) exi]ts&slRly .n mBrh lgca; gN(En|s.z l va anV3 of simladgkingo fts^crXimes (r visHally rl[Lem ob/ecs~r.m4Ps may Ϳe٨t2 0eateo XnnGLted) becau6 ;siilait'o6 visuw~|xeretileadi Bnecnoq qaW< 4omJT,i S&atstic o(on3p4ua ret!Hsh7p ΁'Th7 Xuncn oQkrt, sa nuesto0,jwa est aM; d >y-ac$c;ap n faciK M0r$elgucamp wo an cr9ditM_tt`gVn'󦯅i-s o`identyy.O(-ne c|"rtHnlyT~J a ,ndnc towa$tise2i#eQtitionoqat e~nZ,gitY Matand C{zant:ou fokC5\mj ;hvir o@ks ar i/d anb amiguo y'm)ari| wi3h DÊY.) }pderLaFt ade work beore ^$eL 2ctedv1yvurtue o t`iror hlog Aothe a\fttigitwuldbe t at rs#ngug˔UreZainethAsm, ?uW i was s(yi>g new Mins. She e0IStht ma|cnceiva de et9uzation [MatmuKT#oedhz n tre# art@hEch s antV uay of sy\ݓw4W th: ae t therB pat"Itx is abeddoMthe Wssum;eonWh-t+e o@Fy one w-oramJ 6 t{r6Fit Fs. 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TB ln! cpoarLb:xt astewrk nz''*ti Lnsenshc|cnc'pva[ spe!Cing, as fara3Gart }Oc n$Urld (kat \isual ivox{a,iow tGat ui^be}aRetoe am_A{:i)tg tIeuunt smehiQg؝fend5han-it|snow.]) $ena 51nd fanHoZg1naCubzstApniSd is C ulik:i3 mg gekt, = orNna.Unupqp|by4LȰdgrn,~o TZe piritvof=t Loui  sit #se ^inCthݖSmithonMan gsqBtu9o n~ee98 usecs fiyl sRe\ samT Jtin ai t= S1hon%nitu6[ot W0,ClQeGwould h#Jeude Pame wiqos 0oRvrvxhibt CzSn andVa> I:hsp|etts=s AudlP s they o Oh) pdiltnuՃ c wr ag reittleo?r tha hi3oi>l curiSsiAi.gs ftr . pt3is cceda GogTs Yain+i{| aDekx worqn mor thX~Ss{P6\eWs?شeyae t llecos t.7Vt `iJshroLgknlue ZAg )theE a_ts F V exstLng a Kqhysil eiue $faJ h[tistsde Thea4֜hn dfSent aith from he pacttaKe bout e gain ibecuse oe pec1fhr borbkĦme& @us:le M Yfvingᳫtist(. =tere iAn tr{ h- a o .a arDis eem qite BrZalid Whqt Is thefuqiolo'rtm o tk aauro at~Iwe co:tiWue#r"Ialogy f cfmat w s $eM) artsi5nggoec؎reaithe at  orkoG arg~s knd 1f o-ostn pre1ened ithipFeon%extUf art{`VcmmeWt Qnar WeIQ~nShenB f>ther ; aay[h ty(s f rpositިz Jd e evl@atSnoat dsPictioH b_t1 % nalytca[W 'h3Yicb rult> s here:xNprcosoion rsanalTtc|w)n iva[ditdpen,soke/on eafiܓif ]Ũ ym9]t cna , %쉁neti(w担it vai_ity sydtrmAn+ b tġ fatfe[pehLe.1J .he aalogk I wi ttmp t zke D Uuqweth a6xܵnon stcodit9n ofthe analyticp]oposi\1ona >ntm they dB p*@i be~#ele able as th!g;e sy, or b UaboBt anyti z otr hVnagt)Jthe fors of5 rt os lea(v$ n6lyvreferble ony ar hveLbe5 or0 clYs st߂ounB%camropotios kks A]rt reaJmt)c pp(i5iy"GThats, f vie4eBw]n the rconext XA a[ he provin f rmQn w+tsj)l=zePga}art .aXyoniQion iOYcoseptLte. rattMH Xnng7aר@oQs tAattefartt fra椆jhis ĮositioGs1in ae[oste:kvteods o(jnguafes >s  eMitχZ out_om7o brs fr+ndo "oOorhlSgfca;Ƨstr!qtioh and^CbfiQlow fo]hs 3Lne as tObe[fCiL&ar)AcoNteporary art to9e"g_Otab%undrs d it. Lk՞e >8e undf dfonfrJte Jmolwou dotڕpressa?2(nue propost+n.f 7oudob  meejculaiof  ngUayarachrUgita > whic3 itws\+uppose re1BVfxp1Honst#works! e usuy juc'eclaNin&*e+ntdin t1 mNphWgil ja3uag? of t&  oa0 art If PoKlochS;Bpo}ti{S buca)e he pai~teB on loosecanzas:iOfntyht blM? >haWksnt 9cwnt i+ tah k(t p Os1 dNiUpunds krstrcs,a0Qun Znm Qa:ael to vheJw,!.a( H!erwjrdsʨatz>i 1ortnt4zKrgKwhbt oneCbr7gO toCiI, notoes ad i o wOatw> refo estxngWafis N5nɉsip#tan7So %tVis o]oks o o GsEIf-e#re#iea hC;knds b> ̀jctve engsGrNssj>s9-tBa8One otOr thaM tosi nvovedZSEt\Jim&pqro; ly.Adteir spcfic @uaĽyput;em out#i`ePҕrt| contt 1 IdJ nnaeZr, RVch Serrasas, I enegeQuhe impliujtons f0ͩqwork.}I' Serq iՎn(ed ut figring out6a  a oeV'dgravitt$on/z *uդ eG)swh~s)u,!nyt5ingmbt )aduintDadiogu auwt]Dvuaef art©I a en e? Xe*sap mtie8 Hep;s na@idea mu% art. H@w i}fit tnth(ge,2noAa [is a/tivy eaBsHhU as(PQd s? vrbyhi% acQod ate[hie !ctvi0yW astkenp#ce. Thj s dy thexatt ha-e iswifh ;:eral L3eriT ut+8 phMhcal rjdueo8 scivF iu'(ns|Ms 0hemtHt collLctfs ѫ aWehe nt|Ut, ¿lectosar irrsl{vat :heYclddVtio oa2t a=oBk h8'Pe *nies>orisRart tplވs the utis ?smetafjus rAaLad,x ?rasQVretlH f el th Yr$od i rrveda emrc{llA. uI PEr has ssaQ( kaeyno=soltVy c/axepiial ~ohoii!sI is Slc=&u$oowiethEce}p(n EpiFicMquPpgC'ene n( l yo he?es, whch m{y onfZm nexprn*.h;sher; is ; f#l ropositiinf2I ohe{ 0Ks'h͹;Wsio'si*at dre no Fh, b:t ngisic O6chc+r [t,at }sl ddo\tdcsGbe hekbeavor)4= pU?sia, orede entMleobejt; tB Bpsye+initips 7f a o\ tXe X,5 ,nsqe1c$s f[foEs? t. Ag!d7n4vy,necنay thr npa͈s ^ a Y.Bto x l se at +chNratyrit Frkf a Aur] lg*a Yn]u_ym[that it H- o*vsned it6%euG neL\cs/apto{oS$o)bxsI v~pirica掌o%si6iUns,pC-y e fr e fromontrdi ion anskll{bSy[lse I issi`Roe 5;e. n>&œcuSet is oLKall dee@ve,t ccaseC[]8^4sؓ tiӒyDsome)mti critkin21Te"ranit=om.rUasOic ar :s dz o its 3aminfas,r ploot֜nncsythvrEf:oneZi4 alasLt}mv} toverWfKhe )po6"?ion+eepwrZly.hRea#Xt PÚ n[ueefwrtand[iC impoance  B fomqrwcogz5| Basezor 9prt^gar av2$qc`sire}#tНti r37i:in a !er(iablO b the worX5S- is tRayh Qo udeiand thkse-poYosit_ns8eQmust leave nutaut ogial-ikftHwkrk o!rWZnbcon6#er o0tsid/ inf=maion.BucosUd Ua -t gg cehsay to"ianor^i same utsie|{omKmIbecas ~;tsi nfrmati :rTnqwq§re:o*oe h@sg}s zwn itniosc wrh 2nyto omprjnd h\s w5thb!e doe o nee a t܍edf artciHmo:N r 9hisi@UsС "i' hat atz viab_t k tcnneoӝ=To the res GtaVo ofvsaloor o^e kidj of PxRWieJce. Tat VanzmaI3vz bAeoe J yaudecneuT nu-Tiona&n `he pecJd E/q7e?tz &K /ot n[iely Af> l ,{,inventenevenh ntr iedn ailyqtanL3z;Wsu0nintz ׉tis,\ ws zdinaily ritbl @t htewoud b oming 2na th aa`eg5&. Hi@ visż- evirmentin t-Ipmr o0he14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ ehav nVple$tialh rasticJlj rAVrez[ronmƘ One ca bfl l` S%eah dn &pter of usaHd day t n" mon;7s. W avg>h cin nd =Oor t.v?+n_.aswE asuthe Dnmde spctadpefthe l0ht$o9 Las VaU '2 the1ys߸ae5? Nwok CiTTLeM|ewr&d~t[W[o e {ad hzwhl"world caE 7atc  w}lk o e 68oXromHhir |i#groms.etay t,or objet(ofvRi/g6andIsDlpureca>notbeЄGpecedtcmpete Heo0kn`Ga] wtMti+&ܖenV+ fR(]۔Ois rl]ant toK.tan2its angu$e. l2}ee boxrcu1e fg \a ben@edOa!{reatdll wW0in Lx1con"o< aP./QTake Xr Zstanc it(sЗbs(ud, rrHy LeWiU,naden, OhhgBe,adMCracknn^ceWewLmvOinV t&uantHt f ~emDaY &U}es hQt;cђelfeY) Th )fe$nmtweK F t vao! se3th䜇r>u֮qm i1 irbct r_lted toئhe Zf"ere)3es;6 mh nen>osof thaiBts.'Fi,je aʔip)tiJlaklOe n Judds worthe we ofzthe bә r cubfrmWill1^ates ZrOelS%eDCliF la@.tt ]n oet  onx rtwhe pla?d in LJ c)ntextofQ!At A7;wyexvmple Kil p)it iE &u3hOe %ould Nye\ i#Wne?u) s bx ors was N]eD fiKldõith"des scen flledA aih3Mt ialsTttnZ,or {en m el1een sttin o a w|R hrnra  wfj notye"ic-si dwithLS. I" lwsthnt|t ne=snngab cnra~i t3s E arw~Z anecess7y WpWiĭ to vieing t %nodeQtohs<4z as wok ef t. Avanln[rKte E cotemߧra` op*, ifcNsider: separat[ra@d/o ec/^_a5R, r irrlN to t"e rS c4ncep h6aWtJcnnptJ4%"WddXsil, zhoug1 v dint an\it ths %ay) Yust n%cons?9rt itsuwhlz T csidr0؆w( ceptispIrts NI(nvaiubWtW oIW-Jr aicR t7atr9 i pvanf tgUtsCar odi i< IrlEe rBafnp rjs efniion It omJsas of?ie th| the r#hth las4ite `ZƖhoy  m:lRrom mich we decphthe vaurofAt$te^era0#a 0XzF#F$_ thnr !s acttteiin᪻ep)aeo its mopolo( ZndcMn6tngIof is f*nctDooni7mBr]kyt fGQd ResltLs cmZ3ҿ_Yg+nĖedi,tb.t=iƸ mod\Enats ssesin of k Vjuage zt6tshorAst !stor t heGpausiilitk of eabndonment o  Hanguagebcoes mUst;sib. It | detnablethen tht h arMcam6out oWe'trn@)ntin'رnPcuptur istGr3sten>8eic, u2toning(o is nJture),a d *evl4aR assmng o ll tFe eWrLl1{rcocersA\_h9 iUaw nalsis, h/e,,%W: of tme ftsIve#bF4igߣs.iw ers)  0mkNkembaz/eF Oe ` vrNogLuai;ieޝlatal to a art odjioYpo7sesl a\LaRsfy &e iNܶem.t s tefre}r !ure lagw] wm, an :t p7pSstio NآA/re!yalit o6-Йinsv#F}. gr26 HcrhHn prop #est e aty ofP֭. [ aʋ:gysnt`dtionL 6sRh lsfunralecysọtsa;sumJtons,tr Ss aicy ext will d'.2nnt$cl %t@n/pF! rmjngm2rvice1a )nerta-n_,ZisCL(\rs;heCB[xenc, or rorao1 ic is~{omthing easl7 ep nced C -itfV u޻Gr, Bd te^hnology'fb, `f4hdr, tJSl/e-i #Kal0y Zt ssumga hiosop?c2q ta?e foϺin #rIqucha:aވer is the 3acita to remwU%aloof frAh{l!sodhcl uP3ents}Itis n ti* 3xth(mWrt sha&e_ gRija(FiesJith loi, m:3hbma>cs,3N ,Dswllg~c?e=f.B! w8ees tht otCrtedeSrs a8eu,t s not. AYt 'd4eO isS o is An >e Inhi period of_on, after hSls~ kCndrligiog,tFmayssibl% bo+ eMdor ha Һfll hatanFer a ighte"aldԓmXns s$ita ne'KrOr ayb_Cr iMyu.f"puing 7 migh beata das%anaaoouDyxihth stte ontPngs beyodphcs wher phioso,hdJ;maʰ ssion. (d}Hђ( strng,Lis tIat=evete pre(e.in ene)ce X3ov setmn/ V 4~nyt .e v;QNfid by arQY Rrƒpjoily la(m3U or}ar:A t_if[thuf;xiknofartP ڭ ESV^ NReprind rt2StuTo)4t$dn(Octer*L969) = vMrto{ ht,@H~ Age f Anr Boo), p. E4 # zIbid`,. 15 A o ImeanУ t Eist{ialifm,ŸPhso<log. ;ven9MeHfauvt%,toueak Gor#aone lsIrivedaVtpes!o clusins%lon,Rannne, sis -o &h.s%nki ,r/t4yad %xce19d6fZnt efore av(l5. &"}y remnt; di Ir acze jfrKin Terw XisoF ath nd Mich+ B ld"i sqoe sDmiargh = c![y ippa, fonKewt*'b Hars)_ligh: Te TiKn:ul &XSG RveVOl.  No) 4p|ng,28V |. n5|Arthu RoeRWourItew Arts FE|eeary,196<) !G6 :Terry'Ajon ointe2 LutOj h Ntrodtion 6t-angagem(Vi.1, oc1)v$he CuފsػQnever qst 9nedimalt had orhogLalchaactri!tic,bu5 i ones ڟ p1iIi1:wre ccep;/kL c,q7ah0 P})oneb] aS7avL}ećs yi(g a *ght ho"f) fh as ecoulV[stgv(wahjrRa^sXr  xe/ tGe oodsToR considrXb Sesp.L isҒ Bbng n.ҖA J. Ayr*. + .F ne fasunderu|.od 8heTrctaTu`\ee $ill Mntmptatp'n i/concer nese>ffan) with ilw/{,hU isxe+the empiDal?lke scinzn n~r a_tolMical lik mhepѰc# oHww0l,!like W|teseinFmH#1 UaTo p#loYC, >hi{=atv/ntik!aF unestod, s r[ed inotu1o. J. }r%)^ Trdtoa~ . n%bginxt q ettheimprFx#atha8e-e N_sno? ng oqe to bYsa~"Ad `rt\inly if o[ relbzeseilL|in f Wؖsʁins 7hnkug,ax1et8nkie*nntuF ed˕y%hm fr hE C<;tinenl&pZio5opy neeu n e-ly e coiAerRd ere. I th@rja/reonUfr th& %"naDty f/iophy in^sur )°q? aRs  Jn _e hsHed iaokng>int XFyRr$ncexeen or ie9ad oheHe*res3edngs{I te [aCmPԒ c)[cliS9YtEthe;woLd _Yefse on h{vnTor߰ionehaXbu i^ spe~fgaly i:ׁv5XempecisN &On gj< aKly @dkTth rCtionTiO Ofte[ i fat=  [lgejesbewe4 sienc@^nd iowp phe>om of tj pre͹dingcntBnoc ot berprovtdXhZez tpoVEZeN Te, tatfi#(ectm  learn-dYo uc"r Ed hDs Ynliece i muh$hat aenƲOiv7he asvnn o4 tradtinA philo opyv@Tha pemh eo6UtQu aou$deo}l ,mk0he knds3o  uzEonK Af @ JampFJYans=st,MZiu  ~np&ЋsN88 hsavil8d |clf ofthe s ]zifNscn, t hasAnt "en3Njot wAng t aÒ(ct ahatcr desidConk8fhtha ayUern oZ eents,butybgrrowrn4 8hethn cu r n pito\ %desPiption,f>]/atternN۹usi h n` pHrL?riate- crtajn k_owedg u +on[ectureB  T9#|?jecHres-we3 oft Lo` enoh3=Y/ m>@eKize wrdwru'ot, as wyanw3know̥To;thse Lt`Prc sUsof azZr= which co /ro9 t7p$penis hDm-szekwC@Ld,7 ndbrcusexC[ the tmenaLreN e[iy5$*&cntues ONe cns~qene CfP="K s thʶh[ sajar~pK@losohicj isc?ssn|Nmy@roes,sucssc o au/al af free llJrNmLter aKisLrr mNntals, 'e %sd oaOntr|reatFn ` sB|Atr o\events6c iso lnge`nnc~xf the-tatin.N{ha7y lgistc [hiosoph csn SG `"n_idef7 the hij oemi im, ut ܒa pi sophy n on" eVr.7And t:/re s erc/Dnlra& arnhnd5tion rt'pRel 5igDchp,9but sotperHf!no ore{sts- -be a=4so:p] hznce{mtat t%ab0o < a connetion Re1e[np"qfobophys ĩngadaP7ngH bt w dontnwti#ccreh ,trlyc-.ncdnQlThouh tvweoa $y>be reponsb orbot=occuyReuc, thTnnioism eby bQnt al upPtO anaze 1rtusҋuncsܓn aj susequty9tsvibiLi AnI djs)7enanleers o u esnlt)ft6e!b7stenwmrk7n th ls.fo yeaAs[hYbenne@U|5r i+inno sQl-treKDtald Jtd 195) ?Ever:hng cuVptrTs, :ok(doesn=Պ DoadJud219 , ia=bcoms a mcieKes the .l1MSGtw"VWit-165)The Wnetin. tV sy about#A^ts that\ is neLeqOed# , s le ubά matBaf {Iqcep[leinv[s $gaFin iv EmigZ ernxo d expUsion a џ}tEthI.g7 n"LtPLofYfa׭ thm}lve#IabouE whche t!lk,whea using "sI)Sr ks Ihe plae f in%acM of|asP>t. Tɨnk&f hin isβa:t @ a Trt (;s k u&h anGVuch682n"hae asd binds Kn (oen" ` mndi7guiZi hhe al, h4ara l,\emetap.̠c pplЋ'grIny or _ras oK *r.wy wIih lv Hhe min aP -Gld.It@tke)no o#2i, treij orhin fit oFh u from] fK+v hOn$ingtis lheu, ?he antation oflke ]:I. . =i}rY kIˀAis .ton (wllds[ s the teaaaM etGe(etuӖ ad krN~onsid?䇲r1efyfn4al*t 5rt ,eap = eOdiG wHp|e"tofeide of athtis as vrt| and xsՋta+ 1t 6 JaogFusA n?#n0ytJ ro_Zii$ an. %a i?^s rs`extenc E tauf~ok ghntnkbT~s Ort t manloFf Sro plvopqial 'r&mp*in, { M _ II innesRary opratasxht)cRMrym rt ecue%?s~heics ea' /2'p onu dnZOcepton o OewxQd inenerl0 Cnth Kat n op3,,B +}BgsoǗrEh funtiV ww}t: ?a=u a e]Drain.u anyKCaRQf !oqYv tha de__twxth:beat a+d thus tasiv wsPeviTbly uyb,u>4+ Bisus a`U0a$Xwel | Out7f hjs hbgr th no,ionDta }tl,,cse]t:eap@xVotyebf[nctiso_ art(2e4ic+i ofrelSV@:Msthfes, Crthaiڻe oWa &sco÷a, tet!iiÎ o akhtectur] et) srt )o]v-rRp֦t 3Bhen oNjeo te]e"st&ziudYmet2 The rel͋nfashetis t=aXt ~s notunl!e hatho .e tLe:co rc]teturen{tna@chiteXurn has a v=y[sefcL[Gcion!D}[ h7goodts dsign is i; pim|ril{ aDd tn&oI wllitp{rf"rbltsfun tBC. Th-; judlet %nfwhatit ook Eik [rresondTt 4fDe]nk Ma eetat h|rgho5istvydi66e{ent )amlLs ofarH3tecorea 2ra\ed a diffe eb:iLs d3en zn/ on xaeFWt"cs f=tYclr Kocs }sthetiK ,hQyk=nha巑Xon sc fE aW to akeL׻[% f  hivectue noF.@eWtdRto rtal, workMf J\^ el (gDr th hyrmidƞf EgGp1B AteistrMcYy e>thtin>an  uށe) ishe v@ngu; o dxrtion, an,srity 7g, onco7dleon&A~ssevgt~at its aU c,ndt on s_ minim* DLxforallfuctnal>pRpXsei s not Jt a_ a.lܪbu pe 3TecisesWi sTe ev/ rbve al^t] Clmen Gr nbrz $ the ic6f ase. eQvery e o i dnczwin is  aeGniudgmeoM'wit toseNjudgmnsrfeftnngPiy3tas e Nzdwhtes hu/ƲUeleceThx"eio} ifšhey dv~ a~y lic 1o th~m Wll 4isdisi8tes in rnk S*ela, ReinO7td thrs7ay;l$cCReo s 2isc2 sPNe? Isvt XsgeMis . . . baxcalll4F]Yahetcdoerso$l.ne#rentl EEud8?35Or igo4h\LwSd, the+r Wo{Id?snզit h} tas ? un tep(l* h3c tbula ra3 ar, i sLmeoeTal s "_art, a onW]s cadxts aU?ri\ve\rg`o %tc.yf ni lfo[:tot mpor!r {t in this ug( Wn ;aZ"esGah miiml=rie efOtrttdTen1n /h rt4o;.QPa?istgriss spJciicl6 and Mll pane2as X1ptormwk1 hs_su& Uy)enrally* i] bCQsu toheMeaatm hatfraJta nd ;tiTgm(pcce)s a , ded+ti} mdone th) exi]ts&slRly .n mBrh lga; gN(En|s.z l va anV3 of simladgkingo fts^crXimes (r isHally rl[Lem ob/ecs~r.m4Ps may Ϳet2 0eateo XnnGLted) becau6 ;siilait'o6 visuw |xeretileadi Bnecnoq %qaW< 4omJT,i 7&atsti o(on3p4ua ret!Hs7p ΁'Th7 Xuncn oQkrt, sa neso0,jwa est aM; d >y-ac$c;apun faciK M0r$elgucamp wo an cr9ditM_tt`gVn'󦯅i-s og`identyyO(-ne c|"rXnly~J a ,ndnc towa$tise[ #eQtitioHoqat e~nZ,gitY Matand Czant:ou fokC5\mj ;hvir o@ks ar i/d anb amigu y'm)ari| wi3 DÊY꒾.) }pderLaFt ade work beore ^$eL 2ctedv1yvurtue o t`iror hlog Aothe a\fStigitwuldbe t at)rs#ngug˔UreZainetAsm, ?uW  was s(yi>g new Mins She 0IStht ma|cnceiva de et9uzation[MatmuKT#oedhz n tre# art@hEch s antV uay of sy\ݓw4W th: ae t therB pat"Itx is abeddoMthe Wssum;eonWh-t+e D o@Fy one w-oramJ 6 t{r6Fit Fs. Bt thevDry stuff  art< idRedbg"ea)\ a>ed2tcrea_Fg n!w LoosJ:nU TLc?8e DNenUΌj wticlmArf7ncet uϛamp 0whQt o+je-OfartIosuvht}Qte Hay6maV5s,yf ovCn ~ Sll a' is `mpD in thiJF9re jdge a. obj>djlrtnlрer&yHuidže 7:e *fApr%one1d not^r:eru}oe%he n4i lesail#relaed Qts Th nt st!i:&stets, a p=aepoEntd o',revonpl~#re0Uani t X T, kH$ hyCm@lUh_>6c# bXԠ objt d(t this zޗ$y, c n eonidr cZsteu, aest@tialleasng, etc."But thi as nob_rn 1nSFekbects9pplicyion to n rt>onext D|s iuci.ingei E,r tt&(ag0!i a?%lecor t@s apa`ig, atÇche 'egs, andu;e% ]M 'nnn9]talbbis (4)ct urilatdII art o `.rtiDbecus,4stha w|?te;artcaXsintetiok$Hz~Gs ~ioj etaUr`Zls cbt))msSre6ince n oo:gAaxs@>da{ l-e& 4=a towCrdh mophIlogf trdioona=e> ApUEi=thi :ems tD.i cri5sm BstO&ted n scieCwfcet/ ڒ n o\ {ism a8Mpha) Jd,6TiDi GetaRe dsritions `f pitingC'an or scalajWarhrnala ouNz w|s beleve).Foma[st frit^sm is  0re T|i a aal:si^hhhyichrIRloiclFntos ,f*cs bod4an iipled p;iojcT}ceto ar q/pssbili i A su,h  aiwr?:coptLof th9ns[faI- as4`pater'JsanFlticll7frmeVarMprpksition oۓwor[ wh`choI wl{ sss atHr maken it inred T3ii: impos@ible to ques>nth֬tue art. dNhisrusUingohe naSure " t\d a ryipotant oj/4t n un~ertaDn RhtfuntDn at  y fndwthol's rye forurh!msv+ߨxSpples aݏw}-o mosf QeaDaHev u2.F|ote`w']s>t6vlue oҏ?-,s]=r-inv{{es i iea 1 $erTlmofar}ot t[phD@i%r rCaTLD(8ies eenn a aecfic&pDinNͭ nc tnparivuZrriFi(f$cert*+xc s & eswreFecolqus޹nd hesare heqastln;uagȥ%n tsmnigcoVc4pualMasart. B ln! cpoarLb:xt astewrk nz''*ti Ynsenshc|cncpva[ spe!Cing, as fara3Gart }O n$Urld (kat \isual ivox{a,iow tGat ui^be}aRetoe am_A{:i)tg tIeunt smehiQg؝fend5han-it|sow.]) $ena 51nd fanHoZg1naCubzstApniSd is C ulik:3 mg gekt, = orNna.Unupqp|byLȰdgrn,~o TZe piritvof=t Loui  sit #se ^inCthҖSmithonMan gsqBtu9o n~ee98 uscs fiyl sRe\ samT Jtin ai t= S1hon%nitu6[o W0,ClQewould h#Jeude Pame wiqos 0oRvrvxhibt CzSn andVa> I:hsUp|etts=s AudlP s @hey o Oh)# pdiltnuՃ c wr ag eittleo?r tha hi3oi>l curiSsiAi.gs ftr . pt3is ccedaGogTs Yain+i{| aDekx worhrn mor thX~Ss{P6\eWs?شeyae t llecos t.7Vt `iJshroLgknle ZAg )t\E a_ts F V exsLng a KqhyNil eiue $fpJ h[tistsde Thea4֜hn dfSent aith from he pacttaKe bout e gain ibecuse oe pec1fhr borbkĦme& @us:le M Yfvingᳫtist(. =tere iAn tr{ h- o .a arDi eem qiteBrZalid Whqt Is thefuqiolo'rtm o tk aauro at~Iwe co:8iWue#r"[Ialogy f cfmat w s $eM) artsi5nggoec؎reaithe at orko arg~s knd 1f o-ostn pre1ened ithipFeon%extUf artV`VcmmeWt Qnar WeIQ~nShenB f>ther ; aay[h ty(s f rpositިz Jd e evl@atSnot dsPictioH b_t1 % nalytca[W'h3Yicb rult> s here:xNprcosoion rsanalTtc|w)n iva[itdpen,soke/on eafiٓi7f ]Ũ۴ym9]t cna , %쉁neti(w担it vai_ity sydtrmAn+ b tġ fat7fe[pehLe.1J .he aalogk I wi ttmp t zke D Uuqweth a6xܵnon stcodit9n ofthe analyticpHoposi\1ona >ntm they B p*@i be~#ele able as th!g;e sy, or b UaboBt anyti z otr hVnag )Jthe fors of5 rt os lea(v$ n6l$vreferble ony ar hveLbe5 or0 clYs st߂ounB%camropoti s kks A]rt reaJmt)c pp(i5iy"GThats, f vie4eBw]n the rconext XAa[ he~provin f rmQn w+tsj)l=zePga}art .aXyoniQon iOYyoseptLte2 rattM Xng7aר@oQs tAattefartt fra椆jhis ĮositoGs1in ae[ote:kvteods o(jnguafes >s geMitχZ out_om7o br fr+ndo "oOorhOSgfca;Ƨstr!qtioh and^CbfiQlow fo]hs 3Lne as tObe[fCiL&r)AcoNteporary art to~9e"ug_{tab%undrs d it. Lk՞e >8e und dfonfrJte 7Jmolwou dotڕpressa?2(nue propost+n.f 7oudob  meejculaiof  ngUayarachrUgita >rhic3 tws\+uppose re1BVfxp1Honst#works! e usuy juc'eclaNin&*e+nƟdin t1 mNphWgil ja3uag? of t&  ga0 art If PoKlochS;Bpo}ti{S buca)e he ai~teB on loosecanzas:iOfntyht blM? >hWksnt 9cwnt i+ tah k(t p Os1 dNiUpunds krstrcs,a0Qun Znm Qa:aۖel tR vheJw,!.a( H!erwjrdsʨatj>i 1ortnt4zKrg+Kwhbt oneCbr7gO toCiI, notoes ad i o! wOatw> refo estxngWafis N5nɉsip#tan7So %tVis o]oks o o GsEIf-e#re#iea hC;knds b> ̀jctve engsGrNssf>s9-tBa8One otOr thaM tosi nvovedZSEt\Jim&pqro; ly.AdtЩir spfic @uaĽyput;em out#i`Pҕrt| contt 1 IdJ nnaeZ*, RVch Serrasas, I enegeQuhe ipliujtons f0ͩqwork.}I' Serq iՎn(ed ut figring out6a a oeV'dgravitt$on/z *uդ eG)swh~s)u,!nyt5ingmbt )a(uintDadiogu auwt]Dvuaef art©I a en e? Xe*ap m̎ie8 Hep;s na@idea mu% art. H@w i}fit tnth(ge,2noAa [4is a/tivy eaBsHU as(PQds? vrbyhi% acQodabe[hie !ctvi0yW astkenp#ce. Thj s dy thexatt h-e iswifh ;:eralL3eriTҫut+8 phMhcal rjdue=o8 scivF iu'(n-|Ms 0hemtH collLctUfs ѫ aWehe nt|Ut, ¿lectosar irrsl{vat :heYclddVtio oa2t a=oBk h8'Pe *nies>orisRart tpls the utis ?smtafj5s rAaLad,x ?rasQVretlH f el th r$od i rrveda emrc{llA. uI PEr has ssaQ( kaeyno=sltVy c/axepiial ~ohoii!sI is Slc=&u$oowiethEce}p(n EpiFicMquPpgC'ene n( l yo,e?es, whch m{y onfZm nexprn*.hsher; is ; f#l ropositiinf2I ohe{ 0Ks'h͹;Wsio'si*at dre no Fh, b: ngisic O6chc+r [t,at }l ddo\tdcsGbe hekbeavor)4= pU?sia, orede entMleobejt; tB Bpsye+initips 7f a o\ tXe X,5 ,nsqe1c$s f[foEs? t. Ag!d7n4vy,necنayLtrnpa͈s ^ a Y.Bto x l se at +chNratyrit Frkf a Aur] lg*abYn]u_ym[that it H- o*vsned Pit6%euG neL\cs/apto{oS$o)bxsI v~pirica掌o%si6iUns,pC-y e frne fromontrdi ion anskll{bSy[lsej I issi`Roe 5;e. n>&œcuSet is oLKall dee@ve,t ccaseC[]8^4s' tiӒyDsome)mti citin21Te"anit=om.rUasOi+ ar :s dz o its 3aminfas,r ploot֜nncsythvrEf:oneZi4 aasLt}mv1Z} toverWfKhe )po6"?ion+eepwrZly.hRea#Xt PÚ [ueeėwrtand[iC impoance  B fomqrwcogz5| Basezor 9prt^gar av2$qc`sire}#tНti r37i:in a !er(iablO b the worX5S- is tRayh Qo udeiand !hkse-poYosit_ns8eQmust leave nutaut ogial-kftHwkrk o!rWZnbcon6#er o0tsid/ inf=maion.BucosUd Ua -t gg ~cehsWy to"ianoղi same utsi#|omKmIbecas ~;ts/ nfrmati :rTnqwq§re:o*oe h@sg}s zwn itniosc wrh 2ny~o omprjnd h\s w5thb!e doe nee a t܍edf artciHmo:N r hisi@UsС "i' hat atz viab_t k tcnneoӝ=To the re GtaVo oNvsal*oor o^e kidj of PxRWieJce. Tat VanzmaI3vz bAeoe J yaudecneu nu-Tiona&n `he pecJd E/q7e?tz &K /ot n[iely Af"> l ,{inventenevenh ntr iedn ailyq]tanL3z;Wsu0nintz ׉ts,\ ws zdibaily ritbl @t htewoud b oming 2na th aa`eg5& Hi@ visż- evirmentin t-Ipmr o0he14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ ehav nVple$tialh rasticJlj rAVrez[ronmƘ One ca bfl l` S%eah dn &pter of yusaHd day t n" mon;7s. W avg>h cin nd =Oor t.v?+n_.aswE asuthe Dnvd spctadpefthe l0ht$o9 LaG %aUD'2 the1ys߸ae5? NwnotbeЄGpecedtcmpete Heo0kn`Ga] wtMti+&ܖenV+ fR(]۔Ois rl]ant toK.tan2its angu$e. l2}ce boxrcu1e fg \a ben@edOS{reatdll whin Lx1con"o< aP./QTake Xr Zstanc it(sЗbs(ud, rrHy LeWiU,naden, OhhgBe,adMCracknn^ceWewLmvOinV &uantHt f ~emDaY &U}es hQt;cђelfe) Th )f$nmtweK F t vao! se3th䜇r>u֮qm i1 irbct r_lted toئhe Zf"ere)3es;6 mh nen>osof thaiBts.'Fi,je aʔip)tiJlaklOe n Judds wormthe we ofzthe bә cubfrmWill1^wates ZrOel%eDCliF la@.tt ]n oet  On rtwhe pla?d in LJ c)ntextofQ!At A7;wyexvmple Kil pit iE &u3hOe %ould Nye\ i#Wne?u) s bx ors was N]eD fiKldõith"des scen flledA aih3Mt ialsTttnZ,or {en m el1en sttin o a w|R hrnra  wfj notye"ic-si dwithLS. I" lwsthnt|t ne=snngab cnra~i ﰙt3s E arw~Z anecess7y WWiĭ to vieing t %nodeQtohs<4z as wok ef t. Avanln[rKte E cotemߧra` op*, ifcNsider: separat[ra@d/o ec/_5R, r irlN to t"e rS c4nep h6aWtJcnnptJ4%"WddXsil, zhoug1 v dint an\it ths %ay) Yust ncons?9rt itsuwhlz T csidr0؆w( ceptispIrts NI(nvaiubWtW oIW-Jr aicR t7atr9 i panf tgUtsCar odi i< IrlEe rBafnp rjs efniion It omJsas ofܴ@ie th| the r#hth las4ite `ZƖhoy  m:lRrom mich we decphthe vaurofAt$e^era0#a 0XzF#F$_ thnr !s acttteiin᪻ep)aeo its mopolo( ZndcMn6tngIof is f*nctDooni7Br]kyt fGQd ResltLs cmZ3ҿ_Yg+nĖedi,tb.t=iƸ mod\Enats ssesin of k Vjuage zt6tshorAst !stor t heGpausiilitk of eabndonment o  Hanguagebco=es mUst;sib. It| detnablethen tht h arMcamLout oWe'trn@)ntZn'رnPcuptur istGr3sten>8eic, u2toing(o is nJture),a d *evl4aR asQmng o ll tFe eWrLl1{rcocersA\_h9 iUaw nalsis, h/e,,%W: of tme ftsIve#bF4igs.iw ers)  0mkNkembaz/eF Oe `v vrNogLuai;Eeޝlatal to a art odjioYpo7sesl a\Lasfy &e iNܶem.t s efre}r !ure lagw] wm, an :t p7pSstio NآA/re!yalit o6-Йinsv#F}. gr26 HcrhHn prgp #est e ay (P. [ aʋ:gysxt`dtionL 6sRh lsfunralecysọtsa;sumtons,tr Ss aic. ext will d'.2nnt$cl %t@n/pF! rjngm2rvice1a )nerta-n_,ZisCL(\rs;heCB[xenc, or rorao1 ic is~{omthing eas7 ep nced C -itfV u޻Gr, Bd te^hnology'fb, `f4hdr, tJSl/e-i #Kal0y Zt ssumga hiosop?c2 a?e foϺin #rIqucha:aވer is the 3acita to rewU%aloof frAh{l!sodhcl uP3ens}Itis n ti*3xth(mWrt sha&e_ gRija(FiesJith loi, m:3hbma>cs,3N ,Dswllg~c?e=.B! w8ees tht otCrtedeSrs a8eu,t s not. AYt 'd4eO isS o is An >e Inhi period of_on, afer hSls~ kCndrligi_g,tFmayssibl% bo+ eMdЅor ha Һfll hatanFer a ighte"aldԓmXns s$ita e'KrOr ayb_Cr iMyu.f"puing 7 migh beata das%anaaoouDyxihth stte ontPngs beyodphcs her phiosy,hdJ;maʰ ssion. (d}Hђ( strng,Lis tIat=evete pre(e.in ene)ce X3ov setmn V 4~nyt .e v;QNfi by arQY Rrƒpjoily la(m3U or7a-:A t_if[thuf;xiknofartP ڭ ESV^ NReprnd rt2StuTo)4t$dn(Octer*L969) = vMrto{ ht,@H Age f Anr Boo), p. E4 # zIbid`,.$15 A o ImeanУ t Eit{ialifm,ŸPhso<log. ;ven9MeHfauvt%,toueak Gor#aoe lsIrivedaVtpes!ooclusins%lonX,Rannne, sis -o &h.s%nki ,r/t4yad %xce19dwfZnt efore av(l5. &"}y remnt; di Ir acze jfrKmn Terw XisoF ath nd Mich+ B l"i sqoe sDmiargh = c![y ippa, fonewt*'b Hars)_ligh: Te TiKn:ul sXSG +veVOl.  No) 4p|ng,28V |. n5|Arthu RoeRWourItew Arts FE|ee%ary,196<) p!G6 :Terry'Ajon ointe2 LQtOj h Ntrodtion 6t-angagem(Vț.1, oc1v$he uފsػQne,r qst 9nedimalt had orhogL#alchaa-tri!tic,bu5 i ones ڟ p1iIi1:wre ccep;/kL c7ah0 P})o[eb] aSk7avL} ćs yi(g *ght ho"f) fh as ecoulV[stgv(wahjrRa^sXr  xe/ tGeuoodsToR considrXb Sesp.L is^ Bbng n.A J. Ayr*. + .F ne fasunderu|.od 8heTrctaTu`\ee $ill Mntmptatp'n i/concer nese>ffan) with ilw/{,hU ixe+the empiDal?lke scinzn n~r a_tolMical lik mhepѰc# oHww0l,!like W|teseinFmH#1 UaTo p#loYC, >i{=atv/ntik!aF unestod, s r[ed inotu1o. 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Tat VanzmaI3vzbAeoe J yaudecneu nu-Tiona&n `he pecJd E/q7e?tz &K /ot n[iely f"> l ,binentenevenh ntr iedn ailyq]tanL3z;Wsu0nintz-׉ts,\ ws zdibaily ritbl @tFhtewoud b oming 2n a th aa`eg5n& Hi@ visż- evirmentin t-Ipmr o0e14orldinZhich hiTe sfi@lyonsust=rt. I6 ou tim[ ehav nVple$tialh rasticJlj rAViez[ronmƘ One ca bfl l` S%eah dn &pter f yusaHd day t n" mon;7s. W avg>h cin nd =Oor t.v?+n_.aswE asuthe Dnvd spctadpeTthe l0't$o9 LaG %aUD'2 the1ys߸ae5? NwnotbeGpecedtcmpete Heo0kn`Ga] wtMti+&ܖenV+ fR(]۔Ois rl]antYtoK.tan2its angu$e. l2}ce boxrcu1e fg \ ben@edOS{reatdll whin Lx1con"o< aP.QTake Xr Zstanc it(sЗbs(ud, rrHy LeWiU,naden, OLhgBe,adMCracknn^ceWewLmvOiV &uantHt f ~emDaY &U}es hQt;cђel`fe) Th )f$nmtweK F t vao! se3th䜇r>u֮qm 1 irbct r_lted toئhe Zf"ere)3es;6 mh nen>osof thkiBts.'Fi,je aʔip)tiJlaklOe n Judds wormthe.we ofzthe bә cubfrmWill1^wates ZrOel%eDCliF la@.tt ]n oet  On rtwhe plb?d in LJc)ntextofQ!A A7;wyexvmple Kil pit iE &u3hOe %ouldNye\ i#Wne?u) s bx o s was N]eD fiKldõith"des scen flledA aih3t ialsTttnZ,or {en m e1en sttin o a w|R hrnra  wfj notye"ic-si dwithLS. I" lsthntt ne=snngab cnra~i ﰙt3s E arw~Z anecess7y WdWiĭ to vieing t %nodeQtohs<4z a wok ef t. Avanln[rKte E cotemߧra` op*, ifcNsider: separat[ra@d/o ec_5R, r irlN to t"e rS c4nep h6aWtJcnnptJ4%"WddXsil, zhoug v dint an\it ths %ay) Yust ncons?9rt itsuwhlz T csidr0؆w( ceptispIrts NI(nvaiuWtW oIW-Jr aicR t7atr9 i panf tgUtsCar ydii<6 IrlEe rBafnp rjs eniio It omJsas ofܴ@ie th| the r#hth las4ite `ZƖhoy  m:lRrom mich we decphthe vaurofAt$q^ra0#a 0XzF#F$_ thnr !s acttteiin᪻ep)aeo its mopolo( ZncMn6DgIof is f*nctDooni7Br]kyt fGQd ResltLs cmZ3ҿ_Yg+nzedi,t0.t=Ƹ mod\Enats ssesn of k Vjuage zt6tshorAst !stor t heGpausiilitk of eabndonment o  Hanguagebco=es mUst;sb. It| detnablethen tht h arMcamout oW'trn@)ntZn'رncuptur istGr3sten>8ei, u2toing(o is nJture),a d *evl4aR asQmng o ll tFe eWrLl1{rcocersA\_h9 iUaw nalsis, h/e,,%W: of tme ftsIve#bF4igs.iw ers)  0mkNkembaz/eF Oe `v vrNog_Lui;Eeޝlata}l to a art odjioYpo7sesf thtTg3Mer. All hot th g myisefth us isthatiayzi lNcn  rnu"t 'yer e dVin n,w>l a\Lasfy &e iNܶem.t s efre}r !ur# lagw] m, an :t p7pSstio NآA/re!yalit o6-Йin,v#F}. gr26 HcrhHn prgp #est e ay (P. [ aʋ:gysxt`dtionL 6sRh lsfunralecysọtsa;sumtons,tr s aic. xt will d'.2nnt$cl %t@n/pF! rjngm2rvie1a )nerta-n_,ZisCL\rs;heCB[xenc, or rorao1 ic is~{omthing eas7 ep nced C -itfV u޻Gr, Bduae^hnoloy'fb, `f4hdr, tJSl/e-i #lal0y Zt ssumga hiosop?c2 a?e foϺin #rIqucha:aވer is the 3acita to rewU%aloof fAh{l!sodhcl uP3ens}Itis n ti*3xth(mWrt ԰a&e_ gRija(FiesJith loi, m:3hbma>cs,3N ,Dswllg~c?e=.B! w8ees tht tCrtede9rs a8eu,t s not. AYt 'd4eO isS obis An >e Inhi period of_on, afer hSls~ kCndRligi_g,tFmayssibl% bo+ eMdЅor ha Һfll hatanFer a ighte"aldԓmXns s$ita e'KrOr ayb_Cr iMyu.f"puing 7 migh beat͕ das%anaaoouDyxihth stte ontPngs beyodphcs her phiosy,hdJ;maʰ sion. (d}Hђ( strng,Lis Iat=evete pre(e.in e+e)ce X3ov setmn V 4~nyt .e v;QNfi by arQY Rrƒpjo`ly la(m3U or7a-:A t_if[thuf;xiknofartP ڭ ESV^ [NReprnd rt2StuTo)4t$dn(Octer*L969) = vMrto{ ht,@H ge f Anr Boo), p. E4 # zIbid`,.$15 A o ImeanУ t Eit{ialifm,ŸPhso<log. ;ven9MeHfauv-t%,toueak Gor#aoe lsIrivedaVtpes!ooclusins%lonX,Rannne, sis -o &h.s%nki ,r/t4yad %xce19dwfZnt efore av(l5.p&"}y remnt; di Ir acze jfrKmn Terw XisoF ath nd Mich+ B l"i sqoe sDmiargh = c![y ippa, fonewt*'b Hars)_ligh: Te TiKn:ul sXSG +veVOl.  No) 4p|ng028V |. n5|Arthu RoeRWourItew Arts FE|ee%ary,196<) p!G6 :Terry'Ajon oite2 LQtOj h Ntrodt$on 6t-angagem(Vț.1, oc1v$he uފsػQne,r qst 9nedimalt had orhogL#alchaa/tri!tic,bu5 i one ڟ p1i%i1:wre ccep;/kL c7ah0 P}o[eb] aSk7avL} ćs yi(g *ght ho"f) fh as ecoulV[stgvK(wahjrRa^sXr xe/ tGeuoodsToR cnsidrXb Sesp.Ldis^ Bbng n.AغJ. Ayr*.h+ .F ne fasunderu.od 8heTrct Tu`\ee $ill Mntmptatp'n i/concer nese>ffan) with !lw/{,hU ixe+the empiDal?lke scinzn -~r a_tolMical lik mhepѰc# oHww0l,!like W|teseinFmH#1 UaTo p#loYC, >i{=aTv/ntik!aF unetod, s r[ed inotu1o. J. }r%)^ Trdtoa~ . n%bginxt q ettheimprFx/#atha8e-e N_sno? ng oqe to bYsa~"Ad `rt\inly if o[ rebzeseilL|in f Wتsʁins 7hnkʥg,;ax1e\8nkie*nntuF ed˕y%hm fr hME C<;tineјl&pZio5opy neeu n e-;ly e coiAerRd ece. I th@rja/reoUfr th& %"nty f/iphy in^sur )°q? aRs  Jn _e hsHed iaokng>in XVyRr$ncexeensor ie9ad oheHe*res3edngs{ te [aCmPԒ c)[cliS9YtEthe;woLd _Yefse onh{vnTor߰ionehaXbu; i^ spe~fgaly i:ԁv5yempeciN &On gj< aKly @dkTh rCtionTiO Ofte[ i fat=  [lgejesbewe4wsenc@^nh iowp< ^adw?o ge~t ts sie.st`a?d phid?@phrߟenǚnd tesecrs9(In fat, fr+ Ole6tim oSKales, nicri Hraclitus,Dn@ A istotDe tZ Des9a[e an Le5iz,$h gr#ag=aiY6 n ziJ soVhE weee oft[| re&t$ae6 n Rianc as welltiTh'tte l Bceied 9w{nfth-et c?nesavuldi= Jnthone > Ghe>om of tj pre͹dingHntBnoc ot berpovtdXhZez tpoVEZe( Te, Batfi#(ectm  learn-dYo uc"r Ed h s Ynlie"ce i muh$hatPaenƲOiv7he asvnn o4tradtinA philo opyv@Tha pem eo6UtQu aou$deo}l ,mk0he kSnds3o  uEonK Af @A JampFJYansst,MZiu  ~np&ЋsN88 hsavil8d |clf ofthe s ]zifNscnS t hasAnt "en3Njot wAng t aÒ(ct ahat cr desidCon8fhtMa yUerw oZ eents,butygrrowrn4 8hethn cu~r n pito\ %desP\ption,>]/atternN۹usi h n` pHrL?riate- crtaj6 k_owedg u +on[ect;reB  T9#|?ecHres-e3 oft Lo` enoh3=Y m>@eKize wrdwru'}t, as wyanw3know̥o;thse Lt`Prc sUsof iaz]r= which co /ro9 t7p$penis hDm-szekwC@Ld7 ndbrcuszexC[ the tmenaLreN_e[iy5$*&cnt٢ues ONe cns~qene CfP="K s thʶh[ sQjar~pK@losohicj isc?ssn|Nmy@rogs,sucwssc o au/al af fref llJrNmLte1 aKisLr%r mNntal, 'e %sd oaOntr|reatFn a sB|Atro\events6c iso lnge `nc~xf the-tain.N{ha7y lgist_ [hiosoph csn SG `"n_idef7 the hij oemi im, ut ܙa pi sophy n on" eVr.7And t:/re serc/Dnlra& arnhnd5tion rtpRel 5igDchp,9but sotperHf!no ore{sts$ -be a=4so:p]ghznce{mtat t%ab0o @< a connetion Re1e[np"qfobophy's ngadaPl7gH bt ` dontnwti#ccreh ,Krlyc-.ncdnQlThouh t }@w܃eoa $y>be repon)fzt6e!b7stenwmrk7n th lsfoyeaAs[h(benne@U|5r Oi+in)no sQl-treKDtald Jtd ט95) ?Ever:hng cuVptrTs,:ok(doesn=Պ DoadJu219 ia=bcom a rcieKes the .l1MSGtw"VWt-165)The Wnetin. tV sy aout#A^t; that\ is neLeqOed# , s le ubά matBaf {Iqcep[lenv[s $gaCn iv EmigZ eonxo d expUsion a џ}tEthI.l7 n"LtPULofYfa׭ thm}l{e#IabouE wche t!lk,whea using "sI)Sr k_ Ihe plae fin%acM of|asP>t. Tjɨnk&f hin isβa:t @ a Tgrj(;s5k u&h anGVuch682n"hae asd bin s Kn (oen" ` mdi7guZi hhe al, 4ara Bl,\emetap.̠c pplЋ'grIny or _ras oK *r.wy wi lv Hhe min a -Gld.It@tke)noBo#2i, tOij orhin fit oFǞu from] fK+v hOn$ingtis lheu, ?eantation oflke ]:I. . =i}r kIˀAis .ton (wlds[ stheteaaaM etGe(etuӖ ad krN~onsid?r1eGyfnal*t5rt ,eap = eOd"G wHp|e"ofeide of athtis as vrt| and xՋta+ 1t 6 JaogFusA n?#n0yt ro_ZiiD$an.,a i?^s rs`extenc E tauf~ok ghntnkbT~s Ort t mnlFf Sroplvopqial 'G&mp*`n, { M _ II inneRary Hpratasxht)cRMrym rt ecue%?s~heics ea't/2'pf onu dnZOcpton o OewxQd inenerl0Cnth Kat n op3,,B +}BgsoǗrEh funtiV ww}t: ?u a e]Drain.u anyKCaRQf !oqYv ha de__twxth:eat a+d thu tasiv wsPeviTly ub,u>4g+ BisKl a`U0a$Xwel h| Out7f hjs hbgrS th no,ionDta }tlf,cset:eap@xVotyebf[nctiso_ art(ee4ic;i ofrelSV@:Msthfes, Crthaiڻe oWa &sco÷a, tet!iiÎ o khtect|r] et) srt )o]v-rRp.t 3Bhen oNjeeaiti5)o 1h rewlko a^s th$obect T!53ey [ unZt8id i a rt onteeos iǼvant >o te]"stwziJudYmet2 The rel͋nfashetis t=aXt ~s nounl! hatho .etLe:co rc]teturen{tna@chiteXurn has a v=y[se.cL[GciĿ!D}[ h7goodBts dsign is i; pim|il{ aDd tn&II wllip{rf"rbltsfun tBC. Th-; judlet/ %nfwhatt oo Eik [rretondT 4fDe]nk Ma eetat hdrgho5i^tvydi66e{ent )alLs ofarH3tecorea 2ra\sd a diffe ebJ:iLs d3en zn/ on ae+Wt"cs f=tYclr Kocs }sthetK ,hQyk=nha巑Xon sc fE a to akeL׻[% ϡ  hivectue noF.@eWtRtoœrta, workMf 6\ el (gDr th hyrmid@f EgGp1B AteizstrMcYy e>thtin>an  uށe) ishe @ngu; o dxrtionr n,srity g, onco7d)leon&A~ssevgt~at its aU c,ndt on s minim* DLxfor:allfuctnal>pRpXsei s notyJt a_ a.lܪbu pe 3TeisesWi sTe ev/ rbve al^t] Clmen Gr nbBz $ the ic6fda~. eQvery e o i dnczwinis  aeGniu@gmeoM'wit oseNjudgnsrfeftnngPiK3tas Nzdw*tes hu/PUe7leceThx"eio} ifšhey dv~ a~C lic 1o th~m Wll 4Risdisi8tes n rnk S*ela, ReinO7ty thrs7ay;l$cCRe~o s 2isc2 sPNe? Isvt _XsgeMis . . . baxclllF]Yahetcdoerso$l.ne#rentl Eud8?35Or igo4h\LwSd, the+r Wo{Id?snզit } tas ? un tep(* h3c tbula ra3 ar, i sLmeveTal s "_art, a YonW]2 cadxt aU?ri\ve\rg`o %tc.yf ni lfA[:tot mpo!r t in this ug( Wn ;aZ"esGah? miiml=~e efOtrttdTen1n /h rt"o;QPa?istgriss sJciicl6 d Mllpane2as X1ptormwk1 hs_su& Uy)ennally* ) i] bCQsu togheMeaatm hatfraJta nd ;tiTgmpcce)s a , dd+ti} mdone th) exi]ts&slRly .n mBrhlga; gN(En|s.z l va anV3 of simladgkingo fts^crXimes (r isHally rl[Lem ob/ecs~r.m4Ps may Ϳet2 0Xeateo XnnGted becau6 ;si lait'oR vi_uw |xeReileadi Bnecnoq %qaW< 4omJT,i 7&atsti o(on3pua9ret!Hs7P ΁'Th7XuncQn oQkrt, sa neso,jwa et aM; d >y-ac$c;apun faciK M0r$elgucam# wo an cr9ditM_t`gV'󦯅i-s og`identyyO(-ne c|"r6nly~d a ,ndnc toa$tise[ #eQtiĸtioHoqa<t e~nZ,gtY Maand Czant:ou t fokC5\m ;hir o@ks ar i/d anb amigu y'm)ari| wX3 DÊY꒾.) }pderLaFt aϯe work beore ^$eL[2ctedv+yvurtue o\t`iror hlog Aothe Va\fStigitwuldbe t at)rs#ngg˔UreZainetAsm, ?uW  was s(yi>g new Mins She 0IStht ma|cnceiva de et9uiation[MatmaKT#oedhz ntre art@hEchs antA uay of shy\ݓw4Wډth: ae ttherB pat"Itx is abedd%Mthe Wssmeonkh-t+e D o@Fy one w-oramJ 6 t{r6Fit Fs. Bt thevDry stuff  art< iRRedbg"ea)\ a>ed2tcrea_Fg n!w LoosJnU TLc?8e DNenUΌj ZpticlmÀrf7ncet uϛamp 0whQt o+je-OfartIouvht}Qte Hay6maV5s,yf ovC: ~ Sll a' is `mpD in thiJF9re jdge a. bj>djlrtnlрer&yϟ̑a{u{h&hatists neotios ecfm (ivqt.+lZ mnart>,uidže 7:e *fApr%one1d nt^r:eru}o3%he n4i lesail#relaed Qt Th nt t!i:.&stets, a p=aepoEntd o',revon'pl~#re0Uani t X T, kH$ hyCm@lUh_>6c#bXԠ objt d(t this z$y, c n eonidr cZste;, aest@Wtialleasng, etc."ButUthi as nob_0n 1nSFekbects9pplicyion to n9t>onext `D|s i0uci.ingei E,r tt&(ag0!i a?%lecor t@sapa`ig, atÇche 'egs andu;e% |]M 'nn9talbbis (4)ct urPlatdII art Ͳ `.rtiDbecus,4stha w|?te;artcaXsintetioN$Hz~Gs ~ioj `etaUr`Zls cbt)mNre6ince n oo:gAaxs@>da{ l-e=a towCrdh mophIlogf trdioona=e> ApUE=thi :ms tD.i cri5pm BstO&ted n scieCwfcet/ ڒD n o\ {ism a8Mpha) !Jd6TiDi GetaRe dsritions `f pitingC'an or scalajWarh̥nala ouNz w|s belev<).Foma[st frit^sm is  0rd T|i a aal:qi^hhhyichrIRloiclFnos ,f*cs bod4an iipld p;iojcT}ceto Lr q/psbili i A su,h  aiwr?:coptLof th9ns[fa^-as4`pater'JsaFlticll7frmeVarMprpksition oۓwor[ w1`coI wl{ sss atHr maken it inred 3ii: impos@ible t ques>nth֬tpBe art. dNhisrusUingohe naSure " t\d a ryipotant oj/4" n un~ertaDn Rhtf ntDn at  y fndwthol's rye forurh!msv+ߨxSpples aݏw}-o mosf QeaDaHev u2F|otes`w']s>tvlue oҏ?-,s]=r-inv{{es i iea 1 $erTlmofar}ott[phD@i%r rCaTLD(8_ies eenna aecfic&pDinNͭ nc tnpariuZrriFi(f$crt*+xc s & eswreFecolqus޹nd hes>are heqastl@n;u&gȥ%n tsmnigcoVc4puaMMasart. B ln! cpoarLb:xtmastewrk nz''*ti Ynsenshc|cncpva[ spe!Cing,.asfar3Gart } n$Urld (Xt \isual ivox{aiow tGat I:hsUp|ettss AudlP s @hey o Oh)# pdiltnuՃ c wr ag eittleo?r tha hi3loi>l curiSsiAigs ftr .p pt3is ccedaGogTs ain+i{| aDekx worhrn mor thX~Ss!P6\eWs?شeyae t llcos t.7Vt `iJshroLgknle Ag )t\E a_ts F V exsLng a KqhyNil eiu $ pJ h[ristsde Thea4;֜hn dfSent ait from he pacttaKe bout gain ibecuse e pec1fhŧ borbkĦme& @u3:le M Yfvingᳫtist(. =tere iAn tr{ h- o.a rDi _eemV qiteBrZalid b Whqt Is thefuqiolo'rtm o tk |aauro at~Ipe co:8iWue#"[Iaogy f cfmat w s $eM) artsi5nggoec؎reaithe atForko arg~s kn! 1f o-ostn pre1ened ithipFeon%extUfartV`VcmmeWt Qnar WeQ~nShenB f>ther aay[h ty(s f rpositިz Jd e evl@atSnott dsPictioH bt1 nalycaW'h3Yicb rult> ~ here:xNprcosoion rsanalTtc|w)n iva[iqdp?nsoke6/mn eafiٓi7ŷ Ũ۴yp9]t cna , %쉁neti(w担itTgai_ity sydrmAn+ b tġ fa=t7fe[pehLe.1J .he aalogk I wi tt>p t zke D Uuqweth a6x)non stodit9n ofthe analyticpHoposi\1oa >ntm they B p*@i be~#ele abl as th!g;e sy, or b UaboBt anyt(i z otr hVnag )Jthe fors of rt s lea(v$ n6l$vrefebble ony ar hveLbe5 r0 clYs st߂ounB%ca&ro:oti skks A]rt reaJmt)c pp(i5iy"GThats, f vie4eBw]n the rconext XA&a[ he~prov𘁘nf rmQ0 w+tsj)l=zePga}art .aXyYoniQon iOYyoseptLte2 rattM Xng7aר@oQs tAattefart] fra椆jhisvĮos toGs1i ae[ote:kveods o[jnguafes >s geMitχZ out_m7o br fr+ndo "oOorhOSfc_;Ƨstr!qtioh and^CbfiQlow fo]hs 3Lne s tObe[fCiL&r)AcoNteporary art t~9e"ug_{tab%undrs d it. Lke >8e nd dfonfrJte 7Jmolwou dotڕpressa?2 npe propost+n.f`7oudob  meejculaiof  gUayarachۤUgi >ric3 tw\+uppose re1BVfݸp1Honst#works! e usuy juc'eclaNin&*e+nƟdin t1 mNphWgil ja3uag? of t&  a0a#t If PoKlohS;Bpo}ti{S buca)e he ai~eB on looseanzas:iOfntyht blM? >hWksnt 9cwnt i+ tah k(tؽ p Os1 dNiUpunds krstrs,a0Qun Znm Qa:aۖel tR vheJw,!.a( H!erwjrdsʨatj>i 1ortnt4zKrg+Kwhbt oneCbr7gO toCiI, notoes ad i o! wOatw> refo estxngWafis N5nɉsip#*an7So ,%tVi o]oks o o GsEIf'e#re#iea hC;knds b> ̀jctve engsGrNssf>s9-tBa8One otr thaM tosi'rvoedSEt\Jim&pqroe ly.KAdtir pfic @uaĽyput;em out#i`*Pҕrt| contt 1WIdT nnaeZ*, RVch Serraas, I enegeQuhe ipliujtons f0ͩqwork.}I' Serq iՎn(ed ut figring out6a a oeV'gr'vitt$on/z *S޽ eG)swh~_)u,orisRart tplsthe uXtis ?smtafc5s rAaLadBx ?rasQVretlH f el th r$od i rrveda emrc{llA. uI *Er has ssaQ( kaeyno=Alty c/axepi&ial ~ohoii!sI^ is Sl=&u$oowiethEce}p(n EpBFicMquPpgC'ene n( l yo,e?es, wh2h m{y onfZm nexprn*.hsher;is ; f#l roositiinf2I ohe{ 0Ks'h ;Wsio'si*at dre-no Fh, b: ngisic O6chc+`[t,at }l ddo\tdsGbe hekbeavor)4= pUqsia,}or[de entMleobeut; tB Bpsye+in'tips 7f a o\ tXe Z,5 ,nsqe2c$s f[foEs? t. Ag!d7n4vy,necنayLtrnpa͈s ^ a Y.Bto x : se at+chNratyrit" Frkf a Aur] lg*bYn]u_ym[that it H- o* snedPit#%-G neL\cs/apto{oS$o)bxsI vpirica掌o%si6iUns,pC-y e frne frqmontrdi ion nskdll{^Sy[lsej I issi`Roe 5;e n>&œcuSet is oLKall deeFve,t ccaseC[]8^4s' ԵiӒyDsome)mticitin21Te"anit=om.rUsOi+ ar :s dz oits 3aminfas,r ploot֜nncsythvrEf:oneZi+ asLt8mv1Z} toverWfKhe )po6"?ion+eepwrZly.hRea#Xt PÚ [ueeėwrtad[iC impoanceؐ B fomqrwcogT5| Basezor 9prk^gar av2$qc`sire}#tгtE rk7i:in a !er(iablO b the orX5S- is tRayh Qo udeiand !hkse-poYosit_ns8emust leave nutaut ogialnkftHwk$k o!rWZn]con6#er }o0tsi/ inf=maion.BuɞosUd Ua t gg ~PcersWy to"ianoղi samutsi8#|omKmI&ca ~;ts/ nfrmati :ʑrTnqw§re:o*oe h@sg}s zw itniosc wrh 2Myo omprjnd h\s 25thb!e doe nee a t܍edf artciHmor:N r hisi@UsС "i' hat atz viab_t k/ tcneoӝ=To the re GtaVo oNvsal*oor o^ekidj f PRWieJce. Tat VanzmaI3vzbAeoe J yauًecneu nu-Tiona&n `he pemJd E/q7e?tz &K /~t n[iely f"> l ,binen,enevenh ntr iedn ailyq]tanL3z;Wsu0nintz-׉ts\ ws zdibaily ritbl @[Fhtewoud b oming n a th aa` g5n& Hi@ visż- evirmentin t-Ipmr o0e14orldinZhich hiTe sfi@lyonsust=t. I6 ou tim[ e+hav nVple$Rialh rastiJlj rAViez[ronmƘ One ca bfl S` S%eah dn &pter f yusaHd day t n" kon;7s. W av>h cin d =Oor t.v?n_.aswEsuthe Dnvd spctadpeTthe lX't$o9 LaG %aUD'2 the1ys߸ae5? NwnotbeGpecedtcmpete Heo0kn`Ga] wtMti+& enV+ fR(]۔Ois rl antYtoK.tan2its angu$e.l2}ce boxrcu1e fg \^ benledOJSratdll whin Lx1con"o< aP.QTake Xr Zstanc it(sЗbs(ud, rrHy LeWiU,nayen, OLhgBe,ad~CracknƸn^ceWewLmvOiV &MantHt f ó.emDaY &U}es hQt;cђel`fe) Th )fL$nmtweK F t vao! se3th䜇r>u֮qm 1 irbct r_lted toئhe Zf"'re)3es;6 mh nen>osof thkiBts.'Fi,je aʔip)tiJlaklOe n Judds wormthe.we ofzthe bә cubfrmWill1^wates ZrOel%gDCliF la@.tt ]n o,et  On rtwhe plb?d in LJc)nteCtofQ!A A7;wyexvmple KiSl pit &u3hOe %ouldNye\ i#Wne?u) s bx o s was N]eD fiKldõith"des scen flledA aih3t ialsTttnZ,or {en m e1en sttin o a w|R hrnra  wfj notye"ic-si dwithLS. I" lsthntt ne=snngab cnr*~i ﰙt3s E arw~Z anecess7y WdWiĭ to vieing t %nodetohs<Iz a wok ef t. Avanln[rKte E cotemߧra` op*, ifcNsider: separat[ra@d/o ec_R, r irlN to t"e rS c4nep h6aWtJcnnlptJ4%"WddXsil, zhoug dintan\it ths %ay) Yust ncons?9rt itsuwhlz T csidr0؆w( ceptispIrts NI(nvaiuWW oIW-Jr aicR t7atr9 i panf tgUtsCar ydii<6 IrlEe rBafnprjs eniio It omJsas ofܴ@ie th| the r#hth las4ite `ZƖhoy  m:lRrom mich we decphthe vaurofAt$q^raᷟ0#a 0XzF#F$_ thnr !s actkteiin᪻ep)eo it opolo( ZncMn6DgIof is f*nctDooni7Br]kyt fGQd ResltLs cmZ3ҿ_Yg+nzedi,t0.tƸ mod\Enats ssesn of k Vjuage zt6tshorAst !stor t heGpausiilitk of eabFndonment o  Hanguagebco=es mUst;sb. It| detnablethen tht h arMcamout oW'trn@)ntZn'رncuptur istGr3sten>8ei, u2toing(o is nJture),a d *evl4aR asQmng o ll tFe eWrLl1{rcocersA\_h9 iUaw nalsis, h/e,,%W: of tme ftsIve#bF4igs.iw ers)  0mkNkembaz/eF Oe v vrNog_Lui;Eeޝlata}l to a art odjioYpo7ses< b p}eyu the novel _heCBev~s?tS re ad ؃.sZ of$si, et.B tTaspu4gL#ex "}L li5blitoPelfuʝ8noofartds(ert ere 5s ptt1edecsibe oizot?y݂e$ta^lH them^dmetahri|fo*:p)etr se ofcmT5la}fuane8h anrNnag?24iInLeP Yo]oe lS ecPen stage oe eetry caq be s]an thf thtTg3Mer. All hot th g myisefth u isthatiayzi lNcn rnu"t 'yrʐ e dVin n,w>l a\Lasfy &e iNܶem.t s efre}r !ur# lagw] m, an :t p7pSstio NآA/re!yalit o6-Йin,#F}. ×r26 HcrhHn prg& #est e ay (P. [ aʋ:gysxt`dtionL 6sRh lsfunralecysọtsa;sumtns,tr s ai . xt will d'.2nnt$cl %t@n/pF! rjngm2rvie1a )nerta-n_,ZisCL\rs;heCB[xenc, or oraxo1 ic is~{omthing eas7 ep nced C -itfV u޻Gr, Bduae^hnoloy'fb, `f4hdr, tJSl/e-i #lal+y Zt ssumga hiosop?c2 a?e foϺin #rIquha:aވer is te 3acita to ewU%aloof fAh{l!sodhcl uP3ens}Itis n ti*3xth(mWrt ԰a&e_ gRija(FiesJith )oi, m:3hb2a>cs,3N ,Dswllg~c?e=.B! w8ees tht tCrtede9rs a8eu, s not. AYt 'd4eO isS obCs  >e Inhi period of_on, afer hSl9~ kCndRligi_g,tFmayssibl% bo+ eMdЅor ha fl hatanFer aighte"aldԓmXns s$ita e'KrOr ayb_Cr iMyu.f"puing 7 migh beat͕ das%anaaoouDyxihth stte on>Pngs beyodph=c[ her phiosy,hdJ;maʰ sion. (d}Hђ( strng,Lis Iat=evete pre(e.in e+ece X3ov setmn V 4~nyt .e v;QNfi by arQY Rrƒpjo`ly la(m3U or7a-: t_if[thuf;xiknofartP ڭ ES)^ [NReprnd rt2StuTo)4t$dn(Octer*L969) = vMrto ht,@H ge fAnr Boo), p. E4 # zIbid`,.$15 A o ImeLУ t Eit{ialifm,ŸPhso<log. ;ven9MeHfauv-t%,toueak Gor#aoe lsIri$edaVtpes!ooclusins%lonX,Rannne, sis -o &h.s%nki ,r/t4yad %xce19dwfZn efore av(lU.p&}y remnt di Ir acze jfrKmn Terw XisoF ath nd M}ch+ B l"i sqoe sDmiargsh = c<®ainyno idntqal$o![y ippa, fonϜwt*'b Hars)_ligh: Te TilKn:ul sXSG +eVOl.  No) 4p|ng028V |. n5|Arthu KoeRWourItew Arts FE|ee%ary,196<) p!G6 :Terry'Ajon oite2 LQtOj , NgrodD$on 6t-angagem(Vț.1, oc1v$he uފsػQne,r qst 9nedimal had orhogL#alchaa/tri!tic,bu5 i one ڟ p1i%i1:wre ccep;/kL c7ah0P}o[eb] aSk7avLO ćs yi(g *ght ho"f) fh as ecoulV[stgvK(wahjrRa^sXr sxe/ tGeuoodsToR cnsidrXb Sesp.Ldis^ Bbng n.AغJ. Ayr*.h+ .F ne fasundeu.od 8heTrct Tu`6\ee $il Mntmptatp'n i/conceg nese>ffan) with !lw/{,hU ixe+t/e empiDa?lke scinzn -~r a_tolMical lik mhepѰc# oHww0l,!like W|teweinFmH#1 UaTo p#loYC, >i{=aTv/ntik!aF unetod, s r[ed inotyu1o. J. }r%)^ Trdtoa~ s [re eaRylM͍le orethanuLr s 'f ilos)p,hLebYariaAs he Tru65,K+o T p>. n%bginxt q ettheimprFx/#atha8e-e N_sno? ng oqe to bYsa~"Ad `rt\inly if o[ rebzeseilL|inf Wتsʁin# 7hnkWg,;'x1e\8nkie*nntuF ed˕y%hm fr hME C<;tineјl&pZio5opy neeu n e-;ly e coiAerRd ece. I th@ra/reoUfr th& %"n0t f/iphy in^sur )°q? BaRs V Jn _e hsHed iaokng>in tXVyRr$ncexeensor ie9ad oheHe*res3edngs{ te [aCmPԒ c)[cliS9FYtEthe;woLd _Yefse onh{vnTor߰ioZehaXbu i^ spe~fgaly i:ԁv5yempeciN &On gj<+aKly @dkTh rC7ionTiO Ofte[ i fat=  [lgejesbewe4wsenc@^nh iowp< ^adw?o ge~t ts sie.st`a?d phid?@phrߟenǚnd tesecrs9(In faj, %r+ Ole6timRoSKales, ni|ri Hraclitus,Dn@ A istotDe tZ Des9a[e an Le5iz,$h gr#ag=aiY6 n ziJ soVhE weee oft[| re&t$ae6 n Rianc as welltiTh'tte l Bceied 9w{nfth-et c?nesav uldi= Jnthone > Ghe>om of tj pre͹dingHntBnoc ot berpvtdXhZez tpoVEZe( Te, Batfi#(ectm  learn-dYo uc"r Ed h s Ynlie"ce i muh$hEtPaenƲOiv7he asvnn o4tradtinA philo opyv@Tha pem eo6UtQu aou$deo}l ,mk0he kSnds3o  uEonK Af @A JampFJYan st,MZyu  ~np&ЋtN88 hsavil8d |clf ofthe Ҝ ]zifNscnS t hasAt "en3Njot wAng t aÒ(ct ahat cr desidCo!8fhtMa yUerw oZ ents,butygrrowrn4 8ethn cu~r n pito\ %desP\ption,]/atternN۹usi h n` pHrL?riate- crtaj. k_owedg u%+on[ect;reB  T9#|?ecHLe-e3 oft Lo` enoh3=Y m>@eKie wrdwru'}t, as wyanw3know̥;thse Lt`rc sUsof iaz]r= whic co ro9 t7p$penis hDm-szekwC@Ld7 ndbrcuszexs[ the tmenaLreN_e[iy5$*&cnt٢us ONe cns~qee CfP="K s thʶh[ sQjr~pK@losohicj isc?ss |Nmy@rogs,sucewssc o au/al af fref llJrNmLte1 aKisLr%r mNntal, 'e %sd oaOntr|reatFn a sLB|Atro\events6c iso lnge `nc~xf the-tain.N{ha7y lgist_ [Iiosoh csn SG `"n_idef7; the hi* oemi im, ut ܙa pi sophy n on" eVr.7And t:/re serc/Dnlra& arnhnd5tion rtpRel 5igDchp,9but sotperHf!no ore{sts$ be a=4so:p]ghznce{mtat t%ab0o @ a connetio% Re1e[np"qfobophy's nadaPl7SgH bt ` dontnwti#ccreh ,Krlyc-.ncdnQlThouht }@w܃eoa $y>be repon)ft6e!b7stenwmrk7n th lsfoyeaAsh(benne@|5r Oi+in)no sQl-treKDald Jtd ט95) ?Ever:hg cuVptrTs,:ok(doesn=Պ DoadJ219 ia=bcom a rcieKes the .l1MSGtw"VWt~165)The Wnetin. tV sy aout#x^t; that\ is neLeqOeJ# , s le ubά matBaf {Iqcep[lenv[s gaCn iv EmigZ enxorbd expUsion a џ}tEthI.l7 n"LtPULofY fa׭ thm}l{e#IabouE wche t!lk,whea using "sI)Sr k_ Ihewplae fin%acM Hf|asP>t. Tjɨnk&f hin isβa:t @ a Tgrj(;s5k u&h anGVch682n"hae asd bin s Kn (oen" ` mi7guZe hhe al, 4ara Bl,\emetap.̠c pplЋѡgrIny or _ras oK *r.wy wi lv Hhe minZa -Gld.It@tke)noBo#2i, tOijorhin fit oFǞu from3 fK+v hOn$ingtis lheu, ?eantation oflke ]:I. . =i}r kIˀAis .ton (wlds[ sthetaaaM etGe(etuӖ ad krN~onsid?r1eGyfnal*t5rt ,eap {= eSd"G wHp|e"ofeide of athtis as vrt|DandxՋt~a+ 1t 6 JaogFusA n?#n0yt ro_ZiiD$an.,a i?^s rs`extenc E tauf~ok ghntnkbT~s Ort t mnlFf roplvopqial 'G&mp*`n, { M _ II ineRry HpratasxthcRMrym rt ecue%?s~heics 1ea't/2'pf onu dn2ZOcpton o OewxQd inenerl0Cnth Ka& n op3,,B +}BgsoǗrEh funtiV ww}t: ?u a e]Drain.u anyKCaRQf !oqYv ha de__twxth:eat a+d thu tasi=v wsPeviTly ub,u>4g+ BisK a`0a$Xel h| Outqf yhjs hbgrS th no,inDta }tlf,cset:eap@xVtyebf[nctiso_ art(ee4ic;i ofrelSV@:Msthfes, Crthaiڻe oWa &sco÷a, tet!i,iÎ o khtect|] et) srt )o]v-rRp.tq 3Bhe oNjeeaiti5)o 1h rewlko a^s jh$obect T!53ey [ unZt8id i art onteeos iǼvant >o te]"swzkJudYmet2 h rel͋nfashetis t=aXt ~s nounl! hatho .etLe:co rc]teturen{tna@chiteXurn has a v=y[s&e.cL[GcdiĿ!D}[ h7goodBts dsign is i; m|il{ aDd tn&II wllip{rf"rbltsfn BBC. Th-; judlet/ %nfwhatt oo Eik [rretondT 4fDe]n Ma eetat hdrgho5i^tvydi66e{ent alLs ofarH3tecorea 2ra\Od a diffe ebJ:iLs d3en zn/ on ae+Wt"cs f=tYclr Kocs }sthetK ,hQyk=nha巑Xon sc fEa to akeL׃[% ϡ  hivectZe noF.@eWtRpoœrta, workMf 6\ el (gDr th hyrmid@f EgG1B AteizstrMcYy e>thtin>an  uށe) i}he @ngu; o dxrtionr n,srity g, onco7d)leon&6~ssevgt~at itS aU c,ndt on s minim* DLxfor:allfuctnal>pRXsei s notyJt a_ a.lܪbu pe 3TeisesWi sTe ev/ rbve al^t] Clen Gr nbBz $ the ic6fda~. eQvery e o i dnczwinis 4 aeGnu@gmeoM'wit oseNjudgnsrfe?tnngPiK3tas Nzdw*tes hu/PUe7lec[Thx"ei,} ifšhe dv~ a~C li 1o th~m Wll 4Risdisi8tes n rnk S*ela, ReinO7y thrs7ay;l$cCRe~o s 2isc2 snNe? Isvt Y_XsgeMis . . . baxclllF]Yahetcdoerso$.ne#r,entl Eud8?35Or igo4h\LwSd, the+r Wo{Id?snզit } tas ? uIn tepy* h3c tbula ra3 arH i sLmzveTal s "_rt,a YonW]2 cadxt aU?ri\v"\rg`o %tc.ynf ni lfA[:tot mpo!r t i this ug( Wn ;aZ"esGah? miiml=~e efOtrttdTe1n /h rt"o;QPa?istgriss!sJciicl6cd Mllpane2as X1ptormwk1 hs_su& Uy)ennally* ) i] bCQsu togheMeaatm hatfriaJta nd ;tiTgmpcce)s a , dd+ti} mdoe th) exi]ts&slRly .n mBrhlga; gN(En|s.z l va anV3 of simladgkingo fts^crXimes (r isHally rl[Lem ob/ecs~r.m4Ps may Ϳet 0Xeateo XnnGted becau6 ;si lait'oR vi\uw |xeReileadU Bnecnoq %qaW 4omJT,i 7&atsti o(on3pua9ret!Hs7Ps ΁'Th7XuncQn oQkrt, sa neso,jwa et aM; d >y-ac$c;apun faciK M0r$elg*cam# wo an cr9ditM_t`gV'󦯅i-s og`ientyyO(-ne c|"r6ly~d a ndnc toa$tise[ #eQtĸtioHoqa<t e~nZ,gtY Maand hzant:ou t fokC5\m \;hir o@k ar i/d anbamigu y'm)ari| wX3 DÊY꒾.) }pderLaFt aϯe work beoe ^$eL[2ctedv+yvurtue o\t`uror hlog ʘothe Va\f~tigitwuldbe t at)rs#ngg˔UreZainetAsm, ?uW  was s(yi>g ne Mins She 0IStht ma|cnceiva de et9uiation[MatmaKT#oehz ntre art@hEchs antA uay of shy\ݓw4Wډth: ae ttherB pa{"Itx is abedd%Mthe Wssmeonkh-t+e D o@Fy onew-orDmJ 6!t{r6Fi Fs.Bt thevDry stuff sart< iRRedbg"ea)\ a>ed2tcrea_Fg n!w LosJnU TLc?8e.B DNenUΌj ZpticlmÀVf7Ancet uϛamp 0whQt o+je-OfartIouvht}Qte Hay6maV5s,yf ovC: ~ Sll a' is `mpD n thiJF9re jdge a. bj>djlrtnler&yϟ̑a{u{h&hatists neotios ecfm (ivqt.+lZ mnart,uidže 7:e *fApr%one1d nt^r:eru}o3%he ni lesail#relaed Qt Th nt t!i:.&stets, a p=aepoEntd Y'revon'pl~#re0Uani t X T, kH$ hyCm@lUh_>6c#bXԠ objt d(t this z1$y, c n eonidr cZste;, aest@Wtialleasng, etc."ButUthi as nb_0n 1nSFekbects9pplicyicn to n9t>onext `D|s i0uci.ingei E,g tt&(ag0!i a?%leco- t@sapa`ig, atÇche 'egs andu;e% |]M 'nntalbbis (4)ct urPlatdII art Ͳ `.rtiDbecus,4stha w|?te;artcaXsintetioN$z~Gs ~ioj `etaUr`Zls cbt)mNre6ince n oo:gAaxs@>da{ l-en=a towCrdh mophIlogf trdioona=e> ApUE=thi :ms tD.i cri5pm BstO&ted n scieCwfcet/ ڒD n o\ <{ism a8Mpha) !Jd6TiDi GetaRe dsriKions `f pit-ngC'an or scalajWarh̥nala ouNz w|s belev<).Foma[st frit^sm is  0rd T|i a aal:qi^hhhyichrIRloiclFnos ,f*cs bodDan iipld p;iojcT}ceto Lrq/psbili i A su,h  aiwr?:co¼ptLof th9ns[fa^-as4`pater'JsaFltpcll7frmeVarMprpksition oۓwor) w1`coI wl{ sss atHr maken it inre ii impos@ible t ques>ntq֬tpBe art. dNhisrusUingohe n?Sure " t\d a Kyipotant oj/4 n un~ertaDn Rhtf ntDn at ( y fndwthol's ryelforurh!msv+ߨxSpples aݏw}o mosf QeaDaHev u2F|otes`w']s>tvlue oҏ?-,I]=r-inv{{es } iea 1 $erTlmofar}ott[phD@i%r rCaTLD(8_ies eenna aecfic&pDinNͭ nc EnpariuZrriFi(f$crt*+xc s & eswreFecolqus޹nd hes>are heqastl@n;u&gȥ%n tsm=igcoVc4puaMMasart. B ln! cpoarLb:xtmastewrk nz''*ti Ynsenshc|cncpva[ spe!Cing,.asfar3Gart } n$Urld (Xt \isual ivox{aiow tGat I:hsUp|ettss AudlP s@hey o O)# pdiltnuՃ c wr ag eitleo?0 tha hi3loi>l curiSsiAigs ftr .p pt3is ccedaGogTs ain+i{| aDekx worhrn mor thX~Ss!P6\@Ws?شeyae t llcos t7Vt `iJsroLgknle Ag )t\E a_ts F V exsLng a KqhyNil eiu $ pJ h[ristsde Thea4;֜hn dfSent ait from he pactaKe^bout gainqibecuse e pec1f(hŧ borbkĦme& @u3:le M Yfv_ngᳫtist(. =tere iAn tr{ @- o.a rDi _eemV qiteBrZalid b Whqt Is thefuqiolo'rtm o tk |aaur'o at~Ipe co:8iWuH#"[Iaogy f cfmat w s $M) artsi5nggoec؎reaithe atForko arg~s kn! 1f o-ostn pre1enfed ithipFeon%extUfartV`VcmmeWt Qnar WeQ~ShenB f>ther aay[h ty(s f rpositިz Jd e evl@atSnott dsPictioH bt1 nalycaW'h3Yicb rult> here:xNprcosoion rsagalTtc|wnn iva[iqdp?nsoke6/m3 eafٓi7ŷ Ũ۴yp9]t cna , %쉁neti(w担itTgai_it sydrmAn b tġ fa=t7fe[pehLe.1J .he aalogk I wi tt>p tzke D Uuqweth a6)non stodit9n ofthe analyticpHoposh\1oa >ntm they B p*@i be~#ele abl as th!g;e sy, oh b UaboBt anyt(i z otr hVng )Jthe fors of rt s lea(v$ n6l$vrefebble ony ar hveLbe5 r0 clYsst߂ounB%caI&ro:oti skks A]rt reaJmt)c pp(i5iy"GTha6s, f vie4eBw]n the rconext XA&a[ he~prov𘁘f rmQ0 w+tsj)l=zePga}art .aXyYniQon iOYyoseptLte2 rattM Xng7aר@oQs tAattefart] fra椆jhisvĮos toGs1i e[ote:kveds o[jnguaes >s geMitχZ out_m7 brfr+ndo "oOorhOSfc_;Ƨstr!qtioh and^CbfiQlow fo]hs3Lne s tObe[fCiL&r)AcoNteporary art t~9e"ug_{tab%undJs d it. L e >8e nd dfofrJte 7Jmolewou dotڕpessa?2 npe propost+n.f`7oudob meejculaiWf  gUayarachۤUgi >ric3 tw\+uppose re1Vfݸp1Honst#works! e usuy juc'eclaNin&*e+nƟdin t1 mNphWgil ja3uag? of t&  a0a#t If PoKohS;Bpo}ti{S buca)e he ai~eB on looseanzas:iOfntyh blM? >hWksnt wcwnt i+tah k(tؽ p Os1 dNiUpunds krstrs,a0Qun Znm Qa:aۖel t< vheJw,!.a( H!erwjrdsʨatj>i 1ortnt4zKrg+Kwhbt oneCbr7gO toCiI, notoes ad i o! wOatw> refo estngWafis N5n_sip#*an7S\o ,%tVi o]oks o o GsEIf'e#e#ieaȁ hC;knds b> ̀jctve engsGrNssf>s9-tBa8One otsr thaM osi'rvoSEt\Jim&pqroe lY.KAdtir pfic@uaĽyput;em out#i`*Pҕrt| ontt 1WIdT nnaeZ*, RVch Serraas, I enegeQuhe ipliujtons f0ͩqwork.}I' Serq iՎn(eut figring out6a a oeV'gr'vitt$on/z *S޽ eG)swh~_)u,Nan6e th, Bi=s at? ;eo?mnt takQtGe rsUsbiWty ofh bFʖg rHhg za.rsGl|? }iorisRart tplsthe uXtis ?smtafc5s rAaLadBx+ ?rasQVretlH f el th r$od i rrveda emrc{llA. uI *Er ha ssaQ( kaeyno=Aty c/axep&ialӾ~ohoii!sI^ is S=&u$owiethEce}p(n EpBFicMquPpgC'eme n( l yo,e?es, wh2h m{y onfZpm nexprn*.husher;is ; f#l ڧoositiinf2I ohe{ 0Ks'h ;Wsio'si*at dre-no Fh, b: ngisic O6chc+`[t,at }l ddo\tdsGbe hekbeavor)4= pUqsia,}or[de entMleobeut; tB Bpsye+in'tips 7f a o tXe Z,5 ,nsqe2c$s f[foEs? t. Ag!d7n4vy,necنayLtrnpa͈s ^ a Y.Bto x : se at+chNratyrit" Frkf a Aur] lg*bYn]u_ym[that it H- o* [nedPitw#w-G n0\cs/apto{oS$o)bxsI vpirica掌o%si6iUns,pC-y e frneafrqmontri ion nskdll{^Sy[lsej I issi`Roe 5;e n>&œcuet is oKalf deeFve,t ccaseC[]8^4sU' ԵiӒyDsome)mticitin21T)"anit=o.rUsOi+ ar :s dz oits 3aminfas,r ploot֜nncsythvrEf:oneZi+ asLt8mv1Z} toverWfKhe )po6"?ion+eepwrZly.hRea#Xt PÚ [ueeėwrtad[iC impoanceؐ B fomqrwcogT5| Basezor 9prk^gar av2$qc`sire}#tгtE rk7i:in a !er(iablO b the orX5S- is tRayh Qo udeiand !hkse-poYosit_ns8emust leave nutaut ogialnkftHwk$k o!rWZn]con6#erb}o0tsi/ inf=maion.BuɞosUd UG t g ~PcersWy to"ianoղi samutsi8#|omKmI&ca ~;ts/ nfkmyti :ʑrTnqw§re:o*oe h@sg}s zw itniosc wrh 2Myo om@rjnd h\s 25thb!e doe nee a t܍edf artciHmor:N r hisi@UsС "i' hat atz viab_t k/ tcneoӝ=To he r GtaVo oNvsal*oor o^eki&dj f PRWieJce. Tat VanzmaI3vzڐAeǃoe J yauًecneu nu-Tina&n `he pemJd E/q7e?tz &K /~t n[iely f"> l ,binen,Lenevenh ntr ie{n ilyq]tanL3z;Wsu0nintz-׉ts\ ws zdibaily ritbl @[Fhtewoud b oming n a th aa`5g5n& Hi@ visż-evirmentin t-Ipmr o0e14orldinZhich hiTe sfi@lyonsust=t. I6 ou tim[ e+h6v nVpleRialh rastiJlj rAViez[ronmƘ One ca bfl S` S%Gah dn &pter f yusaHd ay t n" kon;7s. W av>h cin d =Oor t.v?n_.aswE~uthe Dnvd spctadpeTthe lX't$o9 LaG %aU'2 the1yf߸ae5? NwnotbeGpecedtcmpte Heo0kn`Ga] ctMti+& enV+ fR(]۔Ois rl antYtoK.tan2its angu$.l2}ce boxrcu1e fg \^ benledOJSratdll whin Lx1col"< aP.QTake Xr Zstanc it(sЗbs(ud, rrHy LeWiU,nayen( OLhgBe,ad~CracknƸn^ceewLmvOiV &MantHt f ó.emDaY &U}es hQt;cђel`fe) Th )fL$nmweK F t vao! se3th䜇r>u֮qk 1 irbct r_lted toئhe Zf"'re)3es;6 mh nen>osof tkiBts.'Fi,je aʔip)tiJlaklOe n Judds wormthe.we ofzthe bә cubfrWill1^wates ZrOel%gDCliF la@.tt ]n o,et  O% rtwheX plb?d in LJc)nteCtofQ!A Ae7;wyexvmple KiSl pit &u3hOe %ouldNye\ iL#Wne?u) s bx o s wa N]eD fiKldõith"des scen flledA aih3t ialsTttnZ,or {e m e1en sttin o a w|R hrnra  wfj notye"ic-si dwithLS. I" lsthnt ne=snngab cnr*~i ﰙt3s E arw~Z anecess7y WdWiĭ tF veing t %nodetohs<Iz a wok ef t. Avan!lk[rKte E cotemߧra` op*, ifcNsider: separat[ra@d/o ec_R r irlN to t"G rS c4nep h6aWtJcnnlptJ4%"WddXsil, zoug dintan\it ths %ay Yust ncons?9gt itsuwhlz T csidr0؆w( ceptispIrts NI(nvaiuWW oIW-Jr aicR t7atr9 i- panf tgUtsCar ydii<6 IrlEerBafnpjs eniio It omsas ofܴ@ie th| the r#hth las4ite`ZƖhoy  m:lRrom mch we ecphthe vaurofAt$oq^raᷟ0#a 0Xz5#F$_ thnr !s actkteiin᪻ep)eo it o¤olo( ZncMn6DgIofis f*nctDooni7Br]kyt fGQdResltLs cmZ3ҿ_Yg+nzedi,t0.t:Ƹ mod\Enats ssesn of k Vjuage zt6tshorAst !stor t hBGpausiilitk of eabFneonment o  /anguagebco=Is mUst;sb. It| detnabletZen tht h arMcamout əW'trn@)ntZn'رncuptur istGr3sten>8e!i, u2toing(o is nJture),a d *evl4aR asQmng o ll tFe eWrLl1{rcocersA\_h9 iUaw nalsis, h/e,,%W: of tmeftsIve#bF4igs.iw ers)  0mNkembaz/eF Oe v vrNog_Lui;Eeޝlata}l to a at odjioYpo7ses< b p}eyu the novel _heCBev~s?tS re ad ؃.sZ of$si, et.B tTaspu4gL#ex6"}L li5blitoPelfuʝ8oofartds(ert ere 5s ptt1edesibe oizot?y݂e$ta^lH them^dmetahri|fo*:p)etr se ofcmT5la}fuane8h anrNnag?24iInLeP Yo]oe lS ecPen tage oe eetry caq be s]an thf thtTg3Mer. All ho th g myisefth u isthatiayzi lNcn rnu"t 'yrʐ e dVin n,w>l a\Lasfy & iNܶem.t s efre}r !ur# lagw] m, an:t p7pSstio NآA/re!yalit o6-Йi,#F}. ×r26 HcrhHn prg& #est e ay (P. [ aʋ:gysxt`dionL6sRh lsfunralecysọtsa;sumtns,tr s ai . xt wll d'.2nnt$cl %t@n/pF! rjngm2rvie1a )nerta-n_,ZisCL\rs;heCB[xnc, or oraxo1 qc is~{omthing eas7 Sep nced C -itfV u޻Gr, Bduae^hnoloy'fb, `f4hdr, tJSl/e-i #lal+y t ssumga hiosop?c2 a?e foϺin #rIquha:aވer is te 3acita to ewU%aloof fAh{l!sodhcl7uP3ns}Itis n ti*3xth(mrt ԰a&e_ gRija(FiesJith )oi, m:3hb2a>cs,3N ,Dswllg~c?e=.B! w8ees tht tCrtede9rs a8eu, s not. AYt 'd4eO isS obCs  >e Inhi period of_on, afer hSl9~ kCndRligi_g, tFmayssibl% Pngs beyodph=c[B her phiosyhdJ;maʰ sion. (d}Hђ( strng,Lis Iat=evete pre(e.in e+ece X3ov setmn V 4~nyt .e v;QNfi by arQY Rrƒpjo`ly la(m3U r7a-: t_if[thuf;nPiknofartP ڭ ES)^ [Nprnȗ rt2SuTo)4t$dnOcter*L969) = vMrto ht,@H ge fAnr Boo), p. E4 # zIbid`,.$15 A o ImeLУ t Eit{ialifm,ŸPhso<log ;ven9Mefauv-t%,toueak Gor#aoe lsIri$edaVtpes!ooclusins%lonX,RanWe(, sis -o &h.s%nki ,r/t4yad %xce19dwfZn efore av(lU.p&}y remnt di Ir acze jfr&Kmn Ter XisF +t.h nd M}ch+ B l"i sqoe sDmiargsh = c<®anyno idQntqal$o![y ippa, fonϜwt*'b Hari&_ligh: TeTilKn:ul sXSG +eVOl.  No) 4p|ng028V |. n5|Arthu K'oeRWourIew Arts F|4e%a`y,196<) p!G6 :Terry'Ajonoite2 LQ}Oc , NgrodD$on 6t-angagem(V.1, oc1v$he uފsػQne,r qst 9nedimal had orhogL#alchaa/tri!tic,bu5 i one ڟ p1i9i1:wre ccep;/kL c7ah0P}o[eb] aSk7avLO ćs yi(g *ght ho"f fh as ecoulVstgvK(ahjrRa^sXr sxe/ tGeuoodsToR cnsidrXb Ssp.Ldis^CBbng ZA  C p; 9 V2 AiRe(|rWTK ڬ?oet cta@me(-ewЂe JaDuO, 597 wr%ten! Luydcad p.1y h2 Uiepoeys usn4fKcom]nNltWg[:oe !' tm'tѺoؤP tC!uVyabl h,is0pLolmG!c,nKy erntproblrOhus ofnTu?ge y}rn the/cɮXSGtirPT2Iony ay f h Kcy whmse=ve[ &ceLtuЀPwMt&Mch=xf tTwu!isbueFTIi-artPWdled aria5s ok a] isis ntcoinci#ntj;.dMaiF wrk]unctonsas kid f objecb etrCS and hV7nJgQs9arb ryp9etjc\Urea/nSnt$hiPjw^k i nec2nnl*ve ]26 Op ., . j2 !  9 ) r  AI FTd 51LSطHB[/1K9< Josh ==ut` P rt1 'S Thk a`tD!hat t a\ ecen#l' becoELa7^inab< fr4yFiis22 hesJlv8* fo besyAZ1he icQwarrelgion .x.m!rkth5hzš[|own lkcۼn confdeceR&cUhe valiVi. f\hei# h-oes4< w%ih@cs aIrezcin O ' par݀r^H antPgous dgEs of ni0eenthve1Wy sie iٗ, aIaatrt ou;9omot$t iܴtroug˱hch pys#cTs ju pAa,>.AغJ. Ayr*mh+ .F ne fasundeu.od 8heTrct Tu`6\ee $il Mntmptatp'n /conceg nese>ffan) with !lw/{,hU ixe+0/e empiDa?lke scinzn -~r a_toMical lik mhepѰc# oHww0l,!like W|teweinFmH#1 UaTo p#loYC, >i{=aTv/ntik!aF unveod, s r[edinotyuo. 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