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Lecture 5

RHETOR 109 Lecture Notes - Lecture 5: Deskilling, Intentionality

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Rebecca Gaydos

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Rhetoric 109
Lecture 4
Use concept of disability aesthetic to show how differences are crucial to modern art
Definition of aesthetic: tracking sensations evoked when viewing another body
- Beauty is how we feel/ experience art pieces with our sensations (body)
- Reject healthy body as an ideal standard
- Intellectual capacity to create art
- Do we need to look at intentionality of artwork? Artists sometimes do make
art to engage in the process of artistic creation, not to please the audience or
evoke certain emotions
- The idea of artistic genius (such as Da Vinci)
- Judith Scott went against all these notions  demeaning critiques like the one
that links disability to criminality
- Challenge/ reject idea of art presenting the “ideal beauty”
- Perhaps he only represented a different type of art
Can there be a coexistence of being creatively autonomous and physically or
mentally restricted?
Why are disability aesthetics rooted in the body more than other types of
Idea of disinterestedness
- Art judges by its capacity to overcome desires, universal
- Under this mode, we would try to convince someone of your opinion about
what is food/ what is important
- 20th century: techniques no longer as emphasized, rather emphasis on
emotive factors, “deskilling oneself”
McCarthy: why distinguish and have the hierarchy between desires and appetites
we should convince others to agree with and the other lowly ones?
Emotions tied with disgust: disgust linked to pleasure?
Art pushes boundaries beyond the primal feelings of fear, disgust, displeasure
(starting point for revealing more emotions)
Irony: there are different values in one context (elevated, glorified in museums and
art galleries) versus another context (disdain, avoidance in real life)
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