Not sure if this got sent. If so, sorry for the duplication.

Flying blind as usual, I think admirable for Peirce means what it would
mean to most. An action or actions that achieve a positive purpose either
for an individual or in relationships. Peirce's modifier of reasonableness
might be an evolutionary sense that the accumulation of such things moves
toward a more reasonable community reality. Mona Lisa is like all creations
a fixed thing and I would assume that Peirce might admire it or any other
work and honor it for its still present effects. I imagine his musements
afforded him a sense of beauty if indeed he felt progress in thinking and
satisfaction at the thought.

*ShortFormContent at Blogger* <http://shortformcontent.blogspot.com/>



On Sun, Mar 25, 2012 at 3:44 AM, Catherine Legg <cl...@waikato.ac.nz> wrote:

>
>
> On Fri, Mar 23, 2012 at 9:23 AM, Gary Richmond <gary.richm...@gmail.com>wrote:
>
>> I want to conclude this note with a passage near the end of the book
>> which I very much liked and have been reflecting on since. Forster
>> writes:
>>
>> On [Peirce's] view, human beings are not cogs in a vast cosmic
>> mechanism, but rather are free, creative agents capable of
>> transforming the world though the active realization of intelligent
>> ideals. The ultimate fate of the world is indeterminate and there is
>> no guarantee that the forces of reasonableness will triumph.
>> Nevertheless, the potential for victory is there. All it requires, he
>> thinks, is a community of individuals who devote their energy to the
>> pursuit of truth and goodness, a community united, not by mutual
>> self-interest, but by a common love of reasonableness" (Forster, op.
>> cit., 245).
>>
>> Cathy, this brought to my mind the discussion of Peirce's esthetics
>> following Tom Short's fine talk in the Robin session at SAAP. Any
>> thoughts on that in this connection?
>>
> ***
>
>>
>> Yes that discussion was interesting - I wish we had had the time to
>> pursue it further. This might not mean so much to people who were not at
>> the talk (perhaps Tom Short might be persuaded to post a copy of it here).
>> But anyway, Tom claimed the subject matter of Peirce's aesthetics was not
>> the beautiful but the *admirable*. To test this, and because I was worried
>> that the talk had mainly spoken at the general level, I asked about a
>> specific example - the Mona Lisa, and whether a Peircean aesthetics as
>> described by Tom might have anything to say about that work, and if so,
>> what.
>
>
>
>> I was worried it looked like I hadn't really understood the very point
>> Tom was trying to make, and Tom suggested that a painting of a beautiful
>> woman is not the sort of thing Peirce has in mind, but Felicia Cruse said
>> she wanted to hear what Tom had to say about it, and artworks in general.
>> Then Rosa Mayorga pointed out that Peirce himself describes the subject
>> matter of aesthetics as 'the growth of concrete reasonableness' (here is
>> the connection Gary is pointing out) so we should work with that.
>
>
>
>
>> So I guess the question is whether a painting by Leonardo da Vinci might
>> somehow contribute to the growth of human concrete reasonableness. Doesn't
>> seem to me it couldn't. That painting in particular, apparently people have
>> been known to stand in front of it for hours and not necessarily be able to
>> articulate why.
>
>
> I hope I have captured an accurate enough snapshot of the discussion as
> memory of such things is inevitably selective.
>
> Regards to all, Cathy
>
>
>
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