The Neo-Wittgensteinian theory of Art has been modeled mainly after the ideologies and teachings of Ludwig Wittgenstein, a philosopher and logician from Austria. Much of his work focuses on the validity of the use of language, which is applied to the argument I made in this paper. His language-games theory of “private language” can extend its argument to the study of aesthetics (“Individual Philosopher Philosophy”).
Theories of art prior to the Neo-Wittgensteinian theory tried to provide a complete list of criterion that “art” pieces must possess to qualify as “works of art”. As seen throughout the history of art, beliefs about what an artwork can be branded by and the important requirements of an artwork, has changed. For example, Plato and Aristotle’s Imitation theory of Art states the following: X is an artwork if X is an imitation. Everyone is aware that many works of art do not imitate anything; it is a universal fact. Music, amongst many other candidates, is a work of art that cannot imitate anything on this planet. As a result, the Representational theory of art was created to correct the mistake. It is as follows: X represents Y if and only if (a) X is intended to stand for Y and (b) the audience realizes this intention. However this too, poses a problem, as many works of art do not represent anything. Architecture or design patterns, for example, fail to represent any thought or intention, as dem...
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... fail to experience, while others don’t. Value pluralism states that the overall value of a piece of artwork consists of variations of certain values put together. As I stated previously, all pieces contain some measure of over-all aesthetic value through which we distinguish between artworks and non-artworks.
The use of language is also important in this argument. In a more modern context, the word ‘resemblance’ refers to appearance, while the word ‘similarity’ refers to other attributes, and also appearance. Objects may have some similarities but not resemble another object per se.
The Neo-Wittgensteinian theory of art has been criticized for being “too broad” with its “open concept” theory and its “family resemblance” theory. In this paper, I have explained those objections, and then responded to them using personal reasoning and evidence to back up my statements.
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