Land use planning decisions are recognised as being value judgements, yet the questions of what values and whose values are rarely addressed. Values may be absolute or relative, intrinsic or extrinsic, passionately emotional or coolly reasoned, and 'measured' in a multitude of ways: by rarity, economics, social or aesthetic interpretations. Using examples of land use planning in Western Australia, I examine some of the complex values brought into play. I conclude that we need to explore, rather than reject, the plurality (...) of values we incorporate into planning decisions. Rather than imposing an artificial order on value confusion, we need to learn how to negotiate our decisions in a world of value complexity and diversity. (shrink)

Land use planning decisions are recognised as being value judgements, yet the questions of what values and whose values are rarely addressed. Values may be absolute or relative, intrinsic or extrinsic, passionately emotional or coolly reasoned, and ‘measured’ in a multitude of ways: by rarity, economics, social or aesthetic interpretations. Using examples of land use planning in Western Australia, I examine some of the complex values brought into play. I conclude that we need to explore, rather than reject, the plurality (...) of values we incorporate into planning decisions. Rather than imposing an artificial order on value confusion, we need to learn how to negotiate our decisions in a world of value complexity and diversity. (shrink)

The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...) special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art. (shrink)

Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...) in that they are essentially gestural, referential, and symbolic, and they present material in a condensed and allusive form. Andy Warhol’s work is an example of the theatrical manipulation of presentational media to create a strange and unusual universe. (shrink)