By James W. Manns

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Isn't it there? Bother! S. Eddington, The Nature of the Physical World, p. 224. Page 5 history of entomology, nor (thankfully) in its foreseeable future has an insect willfully mutated purely and simply to register its disrespect for an unjust or constraining taxonomic system. That would be a distinctly human gesture. There is no small measure of overlap between aesthetics and these behavioral sciences, for after all, human emotional response falls squarely within the domain of psychology, and emotional states prompting and prompted by works of art cannot resist inclusion into this domain.

While the author, James W. Manns, has emphasized "classic" sources, he has attempted to provide sympathetic interpretations of views he discusses to ensure that his critiques and recommendations are directed at serious rather than imaginary targets. The result is a lucid and fascinating exploration of both art and aesthetics that should appeal to beginners and experts alike. JAMES H. FETZER Page xi Preface This book aims to provide the reader with a sense of the abiding issues in aesthetics. It embodies a deep respect for traditiontradition in the arts and in the theories of art that have been formulated across the centuries.

If chairfalling was subsequently, through the efforts of the uncle, to find its way into the repertory of a few minor dance companies and one major one, would it now deserve to be regarded, unconditionally, as a full-fledged performance art? Is the only condition that is preventing us from recognizing their stunt as an artistic performance the fact that a larger artworld public does not recognize it to be one? What, it must be asked, disposes the artworld itself against chairfalling? And if the artworld should subsequently mellow and welcome chairfalling within its confines, would the reason for this be irrelevant?

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