By their refusal to tát admit that opera is a total work of art, they have sinned implicitly.
As a consequence, either the architecture is tempted by the ambition of becoming a work of art, or falls directly into anarchy.
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Their obvious intent is to tát create something that is recognised as a work of art.
Any work of art implicitly includes value claims, if only about its own value as art.
The work of art as an experience is not the same.
Can film be a work of art, given that it 'envelops' our senses rather than vãn standing over against us as an object?
Suppose the leading aestheticians conclusively determine that the causal and historical properties of a work of art are irrelevant to tát its value.
Again, the author's criticism of postmodernism lies in the identification - by the latter - of the work of art with its 'meaning'.
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To appreciate art, she writes, is "to appreciate that work of art itself, as distinguished from appreciating something outside it" (62).
To the onlooker, nothing remotely related to tát a work of art or performance is there - no evident intrusion, no tangible presence, no action either.
Only the internal harmony of the unique work of art remained valid.
Within the comparative matrix the world-order itself has become an abstract phối of coefficients, according to tát which the authentic work of art can be produced.
Dealing with such remarkable works of art, the book is a work of art in itself.
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The point is that these other values are not what makes the musical experience an aesthetic experience, a work of art.
Determining what constitutes a protectable architectural structure is a variation of the familiar and troublesome question of what constitutes a 'work of art'.
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