LSAT 131 – Section 3 – Question 24

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Explanation
PT131 S3 Q24
+LR
Flaw or descriptive weakening +Flaw
Link Assumption +LinkA
A
3%
157
B
21%
161
C
4%
157
D
5%
156
E
68%
167
150
158
166
+Harder 146.026 +SubsectionMedium

Eighteenth-century European aesthetics was reasonably successful in providing an understanding of all art, including early abstract art, until the 1960s, when artists self-consciously rebelled against earlier notions of art. Since the work of these rebellious artists is quite beautiful but outside the bounds of the aesthetic theory then current, there can be no complete theory of aesthetics.

Summarize Argument
The argument concludes that there cannot be any complete theory of aesthetics. This is supported by an example of a time period in the 1960s, when beautiful new art could not be understood by the time period’s current theory of aesthetics.

Identify and Describe Flaw
The argument is flawed because it fails to consider the possibility that another theory of aesthetics could be more complete than the theory current to the 1960s. Even if one specific theory of aesthetics turns out to be incomplete, there might still be some other theory of aesthetics that can provide an understanding of all art.

A
takes for granted that it is more important for a complete aesthetic theory to account for the beauty of traditional art than for it to account for the beauty of self-consciously rebellious art
The argument doesn’t make any claims about the importance of accounting for a certain kind of beauty over another.
B
presumes, without providing justification, that artists’ rebellion in the 1960s against earlier notions of art was not guided by their knowledge of eighteenth-century European aesthetic theory
It doesn’t matter to the argument what the reason might have been for the artists’ rebellion in the 1960s.
C
presumes, without providing justification, that an aesthetic theory developed in one part of the world cannot be applied in another
The argument simply doesn’t claim that an aesthetic theory from one part of the world cannot be applied to another.
D
presumes, without providing justification, that art from the 1960s is the only art that cannot be adequately addressed by eighteenth-century European aesthetics
The argument doesn’t presume that 1960s art is the only example of art unaccounted for by eighteenth-century European aesthetic theory, but just uses it as an example to show that this aesthetic theory is incomplete.
E
presumes, without providing justification, that eighteenth-century European aesthetics is as encompassing as an aesthetic theory can be
In concluding that no aesthetic theory can be complete, the argument presumes that no aesthetic theory can be more encompassing than the incomplete eighteenth-century European aesthetic theory. This isn’t supported further, so it’s an unjustified presumption.

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