Texture is the element of art that refers to the way factors really feel, or look as if you could feel if touched (the illusion of touch). A fourth sort of argument suggests that a definition of art stating individually necessary and jointly enough circumstances for a factor to be an artwork, is probably to be discoverable only if cognitive science makes it plausible to believe that humans categorize factors in terms of needed and enough circumstances.
Here is one: (1) possessing constructive aesthetic properties (2) getting expressive of emotion (three) becoming intellectually difficult (four) getting formally complex and coherent (5) having the capacity to convey complex meanings (6) exhibiting an individual point of view (7) becoming original (eight) being an artifact or performance which is the product of a high degree of ability (9) belonging to an established artistic kind (10) being the solution of an intention to make a perform of art (Gaut 2000).
1 expression of this impulse is Weitz’s Open Concept Argument: any concept is open if a case can be imagined which would contact for some sort of decision on our portion to extend the use of the concept to cover it, or to close the concept and invent a new one to deal with the new case all open ideas are indefinable and there are instances calling for a decision about whether or not to extend or close the concept of art.
The relation between (say) the historical notion of art and the appreciative concept of art is not an accidental, unsystematic relation, like that in between river banks and savings banks, but is anything like the relation amongst Socrates’ healthiness and the healthiness of Socrates’ diet program.
A frequent household of arguments, inspired by Wittgenstein’s famous remarks about games (Wittgenstein 1953), has it that the phenomena of art are, by their nature, also diverse to admit of the unification that a satisfactory definition strives for, or that a definition of art, have been there to be such a issue, would exert a stifling influence on artistic creativity.
Considering that that list of 5 arts is somewhat arbitrary, and given that even these five do not share a single frequent nature, but rather are united, at very best, only by a number of overlapping characteristics, and since the quantity of art forms has enhanced since the eighteenth century, Kristeller’s perform may be taken to recommend that our idea of art differs from that of the eighteenth century.