View topic on PhilPapers for more information
Related categories

53 found
Order:
More results on PhilPapers
1 — 50 / 53
Material to categorize
  1. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. The Realistic Angel: Pictorial Realism as Hypothetical Verity.Christopher Buckman - 2015 - Aesthetic Investigations 1 (1):49-58.
    My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Zeglin Brand Weiser & Edward B. Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford University Press. pp. 192-221.
    The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand Weiser (ed.), Beauty Matters. Bloomington, IN: Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  5. Vision, Image and Symbol.Fabio Fossa - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):165-174.
    During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I discuss (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. Aesthetic Perception.Jennifer A. McMahon - 1996 - Communication and Cognition: An Interdisciplinary Quarterly Journal 29 (1):37-64.
    In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
Aesthetic Symbol Systems
  1. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  2. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. Evocation and Figurative Thought in Tennessee Flag Culture.Steven A. Knowlton - 2013 - Raven 20:23-54.
    The popularity of logos derived from the Tennessee flag can be explained by its obvious and relevant symbolism, but also by the phenomenon of pragmatic unity through which the Tennessee flag evokes the Confederate flag, as well as by the phenomenon of visual synecdoche, which allows observers to associate the three-star element with the entire flag and its associated meanings.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. Using Public Evocative Objects to Support a Multiethnic Democratic Society in Kosovo (I) Friendly and Enemy Images.Rory J. Conces - 2011 - Bosnia Daily.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  5. Using Public Evocative Objects to Support a Multiethnic Democractic Society in Kosovo (II) Fields of Existence Vs. Fields of Battle.Rory J. Conces - 2011 - Bosnia Daily:9-10.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  6. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  7. Depiction and Convention.Ben Blumson - 2008 - Dialectica 62 (3):335-348.
    By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  8. Depictive Structure?Ben Blumson - 2011 - Philosophical Papers 40 (1):1-25.
    This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  9. Beauty as a Symbol of Natural Systematicity.Andrew Chignell - 2006 - British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  10. Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   4 citations  
Intention and Interpretation
  1. The End of The Road.Sean Allen-Hermanson - 2017 - European Journal of American Studies 12 (2).
    -/- The closing paragraph of Cormac McCarthy’s The Road hums with mystery. Some find it suggestive of renewal, though only vaguely. Others contend that it does little to ameliorate the novel’s pessimism. Still others find it offers both lamentation and hopefulness, while some pass it over in silence. As an admirer with a taste for puzzle solving, here I offer a new interpretation revealing a surprisingly optimistic denouement.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  3. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  4. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  5. Review of Gregory Currie , Narratives and Narrators: A Philosophy of Stories. [REVIEW]Catharine Abell - 2011 - Philosophy in Review 31 (5):324-326.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
    An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark   2 citations  
  7. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - 2010 - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  8. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  9. Interpretation, Sincerity and "Theory".John Gibson - 2010 - Contemporary Aesthetics 8.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  11. Medium, Subject Matter and Representation.John Dilworth - 2003 - Southern Journal of Philosophy 41 (1):45-62.
    I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
Aesthetic Representation and Meaning, Misc
  1. Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
    The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. Las normas y su puesta en vigor: respuesta a Josep Corbí.Manuel Garcia-Carpintero - 2017 - Critica 49 (145):113-132.
    En su discusión “Obras de ficción, formas de conciencia y literatura”, Josep Corbí formula una serie de críticas certeras a mis ideas sobre la distinción que he hecho entre ficción y no ficción en Relatar lo ocurrido como invención. En esta nota de respuesta expongo primero de forma sucinta el núcleo de esas ideas y después proporciono las que considero las razones más decisivas para adoptarlas, a pesar de las dificultades que señala Corbí.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  3. ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Zeglin Brand Weiser (ed.), Beauty Unlimited. Bloomington, IN: Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. Beauty as Pride: A Function of Agency.Peg Zeglin Brand Weiser - 2011 - APA Newsletter on Philosophy and Medicine 10 (2):5-9.
    This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  5. Imagen digital: la “suspensión” de la distancia categorial moderna [o cómo operar desde los Estudios Visuales en la postmodernidad].Guillermo Yáñez Tapia - 2008 - Revista Estudios Visuales (5).
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  6. La superficie-referente en la retórica radical del objeto fascista representacional: la readecuación del índex en la estetización digital.Guillermo Yáñez Tapia - 2010 - Revista la Puerta FBA (3).
    Será tarea del pensamiento crítico recuperar la imagen para un discurso de la resistencia como un discurso efectivo frente a la inoperancia del objeto artístico difuso. A esto debe convocar al análisis crítico de la imagen hegemonizada por la superficie-referente. La radicalidad de dicha tarea debe buscar sus fuentes en el desplazamiento constante hacia la descripción de lo opaco en la estrategia representacional de una superficie-referente para la instalación del objeto fascista estetizante. Dicha radicalidad debe recuperar conceptualmente el desmantelamiento crítico (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  7. Media Parergon, Media Ergon: An Analytical Overview of the Grammar and Pragmatics of the Media Language.Rafael Duarte Oliveira Venancio - 2017 - SSRN Electronic Journal 2017:1-8.
    The present work has a central question: how a certain media distinguishes itself from the other communicational and linguistic apparatuses of the world. And with that, he turns on the big question of what each media practice would be. The hypothesis defended here is that each type of media, in its definition, is a language and not an apparatus. Using the concepts of Ludwig Wittgenstein, Jacques Derrida, Jean-François Lyotard and John R. Searle, the concepts of parergon and ergon are discussed. (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  8. Kierkegaard's Phenomenology of Spirit.Ulrika Carlsson - 2016 - European Journal of Philosophy 24 (3):629-650.
    Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  9. Good Looking.Jennifer Matey - 2016 - Philosophical Issues 26 (1):297-313.
    Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute aesthetic qualities like (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   5 citations  
  11. Nihilismus der Transparenz. Grenzen der Medienphilosophie Jean Baudrillards.Gregor Schiemann - 2013 - In Jan-Hendrik Möller (ed.), Paradoxalität des Medialen. Fink Verlag. pp. 237-254.
    Jean Baudrillards Kulturphilosophie läßt sich durch die Behauptung charakterisieren, daß die Medien in der modernen Kultur vorherrschend geworden sind. Seine These, die Medien hätten jeden Bezug zu einer von ihnen unabhängigen Realität verloren, haben zahlreiche Autorinnen und Autoren nihilistisch genannt. Das Zutreffende dieser Kennzeichnung verdankt sich im Wesentlichen einem eingeschränkten, auf das 19. Jahrhundert zurückweisenden Begriff des Nihilismus. Allerdings nimmt Baudrillard auf Phänomene Bezug, die er historisch später verortet und die sich ihrer Struktur nach kategorial von den Funktionen der Medien (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  12. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  13. Sculpture.Robert Hopkins - 2005 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  14. Wittgenstein and the Metaphysics of Ethical Value.Julian Friedland - 2006 - Ethic@ 5:91-102.
    This paper develops Wittgenstein’s view of how experiences of ethical value contribute to our understanding of the world. Such experiences occur when we perceive certain intrinsic attributes of a particular being, object, or location as valuable irrespective of any concern for personal gain. It is shown that experiences of ethical value essentially involve a characteristic ‘listening’ to the ongoing transformations and actualizations of a given form of life—literally or metaphorically speaking. Such immediate impressions of spontaneous sympathy and agreement reveal ethics (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. Ornamentality in the New Media.Eran Guter - 2010 - In Anat Biletzki (ed.), Hues of Philosophy: Essays in Memory of Ruth Manor. College Publications. pp. 83-96.
    Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  16. Wittgenstein and Surrealism.Chrysoula Gitsoulis - 2012 - Essays in Philosophy 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  17. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  18. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  19. Review of The Meaning of the Body: Aesthetics of Human Understanding. [REVIEW]Jennifer Mcmahon - 2009 - Mind 118 (471):843-846.
    In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of meaning (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  20. Review of Making Sense. A Theory of Interpretation. [REVIEW]Jennifer A. McMahon - 2002 - Australasian Journal of Philosophy 80 (1):107 – 109.
    The distinctive feature of Thom’s theory of interpretation is that it takes the classicist view regarding the stability of the object of interpretation, and the post-structuralist view regarding what counts as interpretation. Accordingly, he must admit the possibility that any one object of interpretation, stable though it be, can have multiple (yet possibly incommensurable) successful interpretations.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  21. Bare Exteriority. Philosophy of the Image and the Image of Philosophy in Martin Heidegger and Maurice Blanchot.Emmanuel Alloa - 2005 - Colloquy (10):69-82.
    The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  22. Painting the Difference: Sex and Spectator in Modern Art, by Charles Harrison. [REVIEW]Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244–246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  23. Medium, Subject Matter and Representation.John Dilworth - 2003 - Southern Journal of Philosophy 41 (1):45-62.
    I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
1 — 50 / 53