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  1. added 2020-03-02
    On Being Moved by Portraits of Unknown People.Hans Maes - 2020 - In Portraits and Philosophy. Routledge.
    In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...)
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  2. added 2020-02-12
    Painting the Difference: Sex and Spectator in Modern Art.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 (...)
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  3. added 2019-08-08
    A Taxonomy of Disgust in Art.Noël Carroll & Filippo Contesi - 2019 - In Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.), Art, Excess, and Education. Palgrave Macmillan. pp. 21–38.
    Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.
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  4. added 2019-07-26
    Resemblance As Repleteness: A Solution To Goodman’s Problem.Daniel Barnes - 2006 - Postgraduate Journal of Aesthetics 3 (2):59-65.
    In this paper I consider the view that Goodman altogether rejects the notion of resemblance in depiction. I argue that, although Goodman’s case seems to be a decisive challenge, he can in fact hold a positive view of resemblance if we weaken the standard usage of the word ‘resemblance’. The result of this is that Goodman’s commitment to the notion of repleteness enables him to say that pictures can and do resemble their subjects, as resemblance relies on the relative complexity (...)
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  5. added 2019-06-22
    Aparatos, imágenes y modo de pensar-las: la pantalla cíborg.Dr Guillermo Yáñez Tapia - 2019 - Revista Barda 5 (8):253-272.
    Desde una respuesta tentativa a la pregunta qué es una imagen se busca establecer el modo en que pensamos en, con y contra las imágenes. Se concentra la indagación en dos tipos particulares de imágenes, las generadas por el aparato digital, con el fin de articular conceptualmente el modo en que las imágenes cobran sentido y cómo dicho sentido surge desde el estatuto ontológico que encierra dicho aparato en particular. Desde una respuesta operativa y desde el concepto de modo de (...)
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  6. added 2019-05-15
    Restating The Case For Representation In The Philosophy Of Opera.Daniel Gallagher - 2005 - Postgraduate Journal of Aesthetics 2 (2):62-69.
    Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?
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  7. added 2019-05-06
    Gorsuch and Originalism: Some Lessons From Logic, Scripture, and Art.Harold Anthony Lloyd - manuscript
    Neil Gorsuch lauds judges who purport to “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be . . . .” It’s hard to see how such a form of Originalism withstands scrutiny. -/- First, using “reasonable reader” understandings rather than speaker meaning turns language and law on their heads. Audiences effectively become (...)
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  8. added 2019-05-06
    The Impact Of Aesthetic Imagination On Our Ethical Approach Towards Nature.Christian Denker - 2004 - Postgraduate Journal of Aesthetics 1 (2):51-58.
    Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...)
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  9. added 2019-04-04
    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 (...)
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  10. added 2018-10-19
    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.
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  11. added 2018-09-16
    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 (...)
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  12. added 2018-05-17
    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 (...)
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  13. added 2018-05-17
    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 (...)
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  14. added 2018-03-05
    Representation as Epistemic Identification.John Dilworth - 2006 - Philo 9 (1):12-31.
    In a previous Philo article, it was shown how properties could be ontologically dispensed with via a representational analysis: to be an X is to comprehensively represent all the properties of an X. The current paper extends that representationalist (RT) theory by explaining representation itself in parallel epistemic rather than ontological terms. On this extended RT (ERT) theory, representations of X, as well as the real X, both may be identified as providing information about X, whether partial or comprehensive. But (...)
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  15. added 2018-02-17
    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 (...)
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  16. added 2018-02-16
    The Fictionality of Plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  17. added 2017-12-14
    Wittgenstein and the Metaphysics of Ethical Value.Julian Friedland - 2006 - Ethic@ - An International Journal for Moral Philosophy 5 (1):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 (...)
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  18. added 2017-08-07
    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, (...)
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  19. added 2017-08-06
    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/ (...)
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  20. added 2017-03-09
    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 (...)
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  21. added 2017-03-09
    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).
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  22. added 2017-03-07
    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. (...)
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  23. added 2016-02-26
    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 (...)
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  24. added 2016-01-26
    Sculpture.Robert Hopkins - 2003 - 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 (...)
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  25. added 2015-09-18
    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).
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  26. added 2015-06-28
    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 (...)
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  27. added 2015-03-10
    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.
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  28. added 2015-01-20
    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 (...)
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  29. added 2014-03-29
    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, (...)
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  30. added 2014-03-23
    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, (...)
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  31. added 2013-05-08
    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 (...)
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  32. added 2012-01-28
    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 (...)
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  33. added 2010-06-30
    Resemblance, Restriction, and Content‐Bearing Features.John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):67–70.
    In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...)
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