View topic on PhilPapers for more information
Related categories

7 found
Order:
More results on PhilPapers
  1. added 2020-09-07
    Ready-Mades: Ontology and Aesthetics.Simon J. Evnine - 2013 - British Journal of Aesthetics 53 (4):407-423.
    I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a dilemma. Is there (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   7 citations  
  2. added 2020-06-28
    Arrest: The Politics and Transcendence of Aesthetic Arrest Qua Protest.Ekin Erkan - 2020 - AEQAI.
    Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. added 2016-03-24
    Vertiginous Acedie.Gavin Keeney - manuscript
    Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. 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 (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  5. added 2015-09-27
    Sculpture and Space.Robert Hopkins - 2003 - In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. pp. 272-290.
    What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  6. added 2015-09-21
    Kant, Co-Production, Actuality and Pedestrian Space: On the Philosophical Writings of Fred Sandback.Juliette Kennedy - forthcoming - In Roman Kossak & Philip Ording (eds.), Simplicity: Ideals of Practice in Mathematics and the Arts. Springer.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  7. added 2014-03-04
    A Cognitive Approach to the Earliest Art.Johan De Smedt & Helen3 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   9 citations