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  1. 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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  2. added 2019-04-02
    The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...)
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  3. added 2019-03-04
    Faits et valeurs en esthétique: approches et enjeux actuels.Filippo Fimiani, Jacinto Lageira, Barbara Formis & Evangelos Athanassopoulos - 2016 - Nouvelle Revue d'Esthétique 2 (18):5-9.
    Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...)
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  4. added 2019-02-02
    Philosophy for Girls: Book Proposal.Melissa Shew & Kim Garchar - forthcoming
    This forthcoming edited volume is written by expert women in philosophy for younger women and girls ages 16-20. It features a range of ethical, metaphysical, social and political, and other philosophical chapters divided into four main sections. Each chapter features an opening anecdote involving women and/or girls from historical, literary, artistic, scientific, mythic, and other sources to lead into the main topic of the chapter.
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  5. added 2018-12-04
    Cézanne - Van Gogh - Monet. Genese der Abstraktion, second editon of PhD thesis from 1999/2000.Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  6. added 2018-12-02
    Lo concreto y lo complejo en el valor del arte.José Ramón Fabelo Corzo - 2017 - Revista Cubana de Ciencias Sociales 47 (47):99-111.
    El trabajo argumenta la necesidad de interpretar el valor del arte, por un lado, de manera concreta, como síntesis de múltiples determinaciones y tomando en consideración las condiciones de la época y lugar en las que la obra artística se inserta; y por otro lado, como producto complejo poseedor de múltiples dimensiones, diferentes pero interconectadas entre sí.
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  7. added 2018-11-26
    Por una estética apegada a la vida.José Ramón Fabelo Corzo - 2010 - Revista de Filosofía (Venezuela) 66 (3):89-100.
    Los actuales procesos de estetización del mundo de la vida y de transformación de objetos cotidianos en obras de arte tienden a ser interpretados teóricamente como una difuminación de las fronteras entre arte y vida. Cualquier cosa puede ser arte -afirma Arthur C. Danto, uno de los más reconocidos filósofos del arte de la actualidad-, pero ¿lo puede ser en realidad? Este ensayo se cuestiona esa afirmación basado en los límites axiológicos de la misma.
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  8. added 2018-11-20
    Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...)
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  9. added 2018-10-18
    An Autonomist View on the Ethical Criticism of Architecture.Ricardo Miguel - 2016 - Philosophy@Lisbon (5):131-141.
    It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim that there (...)
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  10. added 2018-06-30
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...)
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  11. added 2018-06-07
    The Aesthetics of Theory Selection and the Logics of Art.Ian O’Loughlin & Kate McCallum - 2018 - Philosophy of Science (2):325-343.
    Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...)
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  12. added 2018-05-17
    Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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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 2018-03-13
    The Space of Reception: Framing Autonomy and Collaboration.Jennifer A. McMahon & Carol A. Gilchrist - 2017 - In Brad Buckley & John Conomos (eds.), Who Runs the Artworld: Money, Power and Ethics. Faringdon, UK: Libri Publishing. pp. 201-212.
    In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...)
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  15. added 2018-03-13
    Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  16. added 2018-02-22
    Freedom and the Value of Games.Jonathan Gingerich - 2018 - Canadian Journal of Philosophy 48 (6):831-849.
    This essay explores the features in virtue of which games are valuable or worthwhile to play. The difficulty view of games holds that the goodness of games lies in their difficulty: by making activities more complex or making them require greater effort, they structure easier activities into more difficult, therefore more worthwhile, activities. I argue that a further source of the value of games is that they provide players with an experience of freedom, which they provide both as paradigmatically unnecessary (...)
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  17. added 2018-01-10
    La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel.Carlos Vanegas - 2016 - Revista Estudios de Filosofía:33-55.
    Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...)
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  18. added 2018-01-10
    Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual.Carlos Vanegas - 2016 - In ¿Arte sin estética? Medellín, Colombia: Universidad de Antioquia. pp. 131-166.
    Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al (...)
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  19. added 2018-01-10
    Ante la fragilidad de la memoria.Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón - 2014 - In Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón (eds.), El arte y la Fragilidad de la memoria. Medellín, Colombia: Sílaba Editores. pp. 259-275.
    Si no me falla la memoria, fue el dibujante Álvaro Barrios quien afirmó que el trabajo del artista contemporáneo colombiano se desarrolla según una agenda de trabajo. Si miramos algunos fenómenos del arte último en Colombia, podemos señalar que su agenda está determinada por el intento de comprensión de los procesos de la violencia en el país, a partir de una amplia gama de aproximaciones al concepto de memoria que ha tenido resonancia en las disciplinas humanísticas, las investigaciones académicas, el (...)
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  20. added 2018-01-10
    La esfera pública y El bar de las Folies Bergère de Edouard Manet.Carlos Vanegas - 2014 - Revista Colombiana de Pensamiento Estético E Historia Del Arte:121-137.
    The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. Thus, Manet’s work A bar at the Folies—Bergere contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Haberma's as (...)
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  21. added 2017-11-17
    New Prospects for Aesthetic Hedonism.Mohan Matthen - forthcoming - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge.
    Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...)
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  22. added 2017-08-11
    Only a Promise of Happiness: The Place of Beauty in a World of Art. [REVIEW]Peg Zeglin Brand Weiser - 2007 - College Art Association Reviews:online.
    College Art Association Review of Nehemas' 2007 book on beauty that challenges his exclusion of consideration of issues of gender, i.e., I ask the questions, "whose beauty?" and "beauty for whom?".
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  23. added 2017-08-09
    The Sense of Art. [REVIEW]Peg Brand Weiser - 1990 - The Personalist Forum 6 (1):89-91.
    Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".
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  24. added 2017-08-06
    Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  25. added 2017-06-24
    The Aesthetic Potential of the Element of Earth.Marzenna Jakubczak - 2002 - Analecta Husserliana:253-263.
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  26. added 2017-06-02
    Why Do We Need to Define ‘Art’ ? Because It Greatly Enhances the Encounter with Art Itself.Jakob Zaaiman - 2017 - Alldaynight.Info.
    Modern art has yet to be properly explained and given its own distinctive and authentic philosophy. It is almost always portrayed – openly or subliminally – as if it were somehow striving for much the same objectives as classical art, though perhaps by very different means. This has the effect of making modern artworks look slightly ridiculous in comparison with the grandeur of their classical counterparts, at the same time as making it an uphill struggle to try to argue the (...)
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  27. added 2017-02-14
    This Is Art: A Defence of R. G. Collingwood's Philosophy of Art.James Camien McGuiggan - 2017 - Dissertation, University of Southampton
    R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- After (...)
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  28. added 2017-01-24
    The Russian Artist in Plato's Republic.Panchuk Michelle - 2013 - In Л.Х. Самситова Л.Ф. Абубакирова (ed.), Гуманистическое наследие просветителей в культуре и образовании: материалы Международной научно-практической конференции (VII Акмуллинские чтения) 7 декабря 2012 года. Ufa, Russia: pp. 574-585.
    In Book 10 of the Republic, Plato launches an extensive critique of art, claiming that it can have no legitimate role within the well-ordered state. While his reasons are multifac- eted, Plato’s primary objection to art rests on its status as a mere shadow of a shadow. Such shadows inevitably lead the human mind away from the Good, rather than toward it. How- ever, after voicing his many objections, Plato concedes that if art “has any arguments to show it should (...)
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  29. added 2016-12-08
    How to Explain Pleasure.M. Matthen - 2014 - British Journal of Aesthetics 54 (4):477-481.
    Stephen Davies’ book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use an object to satisfy a (...)
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  30. added 2016-11-22
    Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’.Keren Gorodeisky - 2017 - Australasian Philosophical Review 1 (1):79-84.
    While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of the problems Matthen raises (...)
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  31. added 2016-11-04
    El desafío de la educación artística en tiempos hipermodernos.Beltrán Ulate Esteban J. - 2016 - Revista Espiga 32:145-152.
    El artículo, de carácter aporético, asume como objetivo caracterizar sutilmente los desafíos de la educación artística, a partir de una crítica a la modernidad, hipermodernidad, así como a las manifestaciones de la sociedad estetizada. Se confuta la mirada de progreso desde una óptica emancipadora, con la premisa fundamental de lograr la elaboración del ¿por qué arte?, en los artistas.
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  32. added 2016-10-20
    Heidegger’s Allegory of Reading: On Nietzsche and the Tradition.William D. Melaney - 2012 - In Alfred Denker Babette Babich (ed.), Hiedegger und Nietzsche. Brill. pp. 190-98.
    Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' of (...)
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  33. added 2016-10-18
    Hegel and Semiotics: Beyond the End of Art.William D. Melaney - 2016 - In K. Bankov (ed.), New Semiotics: Between Tradition and Innovation Proceedings of the Twelfth World Congress of Semiotics. New Bulgarian University. pp. 10 pages.
    This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...)
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  34. added 2016-10-18
    Cognitive Function of Beauty and Ugliness in Light of Kant’s Theory of Aesthetic Ideas.Mojca Küplen - 2015 - In Andras Benedek and Kristof Nyiri (ed.), Beyond Words: Pictures, Parables, Paradoxes (Series Visual Leaning, vol. 5). Peter Lang Publisher. pp. 209-216.
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  35. added 2016-09-28
    ‘But is It Art ?’ The Search for a Simple, Practical and Illuminating Answer.Jakob Zaaiman - 2016 - Alldaynight.Info.
    ‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...)
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  36. added 2016-08-31
    Review Of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW]Lauren R. Alpert - 2016 - American Society for Aesthetics Graduate E-Journal 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
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  37. added 2016-05-22
    Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  38. added 2016-05-08
    Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  39. added 2016-03-02
    Review of Revealing Art. [REVIEW]Jennifer A. McMahon - 2006 - Philosophical Quarterly 56 (224):471-73.
    Matthew Kieran addresses a number of key topics in aesthetics including the nature of originality, beauty, artistic knowledge and truth, the moral content of art, and the standards of taste. His treatment of each topic is informed by the thesis that the value of art is to be found in the insights that it provides. The structure of each chapter is to canvas a few positions (usually including one that would represent a counter position to his thesis), before presenting an (...)
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  40. added 2016-02-29
    Metafora w doświadczeniu dzieła muzycznego: wokół koncepcji Rogera Scrutona.Małgorzata A. Szyszkowska - 2008 - Sztuka I Filozofia (Art and Philosophy) 32:27-40.
    Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to describe and (...)
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  41. added 2016-01-27
    The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  42. added 2016-01-14
    Facing Death; The Desperate at its Most Beautiful.Stefanie Rocknak - 2005 - Phenomenological Inquiry, A Review of Philosophical Ideas and Trends 29:71-101.
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  43. added 2015-11-20
    What Do We See in Museums?Graham Oddie - forthcoming - Philosophy.
    I address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seem obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly (...)
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  44. added 2015-08-30
    Immersion Into Noise.Joseph Nechvatal (ed.) - 2011 - Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office.
    The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding (...)
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  45. added 2015-08-26
    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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  46. added 2015-08-26
    La Deshumanización Del Arte.José Ortega Y. Gasset - 2007 - Espasa.
    Ligado directamente a la dinámica de los movimientos renovadores del arte que surgieron en la España de los años veinte, el texto de Ortega y Gasset ofrece unas perspectivas más amplias y entronca con la renovación de la estética y la historia del arte que había iniciado la tradición teórica e historiográfica alemana a finales del siglo XIX. Ofrecemos, además otros escritos que, como «¿Una exposición Zuloaga?», «La Gioconda», «Diálogo sobre el arte nuevo», «Ensayo de estética a manera de prólogo» (...)
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  47. added 2015-08-04
    Narrative and the Literary Imagination.John Gibson - 2014 - In Allen Speight (ed.), Narrative, Philosophy & Life. Springer. pp. 135-50.
    This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...)
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  48. added 2015-06-22
    The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...)
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  49. added 2015-06-05
    Aesthetics in the Age of Austerity: Building the Creative Class.Christine James - 2015 - In Anthology of Philosophical Studies 9. Athens Institute for Education and Research. pp. 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...)
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  50. added 2015-06-01
    Aesthetic Value, Artistic Value, and Morality.Andrea Sauchelli - 2016 - In David Coady, Kimberley Brownlee & Kasper Lipper-Rasmussen (eds.), Blackwell Companion to Applied Philosophy. Blackwell. pp. 514-526.
    This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
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