Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...) itsexternalcontent, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...) why many experimental studies do not belong to a psycho-historical science of art. (shrink)