Argues that truth, moral right, political right, and aesthetic value may be understood as arising out of a naturalist account of humanity, if naturalism is rightly conceived.

Se fundamentan las razones por las cuales debe asumirse una actitud crítica ante la filosofía del arte de Arthur C. Danto, tomando algunas de sus tesis y al mismo tiempo rechazando críticamente otras. Para ello se muestra la unilateralidad con que el filósofo norteamericano aborda las relaciones del arte con su contexto histórico. En particular se valora críticamente la tesis sobre el fin del arte.

Los materiales que nutren este libro parten de un inédito encuentro que los profesores, colaboradores y estudiantes actuales de la Maestría en Estética y Arte (MEYA) de la BUAP sostuvieron con los egresados del programa, ubicados hoy en espacios profesionales que se encuentran “más allá de la Academia” que los formó como maestros en estética y arte. Es el testimonio gráfico de los aportes académicos, investigativos y artísticos que el encuentro condensó entre el 22 y el 25 de junio de (...) 2010. La primera parte, “Desde la Academia”, es una muestra representativa del ciclo de conferencias impartido por los profesores y colaboradores de la MEYA. “De regreso a la Academia”, la segunda parte, incluye trabajos de los egresados de la maestría con avances investigativos logrados con posterioridad a su egreso. Una tercera parte contiene el catálogo de las obras que 6 de los egresados-artistas presentaron en la exposición de artes plásticas “Si a destinos ocurre la magia”. (shrink)

Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...) del legado teórico-práctico de Boal y que tuvo como tema principal el del rescate y la continuación de su obra. Incluye los más importantes trabajos allí presentados, junto a un estudio biográfico, una contribución enviada por su hijo, una entrevista a su esposa y dos obras del propio Boal que (una parcialmente y la otra de manera completa) se publican por primera vez. (shrink)

Desde la certidumbre del sentido necesariamente inacabado, nómada y abierto de sus propuestas, el presente volumen de la Colección La Fuente da cuentas del esfuerzo de un grupo de investigadores del Instituto de Filosofía de La Habana (IF) y de la Universidad Autónoma de Puebla (BUAP) por esbozar, más que respuestas, aquellas interrogantes sociales, culturales y artísticas que, desde constelaciones cambiantes de conceptos y reflexiones estéticas, puedan ser emplazadas en sus respectivas realidades. El presente libro es el tercero de la (...) serie Redes, dedicada a plasmar los principales resultados del trabajo de colaboración del Cuerpo Académico de Estética y Arte de la BUAP con otros grupos de investigación. La coordinación de esta entrega contó con la sapiencia y laboriosidad académica de la doctora Alicia Pino Rodríguez (1954-2017), investigadora del IF, integrante del Consejo de la Colección, coordinadora de su segundo volumen y parte esencial de este, dedicado a su memoria. (shrink)

This critical reader covers Joseph Margolis's controversial views of mind, truth, science, and reality, along with his revolutionary theories about culture, art, language, personhood, and morality.

En este ensayo nos proponemos realizar un trabajo de traducción, como lo sugiere Boaventura de Sousa Santos, entre aspectos puntuales de la teoría estética de Augusto Boal y algunos de los estudios que sobre la colonialidad del ser han realizado autores como Walter Mignolo y Nelson Maldonado Torres, entre otros. Nuestros objetivos son, primero, subrayar los vínculos entre las dos teorías para revelar la viabilidad de la existencia de una colonialidad del crear; segundo, reflexionar la estética del oprimido como una (...) estética descolonizadora. (shrink)

Philosophy and Literature is an internationally renowned refereed journal founded by Denis Dutton at the University of Canterbury, Christchurch. It is now published by the Johns Hopkins University Press. Since its inception in 1976, Philosophy and Literature has been concerned with the relation between literary and philosophical studies, publishing articles on the philosophical interpretation of literature as well as the literary treatment of philosophy. Philosophy and Literature has sometimes been regarded as iconoclastic, in the sense that it repudiates academic pretensions, (...) insidious jargon and institutional vogue. Dutton, who remains the editor, still writes a regular column. A distinctive feature of Philosophy and Literature was the annual Bad Writing Contest, held from 1995–98, which sought to identify (and publish) the ‘most stylistically lamentable passages’ of academic prose, often to great amusement. (shrink)

El presente libro, La estética y el arte a debate I, compila los resultados fundamentales del trabajo del VIII Coloquio Internacional de Estética y Arte, celebrado en La Habana entre el 9 y el 11 de diciembre de 2013. El coloquio, convocado y auspiciado por diversas instituciones cubanas y mexicanas, fue expresión de los fructíferos vínculos de colaboración entre la Maestría y el Cuerpo Académico de Estética y Arte de la Benemérita Universidad Autónoma de Puebla (BUAP) y el Grupo de (...) Investigación sobre Estética, Cultura y Arte (GISECA) del Instituto de Filosofía de La Habana, ambos como parte de la Red de Investigaciones en Arte (RIA). -/- Con un nivel de convocatoria sin precedentes, el coloquio reunió, en las instalaciones del Hotel Neptuno-Tritón de la ciudad de La Habana, a más de un centenar de ponentes especializados en el arte y la estética –provenientes de Colombia, Ecuador, Francia, España, Cuba y México–, cuya valiosa participación determinó el alto nivel académico y la gran variedad de perspectivas teóricas y culturales del evento. -/- Las temáticas centrales giraron en torno a las nuevas prácticas artísticas, los desafíos que enfrentan la estética y la historia del arte, los debates actuales sobre la cultura, y muchas otras propuestas encaminadas a promover la reflexión y discusión de los aspectos académicos, artísticos y culturales más relevantes para esta área del conocimiento, además de estimular un intercambio de enfoques e ideas. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Offers a compelling intercultural perspective on body, art, self, and society.

In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...) the centre of the tradition. The work of art in rock is not a piece for performance, but the track itself, as in classical electronic music. Tracks do manifest songs which may be performed live, but these are not the primary focus of critical attention in rock. In jazz, there are no works of art. This is because the primary focus of critical attention in jazz is the performance, and the relation between standard on which the performance is based and the performance itself is too dissimilar from the model of classical work-performance. Jazz recordings, however, like classical recordings, are best thought of as providing access to performances. These ontological issues are important in part because of their implications for evaluation and musical practice. If rock works are ontologically like classical electronic works, then criticism of them should focus not just on their formal harmonic structures, but on their use of timbral and spatial effects. Since classical recordings endure, but live performances do not, performers should ideally take a different attitude to work-interpretation in those two spheres. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

Danto inicia su filosofía de la historia del arte con un núcleo problemático que inaugura el modernismo: una obra de arte llega a ser indiscernible de una mera cosa, en la medida en que es el resultado lógico de la narrativa de un cierto periodo. Hablar sobre el fin del arte es hablar de las razones que sustentan esa narración y de la posibilidad de su culminación. Se propone una crítica, a partir de la relación entre esencialismo, historicismo y pluralismo, (...) para examinar su controversial tesis sobre la clausura histórica del arte por agotamiento de su impulso cognitivo. (shrink)

O desenvolvimento da filosofia acadêmica no Brasil é direcionada, entre vários fatores, pelas investigações dos diversos Grupos de Trabalho (GTs) da Associação Nacional de Pós-Graduação em Filosofia (ANPOF). Esses GTs se dividem de acordo com a temática investigada. O GT de Metafísica Analítica é relativamente novo e ainda tem poucos membros, mas os temas nele trabalhados são variados e todos centrais no debate metafísico contemporâneo internacional. A sua investigação se caracteriza pelo rigor lógico e conceitual com o qual aborda esses (...) tradicionais tópicos da metafísica. Embora os assuntos tratados tenham sido, em sua grande maioria, tópicos abordados e discutidos em reuniões remotas do GT, nem todos os membros do nosso grupo estão aqui representados. Esperamos apresentar seus trabalhos em futuros livros. Por enquanto, queremos apenas divulgar ao público acadêmico algumas de nossas produções, trabalhadas e produzidas exclusivamente para este livro. Segundo a caracterização tradicional, com a qual plenamente concordamos, a metafísica se ocupa com a natureza mais íntima e geral da realidade. Essa metafísica é, por um lado, ambiciosa: não pretende apenas expor a realidade segundo o modo como ela se apresenta para nós, mas como ela é ‘em si mesma’. Por outro lado, ela é modesta: ela sabe da sua dívida para com as outras disciplinas, especialmente lógica, linguagem e epistemologia. Além disso, ela se entende como sempre tentativa, provisória, aberta a críticas e revisões. Neste livro, tratamos temas como as categorias ontológicas fundamentais e as suas relações de dependência e de fundamentalidade, a natureza da composição mereológica, da persistência temporal e do próprio tempo, a natureza dos objetos abstratos e dos mundos possíveis, as naturezas do mundo quântico, da causalidade nômica do mundo físico, e, finalmente, de um dos objetos mais característicos da presença humana no nosso mundo físico, que é o objeto de arte. É claro que essa coletânea está longe de apresentar exaustivamente todos os tópicos da metafísica. Tentamos selecionar e organizar os textos da forma mais fluida possível, de modo que eles possam levar tanto a uma reflexão específica quanto a uma reflexão geral sobre a natureza da realidade. Ainda que tenha uma inerente incompletude, o livro serve à finalidade de levar o/a estudante de graduação e pós-graduação a refletir sobre temas contemporâneos da Metafísica Analítica. Justamente por ter esse objetivo de formentar a pesquisa em metafísica analítica nacional, optamos por traduzir muitos termos do inglês que ainda não tem uma tradução canônica, a fim de evitar anglicismos e contribuir para uma leitura mais natural. Muito mais do que leitores complacentes, esse livro pede por leitores críticos, debatedores corajosos, que estejam dispostos a contribuir e a propor novas teorias e argumentos. Agradecemos a todos os membros do GT de Metafísica Analítica da ANPOF e a todos os autores deste livro, que decidiram apresentar publicamente suas pesquisas à academia; aos membros do Grupo de Pesquisa Investigação Filosófica, que decidiram pela publicação deste livro; à Pró-Reitoria de PósGraduação e Pesquisa da Universidade Federal do Amapá, que o financiou; e ao NEPFIL Online e à Editora da UFPel, que o editaram e publicaram. [Guido Imaguire e Rodrigo Reis Lastra Cid, Organizadores] . (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by (...) which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

The purpose of this article is to investigate appropriate methods for educating students into citizenship within a pluralistic state and to explain why civic education is itself important. In this discussion, I will offer suggestions as to how students might be best prepared for their future political roles as participants in a democracy, and how we, as theorists, ought to structure institutions and curricula in order to ensure that students are adequately trained for political decision making. The paper is divided (...) into six sections. In the first two sections, I argue that community is a learned understanding and that such education,even when it supports liberal commitments,cannot be neutral. I use the social contract tradition as an entrance into the perpetual nature of conflict within a pluralist society. In the third and fourth sections, I develop a pedagogy geared towards educating students into what I call cognitive conflict, and argue that the arts, widely understood, should be privileged over other disciplines. In the fifth section, I examine two difficulties inherent inmy pedagogy — first that it seems to demandthat all perspectives be taught, and second that it seems to promote anxiety among students. In the final section, I ask that political theory reexamine the role of harmony in justice. I conclude that a managed conflictis a more acceptable organizational description of liberal political structures. (shrink)

David Lewis insists that restrictivist composition must be motivated by and occur due to some intuitive desiderata for a relation R among parts that compose wholes, and insists that a restrictivist’s relation R must be vague. Peter van Inwagen agrees. In this paper, I argue that restrictivists need not use such examples of relation R as a criterion for composition, and any restrictivist should reject a number of related mereological theses. This paper critiques Lewis and van Inwagen (and others) on (...) their respective mereological metaphysics, and offers a Golden Mean between their two opposite extremes. I argue for a novel account of mereology I call Modal Mereology that is an alternative to Classical Mereology. A modal mereologist can be a universalist about the possible composition of wholes from parts and a restrictivist about the actual composition of wholes from parts. I argue that puzzles facing Modal Mereology (e.g., puzzles concerning Cambridge changes and the Problem of the Many, and how to demarcate the actual from the possible) are also faced in similar forms by classical universalists. On my account, restricted composition is rather motivated by and occurs due to a possible whole’s instantiating an actual type. Universalists commonly believe in such types and defend their existence from objections and puzzles. The Modal Mereological restrictivist can similarly defend the existence of such types (adding that such types are the only wholes) from similar objections and puzzles. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

The notion of naivety is a form of classification and explanation of the social world. By applying Erving Goffman’s expression games model, it is observed that the notion of naivety corresponds to a situation in which an observer assumes that the observed subject does not accommodate his behavior to the presence of the observer, in the assumption that the latter might take advantage from what he learns from it. This article explores this model’s explanatory power in reference to the diverse (...) forms in which the notion of naivety is used in contexts where transinteractive structures of the art world have to be taken into account. La noción de ingenuidad es una forma cotidiana de clasificación y explicación del mundo social. Usando el modelo de juegos de expresión de Erving Goffman, se observa que ella corresponde a la situación en que un actor asume que otro no modifica su comportamiento teniendo en cuenta lo que el primero aprende de él para alcanzar sus propios objetivos. En este artículo se explora la utilidad de este modelo para explicar el uso de la noción de ingenuidad en referencia a estructuras transinteractivas de mundos del arte. (shrink)

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (shrink)

This essay discusses the mounted image of St. George slaying an emperor within the broader context of how and why early Christian images were transformed and adapted to the early Byzantine religious style. The representational framework of Arthur Danto’s philosophical system is used to tie together the threads of this research. By drawing parallels between changes in contemporary art and culture – often referred to as the modern/postmodern shift – and the transition of the Hellenistic to the Byzantine era, structures (...) common to artistic creation and reception are brought to the fore. The case study presents the history of the depiction of St. George slaying Diocletian, how it emerged in the Caucasus region, and the manner in which it reflects the stylistic changes that took place in the late antique eastern Roman world. The social, cultural and philosophical ramifications of the shift of high classical art to the early Byzantine style are laid out in terms of art, modes of inquiry, and action-orientation. A theory is presented on what role the image of St. George killing Diocletian may have played in transforming the late antique and early medieval worldview. The final section sketches a philosophical framework that supports the conclusions of this research. (shrink)

What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art, encompassing all artifacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artifacts and our evaluation and understanding of them. It also recalls reflections (...) on the subject “What is Art?”, which does not even attempt to define it. Their aim is different: to change our understanding, evaluation or explication of art. (shrink)

After briefly noting key contemporary critiques of aesthetic experience, this article revisits its original account in Plato’s theory of aesthetic experience as the madness of divine possession and then Aristotle’s response of defending art’s rationality as poiesis, which largely dominates the ensuing aesthetic tradition. I subsequently explore how the mysterious notion of possession continues to surface in important modern accounts of aesthetic experience (e. g. in Theodor W. Adorno, T. S. Eliot, John Dewey) and explain how the supernatural idea of (...) possession could find a naturalistic explanation that integrates the concepts of artworld, habitus and atmosphere. The article then exemplifies this naturalistic explanation through an analysis of the possession experience pertaining to performance art as documented in The Adventures of the Man in Gold. (shrink)

Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (shrink)

David Hume’s essay “Of the Standard of Taste” —which represents a major step towards clarifying eighteenth-century philosophy’s dawning aesthetics in terms of taste—also relates closely to literal, physical taste. From the analogy between gustatory and critical taste, Hume, apt at judging works of art, puts together a contradictory argument of subjectivism and the normativity of common sense. However, a careful reading of the text unveils a way of appealing to art criticism as a vital component in edifying a philosophically more (...) solid standard of taste. Hume’s emphatic references to a requisite “delicacy” complicate the picture, for it is not clear what this delicacy is, but a close inspection of how Hume frames the criterion of delicacy by means of “practice” and the absence of “prejudice” might perhaps challenge us to address issues of contemporary art. (shrink)

Important work on the relation of pragmatic ethics and aesthetics, such as Steven Fesmire's John Dewey and Moral Imagination: Pragmatism in Ethics, misses an important feature of the entire issue unless non-mimetic representation is invoked to explain the relation between what Dewey would call the "problem" and the "solution" presented in experience. This cannot be elaborated within a Rortyan neo-pragmatism, nor can it be addressed without attending to the "spiritual" aspect of moral agency.

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

This article explores Heidegger’s ambivalent philosophical relationship with Richard Wagner. After showing how Heidegger situates Wagner within his larger critique of aesthetics, I will explain why Heidegger believes that Wagner’s operas, due to the dominance of music, could not attain the status of “great art.” Because music can do no more than stimulate or intensify feelings, it becomes, for Heidegger, the paradigm of what art has become under the influence of aesthetics. Heidegger’s views on music even motivate him to contest (...) Nietzsche’s thesis that music was the origin of Greek tragedy. Heidegger dismisses Nietzsche’s developmental account and argues instead that poetry is the essence of tragic drama. To conclude, I will show that Heidegger’s exclusive focus on Wagner’s theoretical work is too narrow, for his music reveals ontological concerns that cannot be easily assimilated into Heidegger’s history of aesthetics, and in fact suggest possible affinities with Heidegger’s own philosophical insights. (shrink)

Essays in Literary Aesthetics Ranjan K. Ghosh Springer. 2018. pp. XIII + 82. £49.99.

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...) aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity. (shrink)

The paper argues that something is art only if (i) it belongs to a special kind of internal history and (ii) needs to be understood and appreciated in the light of such history. This goes against both the traditional view that art has a timeless, ahistorical essence and the historicist view that there can be no ahistorical perspective for understanding art. The paper draws on Hegel’s view that art needs to be understood through its history, but rejects the idea that (...) the history of art has an end in the double sense of a goal and an end point. It also rejects Arthur Danto’s Hegel-inspired claim that the ahistorical essence of art is revealed at the end of its history and opens the door to a natural alliance between philosophers of art and art historians. (shrink)

The purpose of this article is to critically address a widespread assumption that reads like this: Works of art that make use of digital media automatically, through interactivity, are generally better suited for generating democratic processes in society than other art forms or phenomena that do not make use of digital media, and, therefore, digital art is more avant-garde than other art forms. By analysing the chains of equivalence underlying this assumption the article presents and discusses a number of issues (...) that, taken together, render this assumption fallacious. (shrink)

In The Necessity of Art Ernst Fischer develops a Marxist aesthetics in the humanist tradition, arguing art’s necessity as both a vehicle of social criticism and as an essential element of humanity. These twin themes place Fischer’s work, then, at the centre of issues in Marxist aesthetics that have traditionally proved contentious: firstly, about the function of art, both under capitalism and universally; and about the relationship – causal or otherwise – between economic conditions and art. Fischer’s aesthetics overemphasises the (...) humanising possibilities of great works of art to the neglect of an everyday aesthetics that argues the possibilities for aesthetic lives based on good work under communism. But he provides a theoretic start to effectively countering structuralist Marxism, and he was in his lifetime – as John Berger’s Introduction movingly conveys – a powerful opponent of the bureaucratisation of art under Zhdanov’s Socialist-Realist creed. (shrink)

El artículo se propone abordar los estudios de patrimonio según una perspectiva alternativa. Elementos como la agencia, la materialidad y la ontología son fundamentales, en tanto están acompañadas por factores como la destrucción o el desgaste, la conservación o la restauración. En este sentido, este artículo deconstruye los mecanismos del patrimonio mueble, en el cual es factible el traslado de fragmentos en diversos ámbitos, como exponente de la objetivación moderna. Asimismo, se plantea en qué medida estas prácticas y la materialidad (...) inciden en la construcción de discursos epistemológicos y categorías disciplinares relativos a los museos. Finalmente, se muestra un caso específico: la introducción de restos materiales procedentes de las misiones jesuíticas-guaraníes al Museo de La Plata a fines del siglo xix. (shrink)

As the Global South is increasingly interpenetrated by neoliberal and authoritarian regimes, the idea of the South as a site of emancipatory resistance and exotic cultural difference has ended. This article offers an alternative route into the cultures of the South. It focuses on the shifting forms of the South in contemporary visual art and outlines the possibilities of the non-coercive forms of cultural exchange and the cartographies of a cosmopolitanism from below. This perspective on the South is most evident (...) in in the stories of embodied solidarity that stand in contrast to the top-down visions of socio-economic development and cultural homogenization. (shrink)

As the Global South is increasingly interpenetrated by neo-liberal and authoritarian regimes the idea of the South as a site of emancipatory resistance and exotic cultural difference has ended. This article offers an alternative route into the cultures of the South. It focuses on the shifting forms of the South in contemporary visual art and outlines the possibilities of non-coercive forms of cultural exchange and the cartographies of a cosmopolitanism from below. This perspective on the South is most evident in (...) the stories of embodied solidarity that stand in contrast to top down visions of socio-economic development and cultural homogenization. (shrink)

Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli presented (...) in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto. More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions. (shrink)

La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...) tal reclamo. Al hacerlo, se prevé analizar la diferencia introducida por este último a propósito de la ejecución y la implementación como instancias configuradoras de lo artístico de espesor y relevancia para su lectura funcionalista. La articulación de un bloque explicativo afin a ambos planteos supone, así, una alternativa novedosa para el área teórica en que se inserta al tiempo que otorga una ventaja considerable frente al marco contextualista del tratamiento del problema. Analytic aesthetic addressed the problem of the definition of art and found an al ternative efficient solution in the Dantian concept of artworld. Nevertheless, the contextualist side of the Danto's program must face the claim of a certain lack of specificity. This paper seeks to link that with the developments made by Goodman around art in order to provide effective visible elements to such claim. In doing so, it is expected to analyze the difference between execution and implementation as central instances of artmaking according to his functionalist reading. The relation between both accounts represents, thus, an innovation over the theoretical area in which is inserted as much as a considerable advantage over the contextualist treatment of the problem. (shrink)

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents. (shrink)

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

Gumbrecht’s Heidegger-inspired book, Production of Presence, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, ironically, to everyday (...) aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like a dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the artworld into this discussion. (shrink)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

Science-art collaborations are a growth area. An example is the Wellcome Collection exhibition “States of Mind”. I focus on one work yellowbluepink by Ann Veronica Janssens. As framed within the exhibition this piece is understood to present a model of spectatorship in which the art-encounter prompts an awareness of the p o s s i b i l i t y of neuroscientific self-understanding. I take it that science-art projects want to spread this celebration of “objective thought”; this is their (...) realist agenda. The scientific framing of yellowbluepink fails in this regard because of a striking contradiction at its heart. The dominant art historical interpretation of this piece includes a spectator who is “decentred”, u n a b l e to know him or herself. This contradiction creates a methodological problem for the project, one that negatively impacts its ability to a m b i t i o u s l y promote its agenda. On the basis of this analysis I sketch out the conditions for an ambitious project. It would need to acknowledge the “artworld” and it would require the invention of a new model of spectatorship, one that promoted -awareness of humankinds’ impressive epistemic capacity. This anti-phenomenological figure is formulated with reference to the nemocentric subject. (shrink)