Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

In his famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin tells us that in his time art became valued for its exhibition value instead of what he refers to as its secularised ritual or cult value. This essay makes this bold claim plausible by arguing that it means that a historicising gaze no longer has a function in the reception of art. Although this argument is supported by Benjamin’s use of the concepts of (...) authenticity and aura, it is somehow missed by Benjamin’s many readers. His essay, as it turns out, presents an end of history thesis, which foreshadows the condition of the image in contemporary media. (shrink)

Unentwegt werden neue technische Produkte gestaltet. Doch was macht die technische Gestaltung aus? Wie lässt sich ihr Gegenstand - (noch) nicht existierende Artefakte - adäquat auf den Begriff bringen? Michael Kuhn begreift technische Ideen vor ihrer Realisierung als Fiktionen. Er bietet eine fiktionstheoretische Rekonstruktion der Gestaltungstätigkeit und entwickelt hieraus eine Ethik der Gestaltung. Der stark interdisziplinäre Zugang zwischen Technikphilosophie und Ingenieurwissenschaften liefert neue Erkenntnisse für beide Fachrichtungen und stellt wertvolle Grundlagen bereit.

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

This paper proposes a new approach to the investigation into aesthetics. Specifically, it~argues that it is possible to explain the aesthetic and its underlying dynamic relations with an~axiomatic structure (the octahedral axiom-derived category) based on contemporary mathematics (namely category theory), and through this argument suggests the possibility for discussion about the mathematical structure of the aesthetic. If there were a way to describe the structure of the aesthetic with the language of mathematical structures and mathematical axioms---a~language completely devoid of arbitrariness---then (...) we would make possible a universal argument about the essential human activity of ``the aesthetic'', and we would also gain a new method and viewpoint into the philosophy and meaning of the act of creating a work of art and artistic activities. This paper presents one mathematical structure as a foundation in constructing the science of dynamic aesthetics based on axiomatic functionalism, which is in turn based on a new interdisciplinary investigation into the generative structure of the aesthetic. (shrink)

Um den Begriff des Originals gibt es heftige Debatten. Können Fälschungen ebenso gut sein wie Originale? Wann sind Kopien vielleicht sogar besser? Und ist die Zeit des Originals nicht überhaupt vorbei? Dabei tritt die Frage, was ein Original eigentlich sei, oft in den Hintergrund. Doris Reisinger stellt die These auf: Der Begriff des Originals ist nicht nur nicht obsolet, er hat auch nicht notwendig mit Neuheit, Urheberschaft oder ästhetischem Wert zu tun - das Problem des Originalbegriffs besteht schlicht darin, dass (...) seine komplexe Struktur verkannt wird. Vor diesem Ausgangspunkt erarbeitet sie einen Explikationsvorschlag, der die Beantwortung einer ganzen Reihe von Fragen dieser klassischen philosophischen Debatte erlaubt. (shrink)

There are many possible definitions of “technology” and I will discuss some of these in this book. However, in this introduction let me use a definition of Svante Lindqvist who defines technology very intuitively as “those activities, directed towards the satisfaction of human wants, which produce change in the material world.” He says also “the distinction between human “wants” and more limited human “needs” is crucial, for we do not use technology only to satisfy our essential material requirements.” Consequently, from (...) this perspective, a technology that is “broken” could be defined as those activities, directed towards the satisfaction of human wants that are intended to produce changes in the material world that either do not manage to satisfy these wants or do not produce changes in the material world, or both. This is the third edition, updated October 2015. (shrink)

1 Arte d’avanguardia e teorie estetiche dell’arte L’arte d’avanguardia ha una particolare rilevanza per la filosofia dell’arte? Naturalmente una parte dell’arte d’avanguardia può essere intrinsecamente interessante. Forse i filosofi possono riflettere sul significato e il valore di queste opere; alcune possono addirittura sollevare delle questioni filosofiche; tuttavia, molti filosofi, sulla scorta di Arthur Danto, hanno ritenuto che da esse si possano trarre degli insegnamenti di portata piu...

In The Transfiguration of the Commonplace (1981) Arthur Danto propone la nozione di «stile individuale» identificando quest’uldma con qualcosa di dato che appartiene all’artista in maniera essenziale e inseparabile. In contrasto con questa idea, la sua teoria della fine dell’arte, presentata in After the End of Art (1997) e altrove, suggerisce la liberazione degli artisti da qualsiasi impegno stilistico. Come si accordano queste due teorie? Possono esserci stili individuali dopo la fine dell’...

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

Che cos’hanno a che fare tra loro un filosofo che, a partire da Wittgenstein, ha sviluppato una teoria di impianto naturalista e che cerca di conciliare una prospettiva individualistica con una tendenzialmente socioesternista della competenza semantica, una teoria che studi di psicologia cognitiva e di neuroscienze si stanno incaricando di inverare, e un altro che, a partire dallo stesso Wittgenstein, ha sviluppato una concezione antinaturalista tanto dell’intenzionalità quanto della normativ...

Definire l’arte? Danto è un filosofo pirotecnico, acuto e colto, e da quasi trent’anni è anche l’influente critico d’arte del settimanale radical newyorkese «The Nation». Per quanto Danto lamenti una certa disattenzione nei suoi confronti da parte dei critici e degli storici dell’arte, è invece persuaso — a ragione, anche se forse limitatamente al mondo anglo-americano — che il suo famoso articolo del 1964, The Artworld, — poi sostanzialmente rielaborato in forme diverse — «really did become...

Alcuni anni or sono, nel ricostruire lo sviluppo delle discipline storico-artistiche in ambito tedesco e angloamericano tra gli anni Settanta e Novanta del secolo passato, lo studioso polacco Mariusz Bryl registrava tra le due aree il manifestarsi di una discrepanza nei metodi e nelle teorie, tale da costituire per lui un elemento essenziale in ogni ricognizione degli aspetti teorici della storiografia artistica contemporanea. Basandosi sulla propria esperienza, e sul panorama descritto paral...

A philosophical analysis of the future of art must explicate art’s nature, as well as discuss the historical nature of art practice. Only so can one explain those contemporary developments in art which have led many people to doubt whether art even has a future. Arguably, art practice as we know it started with the installing of the modern system of the fine arts. I explain the pragmatics of art so understood, and suggest that we can define art, internally. We (...) need not resort to a nominalist approach that claims that something is a work of art if some representative of the art world says it is. Instead of such empty proceduralism, I explain how all art’s focal objects, persons and activities are mutually adjusted and can only be understood in light of the whole. Within that whole of art practice, the contemporary samples of art’s alleged failure can be assessed. Now the modern system treats the arts as aesthetic, and prescribes that to judge a work one has to experience it for oneself. Why this should be so, I explain in terms of the perceivability of the artist in the work. Next, art develops as a whole rather than in a piecemeal manner. Particular contemporary works may alienate the audience from art practice, yet once they are recognisably in a procedure which has clear artistic potency they can be incorporated fruitfully in the modern system as explained. In all, the future of art is the future of the modern system, unless the system as a whole goes. We see this happen with the Taliban, but do not ourselves seem to be vulnerable to such onslaught. Yet, our culture may be in the process of eliminating the human mind from the objective reality, and if nothing stops us, art too will come to an end. Luckily, by then we will not be such as to lament that demise. (shrink)

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in therevisionof concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how (...) such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them. (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)

Este estudo discute a questão do fim da arte com base nas reflexões críticas de Clement Greenberg e na posterior apropriação dessas reflexões por Arthur Danto. Em primeiro lugar, pretendo mostrar como a visão negativa de Greenberg acerca da arte produzida a partir dos anos 1960 implica o tema do fim da arte. Em segundo, pretendo expor a tarefa assumida por Danto a partir de sua avaliação dos diagnósticos e da teoria de Greenberg. This paper addresses the question of the (...) end of art based on the critical reflections of Clement Greenberg and the subsequent appropriation of these reflections by Arthur Danto. Firstly, I intend to show how the negative view of Greenberg about art produced from the 60's implies the issue of the end of art. Secondly, I intend to expose the task taken up by Danto based on his debate with Greenberg's theory. (shrink)

One typically thinks of the relevance of Kant’s aesthetic theory to Western art in terms of Modernism, thanks in large part to the work of eminent critic and art historian Clement Greenberg. Yet, thinking of Kant’s legacy for contemporary art as inhering exclusively in “Kantian formalism” obscures a great deal of Kant’s aesthetic theory. In his last book, Arthur Danto suggested just this point, urging us to enlarge our appreciation of Kant’s aesthetic theory and its relevance to contemporary art, because, (...) for Danto, “Kant had two conceptions of art.” In this essay, I support and build on Danto’s claim that there are really two conceptions of art at work in Kant’s third Critique, and that the second conception offers a non-Modernist/formalist way that Kant’s aesthetic theory remains relevant to post 1960s art. My ultimate aim is to highlight another facet in the continuing relevance of Kant’s aesthetic theory to post-Expressionist contemporary art, namely, the explicit attention to the differential aesthetic values of nature and art respectively. I shall do this by putting it in dialogue with the art practice of Latvian-American artist, Vija Celmins whose illustrious career since 1960s has made her an ‘artist’s artist’ but who has also recently garnered much wider attention with a retrospective titled “To Fix the Image in Memory.” Celmins takes up artistically a problematic that is quite central philosophically to the concerns of the third Critique, and thus her work illustrates another way in which Kant’s aesthetic theory is of great continuing relevance to the artworld today. (shrink)

Book Information Moral Realism: A Defence. Moral Realism:\nA Defence Russ Shafer-Landau , Oxford : Clarendon Press ,\n2003 , x + 322 , {Â}\textsterling35 ( cloth ) By Russ\nShafer-Landau. Clarendon Press. Oxford. Pp. x + 322.\n{Â}\textsterling35 (cloth:).

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)

Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or not their (...) action will be an aesthetic achievement. Employing this framework, I argue that insofar as acts of cultural appropriation are seldom aesthetic achievements, many agents who engage in culturally appropriative aesthetic activities act against their aesthetic reasons. (shrink)

This book examines John Locke’s claims about the nature and work- ings of language.WalterOtt proposes a new interpretation of Locke’s thesis that words signify ideas in the mind of the speaker, and argues that rather than employing such notions as sense or reference, Locke relies on an ancient tradition that understands signification as reliable indication.He then uses this interpretation to explain crucial areas of Locke’s metaphysics and epistemology, including essence, abstraction, knowledge, and mental representation. His discussion, which is the first (...) book-length treatment of its topic, challenges many of the current orthodox readings of Locke, and will be of interest to historians of philosophy and philosophers of language alike. (shrink)

The article reviews the social theory of Harry Redner with particular reference to his view of the relationship between high literacy (book culture) and civilization. The question is posed whether, alongside book culture, an axial-type metaphysical culture is also key to the definition of civilization.

Biodiversity sciences witness a double dynamic. Whereas the need for interdisciplinary approaches is increasingly appreciated, most disciplinary studies are still confined to developing operational, discipline-specific indices. We show that a reassessment of the general notion of biodiversity is needed to clarify this situation. We advocate a new approach, according to which the main usefulness of this notion is not to capture quantitatively biological objects or processes, but to organize meaningful and coherent interdisciplinary interactions by constructively criticizing disciplinary studies. We apply (...) this approach to ecological-economic models, in the hope of launching more fruitful critical dialogs between economists and biologists. (shrink)

The word «fake» and its several synonyms touch on a number of ontological and mimetic issues that since Plato have led directly to contemporary debates. In the present survey we will try to outline a «grammar of fake» through three points: a) the issue of pseudos in Plato and its impact on contemporaneity; b) the notion of hyperreality as absolute fake; c) the dimension of operative fake, grasped in its postmodern enucleation.

Modeling and computer simulations, we claim, should be considered core philosophical methods. More precisely, we will defend two theses. First, philosophers should use simulations for many of the same reasons we currently use thought experiments. In fact, simulations are superior to thought experiments in achieving some philosophical goals. Second, devising and coding computational models instill good philosophical habits of mind. Throughout the paper, we respond to the often implicit objection that computer modeling is “not philosophical.”.

This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...) attention to Davies’ difficulties in providing a clear criterion for the identity of the work of art. (shrink)

In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.

In claiming that "the method of our great teacher, Experience" is "a system of teaching by practical jokes," Peirce's objective, I argue, is to get us to see the unexpected as cause for neither despair nor nihilism but as an opportunity to strengthen our affinity with the natural world. Peirce's celebration of the flexibility demanded by the "pedagogic method" employed by "Dame Experience" reinforces the dependence between cultivating a sense of humor and developing fruitful habits of inquiry.

Commonsense psychology and cognitive science both regularly assume the existence of representational states. I propose a naturalistic theory of representation sufficient to meet the pretheoretical constraints of a "folk theory of representation", constraints including the capacities for accuracy and inaccuracy, selectivity of proper objects of representation, perspective, articulation, and "efficacy" or content-determined functionality. The proposed model states that a representing device is a device which changes state when information is received over multiple information channels originating at a single source. The (...) changed state of a representing device is a representation. The unitary information source which would give rise to the information impinging on the representing device, and hence, give rise to the representation, is the content of the representation. The model meets the pretheoretic constraints, and also conforms to available neurobiological data for two invertebrate species. (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)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

È un grande vantaggio per un sistema filosoficoessere sostanzialmente vero.George Santayana 1 Significato incorporato Diversamente dalle sedie, dalle montagne, o dalle stelle cadenti, le opere d’arte si riferiscono a qualcosa, a qualcosa che può essere un oggetto, un evento, magari un evento storico, o anche un’idea, un atteggiamento culturale e così via. Prendiamo un caso piuttosto semplice. Nell’ Olympia Manet raffigura una prostituta distesa su un letto a cui la serva sta porgendo un mazzo...

tutti quelli che vedono e dipingono cieli verdie prati azzurri dovrebbero essere sterilizzatiAdolf Hitler in misura considerevole, le nostre praticheche riguardano le opere [delle arti] visiveconsistono - e normalmente, lungo la storiae la tradizione dell’arte occidentale [...], sonoconsistite — precisamente nel non trattare taliopere come oggetti fisiciFrank Sibley Si parla tanto di arte. Dell’esistenza di una cosa del genere, di qualcosa che ricomprende in sé tutte quelle che sono le varie...

Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which stops (...) short of the collective intentionality of institutional kinds. I aim to combine these insights into an account of artefacts that involves disjunctive conditions of mind-dependence: Artefacts can either depend on the singular intentions of their makers or they can depend on the collective acceptance of particular social groups. Whether the first or second disjunct is satisfied depends on the artefact's context of creation. I'll argue that this applies not to artefact kinds but to individual artefacts. I then consider two objections to my view based on Robinson Crusoe cases and show how my account allows us to fit artefacts into a taxonomy of social kinds. (shrink)

(No abstract is available for this citation).

Jennifer Hornsby's account of human action frees us from the temptation to think of the person who acts as 'doing' the events that are her actions, and thereby removes much of the allure of 'agent causation'. But her account is spoiled by the claim that physical actions are 'tryings' that cause bodily movements. It would be better to think of physical actions and bodily movements as identical; but Hornsby refuses to do this, seemingly because she thinks that to do so (...) would be to endorse the so-called 'standard causal story'. But Hornsby misses a possibility here, for we can insist on this identity claim without endorsing the standard story if we embrace an account which parallels the disjunctive account in the philosophy of perception. This will leave us with a picture of physical action that saves the insights of Hornsby's account without succumbing to its distortions. (shrink)

This paper explains some of the reasoning behind “Can a Good Philosophical Contribution Be Made Just by Asking a Question?,” a paper which consists solely in its title and which is published in the same issue of the journal as the present paper. The method for explaining that reasoning consists in making available a lightly edited version of a letter the authors sent to the editors when submitting the title-only paper. The editors permitted publication of that paper on the condition (...) that the authors also separately publish a version of that letter; the present paper aims to fulfil that condition. (shrink)

ABSTRACTMatthen's functionalist account of art and his activity-centred account of aesthetic pleasure are on the right track, but he should recognize the importance of emotional as well as cognitive engagement with art.

Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to (...) come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

1 Il primo inganno Tu non nascesti per la morte, immortale Uccello!le affannate generazioni non ti calpestano;la voce ch’io odo in questa fuggevole notte fu uditain antichi giorni dall’imperatore e dal villano. Questi versi dall’ Ode a un usignolo di John Keats, del 1819, ripropongono la domanda retorica che già Kant aveva posto nel 1790: «Che cosa c’è di più celebrato dai poeti dell’affascinante bel canto dell’usignolo, in cespugli solitari, in una calma sera d’estate, sotto la dolce luce de...

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

David GormanNorthern Illinois UniversityThe official topic of Steve Fuller’s editorial is aphorisms, but I think that it is early days in his thinking about this interesting genre. He mentions them...