Since its emergence in the 1950s, analytic aesthetics has become the mainstream approach to aesthetics in the English-speaking world, and it has subsequently spread throughout most of the world, including mainland China. Although it was introduced into the Chinese academic world at an early time, around the late 1950s, and has been disseminated and researched in China over the past three decades, analytic aesthetics remains underdeveloped in China. Chinese academics tend to have little familiarity with, and exposure to, analytic approaches (...) to aesthetics. Unsurprisingly, given this situation, Chinese contributions to analytic aesthetics have had a marginal impact on the international academic discussion. This paper aims at providing a picture of the development of analytic aesthetics in China. In section 1, I clarify the scope of the paper. Section 2 briefly introduces aesthetics in China so as to outline the context for our discussion about analytic aesthetics. In section 3, I first offer a brief historical narrative of the dissemination and reception of analytic aesthetics in China, and then explore how analytic aesthetics has been researched and taught in China. -/- . (shrink)

In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...) necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

This paper presents a series of arguments aimed at showing that, for an important subclass of social rules—non‐summary rules—no adequate metaphysical account has been given, and it tentatively suggests that no such account can be given. The category of non‐summary rules is an important one, as it includes the rules of etiquette, fashion, chess, basketball, California state law, descriptive English grammar, and so on. This paper begins with behavioristic accounts of the conditions for the existence of such rules, and proceeds (...) through progressively more complex accounts, all the way to what are labeled ‘normative attitude accounts,’ which are prima facie plausible and particularly popular. In each case it is argued that the type of account under consideration cannot explain the existence of the relevant type of social rule. (shrink)

This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.

I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory (...) experience with different qualitative character. This claim will have some important consequences beyond the philosophy of imagination, for example, for some accounts of depiction. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...) insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

Epistemologists of testimony have focused almost exclusively on the epistemic dynamics of simple testimony. We do sometimes testify by ways of simple, single sentence assertions. But much of our testimony is narratively structured. I argue that narrative testimony gives rise to a form of epistemic dependence that is far richer and more far reaching than the epistemic dependence characteristic of simple testimony.

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (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)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

The role of personal background knowledge—in particular knowledge about the context of production of an artwork—has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches’ explanatory power and framing their collaboration with the humanities (Bullot and Reber 2012). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal background (...) knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of “intention.” I suggest that the observer can recover not only the artist’s abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

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 (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (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)

The article is an attempt to pinpoint the areas of Ludwig Wittgenstein aesthetic thought, in which he is crossing the borders principally imposed upon the method and the language of his philosophy. I am directing my attention to metaphysical and mystical motifs of his reflection devoted to aesthetics, the essence of art and the essence of reality. I wish to discuss this issue based on the texts of Arthur C. Danto containing analysis of chosen notions of Wittgenstein’s aesthetic investigations. Additionally (...) in this matter I am appealing to appropriate theses of Leszek Sosnowski and Wojciech Sady, concerning above issues. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...) with consumatory moments of experience. I want to argue that the pragmatist approach is basically correct, that contra Danto and Kant, aesthetic experience has no special implications for metaphysics. I locate this notion of aesthetic experience in the work of Ralph Waldo Emerson and offer speculations about the cultural relativity of concepts of aesthetic beauty. (shrink)

In this paper, I argue that machines can create works of art. My argument is based on an analysis of the so-called creative machines and focuses on technical functions and intentions. If my proposal is correct, then creative machines are technical artifacts with the proper function to bring about works of art. My account is based on sensible conceptual connections between makers, technical artifacts, intentions, and the creation of art. One upshot of the account presented here is that we do (...) not need a new conceptual framework or dubious assumptions about artistic agency on part of machines in order to arrive at the conclusion that creative machines make art. I will conclude the paper with some remarks regarding the artistic value of items produced by creative machines. (shrink)

Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, we should follow Wollheim in adopting a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, we need to state what makes a particular experience appropriate to the (...) work. What does so? An obvious answer is that the experience reflects the work’s nature. Wollheim toyed with a more ambitious line, one linking the appropriate experience to our abilities to discriminate instances of the property appreciated. He allowed that having the right experience might require knowledge of the work, and thus that that experience need not be born of the ability to discriminate the property appreciated. But he seems to have held that the appropriate experience must engender that ability, at least against the background of those actual items that might be confused with instances of the property. I argue that Wollheim’s answer is less appealing than the obvious one. (shrink)

The aim of this article is to theorize how materials can play an active, constitutive, and causally effective role in the production and sustenance of cultural forms and meanings. It does so through an empirical exploration of the Museum of Modern Art of New York (MoMA). The article describes the museum as an “objectification machine” that endeavors to transform and to stabilize artworks as meaningful “objects” that can be exhibited, classified, and circulated. The article explains how the extent to which (...) the museum succeeds in this process of stabilization ultimately depends on the material properties of artworks and, more specially, on whether these behave as “docile” or “unruly” objects. Drawing on different empirical examples, the article explores how docile and unruly objects shape organizational dynamics within the museum and, through them, the wider processes of institutional and cultural reproduction. The article uses this empirical example to highlight the importance of developing a new “material sensibility” that restores heuristic dignity to the material within cultural sociology. (shrink)

Metaphors are powerful communicative tools because they produce ”framing effects’. These effects are especially palpable when the metaphor is an insult that denigrates the hearer or someone he cares about. In such cases, just comprehending the metaphor produces a kind of ”complicity’ that cannot easily be undone by denying the speaker’s claim. Several theorists have taken this to show that metaphors are engaged in a different line of work from ordinary communication. Against this, I argue that metaphorical insults are rhetorically (...) powerful because they combine perspectives, presupposition, and pragmatics in the service of speech acts with assertoric force. (shrink)

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

Mental acts are conspicuously absent from philosophical debates over the nature of action. A typical protagonist of a typical scenario is far more likely to raise her arm or open the window than she is to perform a calculation in her head or talk to herself silently. One possible explanation for this omission is that the standard ‘causalist’ account of action, on which acts are analyzed in terms of mental states causing bodily movements, faces difficulties in accommodating some paradigmatic cases (...) of mental action – or so I argue. After drawing out these objections to causalism, I outline a more promising approach. Building on previous work, I show how the approach I favour, on which the attempt to analyze action is dispensed with, provides a unified account of both mental and physical action. (shrink)

What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. In fact, both (...) theories of style crack along the same line, which suggests that they can indeed be mutually illuminating. I articulate and defend a view of personal style according to which, roughly, having style is a matter of expressing one’s ideals. I show how this illuminates the widely neglected value of personal style and propose a new, analogous theory of individual artistic style: artistic style is the expression of the ideals the artist has for her art. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Fakes fall into two categories: copies and pastiches. The first is exemplified when someone paints a reproduction of Manet's The Fifer with the intention of selling it to you as the original. The second is exemplified when someone paints a picture in the style of Manet – although not a reproduction of one of his actual works – with the intention of selling it to you as a picture by Manet.

Arthur C. Danto convincingly argued that works of art are not differentiated from common objects by aesthetic properties. With this he broke down the system of aestheticism, which discussed art as a sub-category of the aesthetic experience, looked for the universal, historically and culturally unconditioned significant form in works of art. At the same time, Danto’s theory can also be read as one considering the aesthetic point of view irrelevant for the essence of art. The paradigmatic starting point of Danto’s (...) theory is Andy Warhol’s Brillo Box. However it was the Brillo Box that created the opportunity for the questioning of this anti-aesthetic consequence, both Andy Warhol, when he created the Brillo Box, as well as Arthur C. Danto, when he chose it to be the starting point of his art philosophy, were driven by aesthetic motives. This inconsistency can be resolved by accepting that common objects are “transfigured” in the framework of an art theory, while adding that from the moment they have transfigured into a work of art, their (new) aesthetic properties become substantial. (shrink)

(2013). A Hermeneutics of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 140-167. doi: 10.1080/17511321.2012.761893.

(2013). Sportworld. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 30-54. doi: 10.1080/17511321.2013.761881.

(2013). Sport and Philosophy. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 10-29. doi: 10.1080/17511321.2013.761882.

The paper motivates a novel research programme in the philosophy of action parallel to the ‘Knowledge First’ programme in epistemology. It is argued that much of the grounds for abandoning the quest for a reductive analysis of knowledge in favour of the Knowledge First alternative is mirrored in the case of intentional action, inviting the hypothesis that intentional action is also, like knowledge, metaphysically basic. The paper goes on to demonstrate the sort of explanatory contribution that intentional action can make (...) once it is no longer taken to be a target for reductive analysis, in explaining other, non-intentional kinds of action and voluntariness. (shrink)

The progressing cyborgization of the human body reaches its completion point when the entire body can be replaced by uploading individual minds to a less vulnerable and limited substrate, thus achieving \digital immortality" for the uploaded self. The paper questions the philosophical assumptions that are being made when mind-uploading is thought a realistic possibility. I will argue that we have little reason to suppose that an exact functional copy of the brain will actually produce similar phenomenological e®ects (if any at (...) all), and even less reason to believe that the uploaded mind, even if similar, will be the same self as the one on whose brain it was modeled. (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...) us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

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)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

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)

The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...) I propose is to look for cases where recovery of the artist’s intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman’s intentional actions is handled by a psychological process shaped by the motor system of the observer. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

The aesthetics of nature is a growing sub-field of contemporary aesthetics. In this article, I outline the view called ‘Scientific cognitivism’, which has been central in recent discussions of nature aesthetics. In assessing two important arguments for this view, I outline some recent thinking about key issues for the aesthetics of nature, including the relationship between nature and art and the relevance of ethical considerations to the aesthetic appreciation of nature.

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)

Accounting for phenomenal structure—the forms, aspects, and features of conscious experience—poses a deep challenge for the scientific study of consciousness, but rather than abandon hope I propose a way forward. Connectionism, I argue, offers a bi-directional analogy, with its oft-noted “neural inspiration” on the one hand, and its largely unnoticed capacity to illuminate our phenomenology on the other. Specifically, distributed representations in a recurrent network enable networks to superpose categorical, contextual, and temporal information on a specific input representation, much as (...) our own experience does. Artificial neural networks also suggest analogues of four salient distinctions between sensory and nonsensoty consciousness. The paper concludes with speculative proposals for discharging the connectionist heuristics to leave a robust, detailed empirical theory of consciousness. (shrink)

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.