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  1. The Artistic Design Stance and the Interpretation of Paleolithic Art.Johan De Smedt & Helen De Cruz - 2013 - Behavioral and Brain Sciences 36 (2):139-140.
    The artistic design stance is an important part of art appreciation, but it remains unclear how it can be applied to artworks for which art historical context is no longer available, such as Ice Age art. We propose that some of the designer's intentions can be gathered noninferentially through direct experience with prehistoric artworks.
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  • Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature.Stephen Davies - 2014 - Philosophy Compass 9 (6):361-367.
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  • The Charge From Psychology and Art's Definition.Annelies Monseré - 2016 - Theoria 82 (3):256-273.
    This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...)
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  • Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  • The Imago Dei as a Work in Progress: A Perspective From Paleoanthropology.Johan De Smedt & Helen De Cruz - 2014 - Zygon 49 (1):135-156.
    This article considers the imago Dei from the perspective of paleoanthropology. We identify structural, functional, and relational elements of the imago Dei that emerged mosaically during human evolution. Humans are unique in their ability to relate to each other and to God, and in their membership of cultural communities where shared attention, the transmission of moral norms, and symbolic behavior are important elements. We discuss similarities between our approach and the concept of theosis adopted in the Eastern Orthodox Church.
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