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A representational theory of artefacts and artworks

British Journal of Aesthetics 41 (4):353-370 (2001)

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Imagining Dinosaurs.Michel-Antoine Xhignesse - forthcoming - Journal of Aesthetics and Art Criticism.details There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) Download Export citation Bookmark
Artworks and Representational Properties.Sherri Irvin - 2004 - Dialogue 43 (4):627-644.details A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...) Download Export citation Bookmark
The double content of perception.John Dilworth - 2005 - Synthese 146 (3):225-243.details Clearly we can perceive both objects, and various aspects or appearances of those objects. But how should that complexity of perceptual content be explained or analyzed? I argue that perceptual representations normally have a double or two level nested structure of content, so as to adequately incorporate information both about contextual aspects Y(X) of an object X, and about the object X itself. On this double content (DC) view, perceptual processing starts with aspectual data Y?(X?) as a higher level of (...) Download Export citation Bookmark 5 citations
Debates about the Ontology of Art: What are We Doing Here?Amie L. Thomasson - 2006 - Philosophy Compass 1 (3):245-255.details Philosophy Compass, Volume 1. Oxford: Blackwell, 2006. Download Export citation Bookmark 37 citations
Theater, representation, types and interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.details In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...) Download Export citation Bookmark 1 citation

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