Philosophy and Phenomenological Research, EarlyView.

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Christopher Hookway has been influential in promoting engagement with pragmatist and naturalist perspectives from classical and contemporary American philosophy. This book reflects on Hookway’s work on the American philosophical tradition and its significance for contemporary discussions of the understanding of mind, meaning, knowledge, and value. -/- Hookway’s original and extensive studies of Charles S. Peirce have made him among the most admired and frequently referenced of Peirce’s interpreters. His work on classical American pragmatism has explored the philosophies of William James, (...) John Dewey, and Josiah Royce, and examined the influence of pragmatist ideas outside of the United States. Additionally, Hookway has participated in a number of celebrated exchanges with some of the most high-profile figures of twentieth- and twenty-first-century philosophy, including Karl-Otto Apel, Philip Pettit, Hilary Putnam, and W.V.O. Quine, through which his treatments of a large range of topics in epistemology and the philosophies of mind and language have been developed and promoted. The chapters in this book—which include contributions from several of Hookway’s former students and colleagues—include studies of Hookway’s engagement with the works of Peirce, James, and Dewey, his contributions to virtue epistemology, and his discussions of hope and pragmatist metaphysics. -/- Pragmatic Reason will be of interest to researchers and advanced students working on American philosophy, the history of analytic philosophy, and epistemology. (shrink)

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

Of considerable importance in Plato and Aristotle’s educational outlook on the arts was Homer’s Iliad. This paper draws out some of the perceived weaknesses and strengths of this epic poem as it relates to the arguments in Plato’s Republic and Aristotle’s Poetics. I will attempt to do justice to Plato and Aristotle’s differing perspectives on the Iliad and their critique of art educational theory and practice. I will show why two philosophers with very different thinking on art education can still (...) significantly affect art teaching practice today. (shrink)

The traditional problem of incontinence raises the question of whether there is any way to account for action contrary to judgment. When one acts, rather than only being acted upon by circumstances, the action is explained in terms of the reasons for action one judges oneself to have. It therefore seems impossible to explain action that iscontrary to such judgment. This paper examines the question of how such explanation would be possible. After excluding accounts that either eliminate incontinence or render (...) it inexplicable, I argue that genuine incontinence would require three components: first, a distinction between the types of judgments simultaneously present in the agent; second, the Aristotelian idea that not all of those types of judgments can be directly action-guiding; and third, that the judgments that are action-guiding can be pre-conceptual perceptions. I then use elements of Collingwood's aesthetics to make the case that although such pre-conceptual perceptions would not be propositional judgments and the relationship between them and the behaviors of the agent could not be causal, those behaviors could still qualify as incontinent actions. (shrink)

The consensus is that repeatable artworks cannot be identified with particular material individuals. A perennial temptation is to identify them with types, broadly construed. Such identification, however, faces the so-called “Creation Problem.” This problem stems from the fact that, on the one hand, it seems reasonable to accept the claims that (1) repeatable artworks are types, (2) types cannot be created, and (3) repeatable artworks are created, but, on the other hand, these claims are mutually inconsistent. A possible solution to (...) the Creation Problem is to argue that claim (2) can be rejected because (a) the only motivation for it is that a type, being abstract, cannot stand in causal relations, but (b) this motivation is ungrounded, since types can, in fact, stand in such relations. Clearly, in order for this solution to be successful, it is necessary to substantiate the possibility of types to be causally efficacious. In this essay, I examine an attempt to do this with the help of Yablo’s principle of proportionality, which has been undertaken by Walters (2013) and, more recently, Juvshik (2018). Although the argument they advance may seem to provide strong support for the causal efficacy of types, I think it actually fails to do this. To explain why this is so, I first show that this argument commits us to the existence of widespread causal overdetermination involving types and then argue that this commitment is both epistemically and ontologically problematic. (shrink)

The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...) and the movement of dance are the same on some level. I suggest that they are: there are qualities of movement that guide both dancers and musicians when producing dance and music as perceptible phenomena. But the match in qualities is elusive, since the qualities are instantiated in different ways in music and dance, respectively. (shrink)

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 (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

According to the Communicative Theory of Emotions, we experience emotions when events occur that are important for our goals and plans. A method of choice for studying these matters is the emotion diary. Emotions configure our cognitive systems and our relationships. Many of our emotions concern our relationships, and empathy is central to our experience of them. We do not always recognize our emotions or the emotions of others, but literary fiction can help improve our skills of recognition and understanding.

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

Pencak Silat is a martial art, performance practice and system of body cultivation prevalent throughout much of Indonesia and the Malay-speaking world. This article compares different modalities of the practice and pedagogy of Sundanese Pencak Silat in West Java with more recent attempts to standardize practice at a national level under the auspices of the Indonesian Pencak Silat Association. Drawing on David Sudnow’s seminal account of learning how to play jazz piano, it is suggested that learning how to improvise is (...) a highly structured process that proceeds from the mastery of certain generic principles from which are generated potentially unbounded repertoires of habitual response. In the institutionalized instruction that is propagated by IPSI generative potential is subjugated to the desire to achieve homogeneity in practice. Aspects of Pencak Silat as it is taught nationally under the auspices of IPSI are examined in relation to the notion of spectacle. In conclusion, it is argued that the limits of the Nationalist project become self-evident as the dynamic potential of the body in Sundanese Pencak Silat is subsumed in an attempt to achieve fixity of the symbolic order. (shrink)

To overcome the art-craft dualism, a root and branch reform of a traditionally hegemonic view on human activities is needed. By focusing on Gilbert Simondon’s fundamental claims, the article aims to display the most important consequences of a more in-depth understanding of poiesis, especially in relation to its reintegration with the sphere of praxis and collective ethos and to its connections with the idea of creativity. The field of production will lastly be associated with the concept of “living practice”, regarded (...) as important for the definition of a contemporary poietics. (shrink)

Plato's "Ion," despite its frail frame and traditionally modest status in the corpus, has given rise to large exegetical claims. Thus some historians of aesthetics, reading it alongside page 205 of the Symposium, have sought to identify in it the seeds of the post-Kantian notion of 'art' as non-technical making, and to trace to it the Romantic conception of the poet as a creative genius. Others have argued that, in the "Ion," Plato has Socrates assume the existence of a technē (...) of poetry. In this article, these claims are challenged on exegetical and philosophical grounds. To this effect, Plato's use of poiētēs and poiēsis in the Symposium is analysed, the defining criteria of technē in the "Ion" and other dialogues are identified and discussed, and the 'Romantic' interpretation of the dialogue is traced to Shelley's tendentious translation of it. These critical developments lead to what is presented as a more faithful reading of the dialogue. In the "Ion," it is claimed, Plato seeks to subvert the traditional status of poetry by having Socrates argue that poetry is both non-rational and non-cognitive in nature. In the third part of the article, suggestions are offered as to the contribution made by the "Ion" to the evolution of Plato's reflections on poetic composition, and particularly as to the reasons which later induced Plato to substitute the concept of mimesis for that of inspiration in his account of poetry. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

A flop is a picture that mirror reverses the original scene. Some flops are reversed copies. For instance, mirror reversal is systematic with technologies that require contact between a template and an imprint surface. Other flops are just pictures that have undergone the operation of flopping. For example, a slide that is inserted backwards into a projector is a flop.

Radically Rethinking Copyright in the Arts: A Philosophical ApproachYoungJames O. Routledge. 2020. pp. 184. £120.

This essay is about the ensuing problem that in general it is nothelpful to talk about non-standard knowledge practices as modeled after our Western ideas of what knowledge is. It negotiates this problem by arguing that artisanal knowledge is an independent and self-contained mode of knowledge and is arranged in three parts. In the first part an outline is given of the key assumptions of the interactionist conception of knowledge that needs to be put in place as an alternative to (...) the basically Kantian mixture of empiricist and rationalist assumptions of the folk model of Western academic thinking about knowledge. In this interactionist conception of knowledgeartisanal knowledge gets center stage. In the second part, the notion of craftknowledge is opened up as much as possible. The third and final part takes upthe question whether craft knowledge is a cultural universal. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

How do we become aware of the properties or states that are expressed by gestures, utterances, and facial expressions? This paper argues that expression raises peculiar problems, distinct from those of property perception in general. It argues against some current accounts of awareness of expressed states, before proposing an account which appeals to the notion of empathy. Finally, it situates the proposed account within current discussions of expression in the philosophy of music.

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

In his review of Charles Spearman’s The Nature of ‘Intelligence’, R. G. Collingwood launched an attack upon psychometrics that was expanded in his Essay on Metaphysics. Although underrated by friend and foe alike, Collingwood’s critique identified a number of defects in the thinking of psychometricians that subsequently became entrenched. However, his main complaint was that psychology generally was a ‘fashionable scientific fraud’. This charge was inspired by his more general views on logic and metaphysics, which, however, as I argue, are (...) logically unsustainable. Ironically, other elements of his philosophy – his ‘fallacy of calculation’ and concept of ‘scale of forms’ – are relevant to psychometrics and tip the scales in favour of his otherwise unwarranted charge. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency is (...) bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

This paper argues for an understanding of emotion based upon Merleau-Ponty's conceptions of embodiment and passivity. Through a critical assessment of cognitive theories of emotion, and in particular Solomon's theory, it argues (1) that there is a sense in which emotions may be judgments, so long as we understand such judgments as bodily enactments of meaning, but (2) that even understood in this way, the notion of judgment (or construal) can only account for a subset of emotions which I call (...) "emotional clichés," and not for authentic passions. In contrast with Solomon's account which conceives the subject as constituting, this account of emotion requires us to understand subjectivity as moved by meanings in the world, and as sometimes, in an authentic passion, dispossessed by those meanings. (shrink)

Collingwood’s An Essay on Philosophical Method provides an insightful critique of Russell’s analysis and metaphysics of logical atomism, proposing an unduly neglected neo-idealist alternative to Russell’s philosophical method. I summarize Collingwood’s critique of analysis and sympathetically outline the philosophical methodology of Collingwood’s post-Hegelian dialectical method: his scale of forms methodology, grounded on the overlap of philosophical classes. I then delineate Collingwood’s critique of the metaphysics of logical atomism, demonstrating how the scale of forms methodology is opposed to Russell’s logical atomism. (...) Finally, I reflect on the reasons Collingwood’s Essay aroused little interest upon publication and the importance of continually rethinking the history of philosophy. (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)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

This paper argues that God, despite his Perfection, can have faith in us. The paper includes exegesis of various Midrasihc texts, so as to understand the Rabbinic claim that God manifested faith in creating the world. After the exegesis, the paper goes on to provide philosophical motivation for thinking that the Rabbinic claim is consistent with Perfect Being Theology, and consistent with a proper analysis of the nature of faith. Finally, the paper attempts to tie the virtue that faith can (...) exhibit to the virtues associated with art, as it is understood by R. G. Collingwood. This association is particularly apt, given the Midrashic description of God as an artist. All of this is offered in response to Rabbi Moses Nachmanides who argued that Abraham’s faith, in Genesis 15:6, wasn’t worthy of particular praise. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

ABSTRACT: It is pointed out that the organisation of an organism necessarily involves fields which are the only means to make an approximately simultaneous tuning of the different subsystems of the organism-as-a-whole. Nature uses the olfactory fields, the acoustic fields, the electromagnetic fields and quantum-vacuum fields. Fields with their ability to comprehend the whole organism are the natural basis of a global interaction between organisms and of collective consciousness. Evidences are presented that electromagnetic potential fields mediate the collective field of (...) consciousness. This result offers for the first time experimental access to the study of collective consciousness by measuring the field-related information-carrying potentials and their derivatives, the electric and magnetic fields between different individuals. The electrodynamic interaction of different brains/minds generates induction and in this way excitement, enhancement in the baseline of the interacting brains? activity. A list of empirical evidences is presented here proving the existence of this "interactive excitement" effect in the known phenomenon of collective consciousness. The fundamental phenomenon of the collective consciousness is known as " social facilitation " or "group effect ". The character and completion of consciousness are outlined in the frame of this picture, and the role of the "group effect " or " social facilitation " as a primary factor in developing consciousness is described. A quantum-physical model of a multi-layered consciousness is presented, where the layering is expressed by the subsequent subtlety of the masses of the material carriers of information. I show that as the mental levels get deeper and more sensitive the couplings are on more and more global scales of their environment. I point out that direct, immediate action in distance actually exists in the electromagnetic field, which is the coupling, mediator field between waves and particles. I show how the environmental, natural and cosmic fields are determinative sources of our consciousness. The results presented point out that the Collective Field of Consciousness is a significant physical factor of the biosphere. I show that the morphogenetic field has an electromagnetic nature. EM fields are vacuum fields. Different basic forms of vacuum fields exist, and all kinds of fields, including the particle-mediated fields as well, when overlapping each other, seem to be in a direct resonant coupling, and form a complex, merged biofield. The vacuum model of consciousness presented here points to the inductive generation of consciousness, and to its self-initiating nature. Individual and collective methods, as well as the experimental possibilities of a global healing and improving the consciousness field of mankind are suggested. Keywords: olfactory, acoustic, electromagnetic, vacuum fields, generation of consciousness, evolution of collective consciousness, social evolution, completion of consciousness, healing. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. Adorno, for example, critiques film as ‘mass-cult’, mass-produced culture which presents a ‘flattened’ version of reality. Adorno worries (...) about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-Second World War is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed storytelling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin’s theories of mass art. (shrink)

We’ve been led to believe that museums are temples of knowledge. The historical ideal of the European museum has been to improve us morally by educating us about the globe’s myriad different cultures, creative practices, and belief systems. We’re taught that museum spaces are neutral: that they represent the world from an ‘objective’ point of view. But we have been lied to.As art historian Alice Procter shows in this incisive book, Western museums fall devastatingly far from this ideal. They do (...) not merely represent the harms done by colonialist forces; they perpetuate them. Museums tell us stories about their objects on display—many stolen from their original homes—and push narratives which, often subtly, express harmful ideologies about cultures ‘discovered’ in the Age of Imperialism. As viewers, our perception is narrowed and moulded while the voices of the displayed marginalized identities are silenced.Procter takes us on one of her ‘Uncomfortable Art Tours’, guiding us through four types of museum, presenting a selection of objects ranging from a Gweagal Shield to art performances of human zoos, each with their own sobering story. Procter sensitively reveals the histories and meanings behind these pieces, which are often obscured or overlooked, to highlight the imperial and colonial reality of our art collections. Part 1 opens with the ‘Palace’; spaces which functioned as homages to a collector’s taste, often an aristocrat or royal, who displayed their private collections in an attempt to shape the taste of elite audiences. Part 2 takes us to the ‘Classroom’, a didactic space which sees the origin of categorization—taxonomy sinisterly extended to notions of race, pre-empting nineteenth-century eugenics. Part 3 presents the solemn ‘Memorial’ space, a site for remembrance and display of human remains. Part 4 closes with the ‘Playground’, a self-reflexive space of activism and social art, which challenges the museum institution itself. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (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)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Bullshit is not the only sort of deceptive talk. Spurious definitions are another important variety of bad reasoning. This paper will describe some of these problematic tactics, and show how Harry Frankfurt’s treatment of bullshit may be extended to analyze their underlying causes. Finally, I will deploy this new account of definition to assess whether Frankfurt’s definition of bullshit is itself legitimate.

Over the last decades, disciplines such as cognitive psychology, evolutionary psychology and the neurosciences have shown an increasing interest for art. It remains unclear what kind of relation these "young disciplines" should have with more traditional endeavors and, more generally, in which way they can enrich our understanding of art. In this paper, I lay down the foundations of a methodological framework which distinguishes between three basic topics: the investigation of the cognitive phenomena elicited by the experience of things that (...) we call 'artworks', the investigation of the psychological structures determining the intuitive categorization of something as art and the study of the intuitions and arguments used to build justifications about whether something is a work of art. Each of these topics can benefit from the cognitive approaches, provided that some specific methodological recommendations are respected. (shrink)

I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.