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)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

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)

This chapter reconstructs the neo‐Wittgensteinian proposals, and re‐examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo‐Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically (...) with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment. (shrink)

This essay examines a recent line of thought in aesthetics that challenges realist-leaning aesthetic theories. According to this line of thought, aesthetic diversity and disagreement are good, and our aesthetic judgments, responses, and attachments are deeply personal and even identity-constituting. These facts are further used to support anti-realist theories of aesthetic normativity. I aim to achieve two goals: (1) to disentangle arguments concerning diversity, disagreement, and personality; and (2) to offer realist-friendly replies to all three.

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a “broad” approach of experimental philosophy, I (...) will then make a distinction between topics in aesthetics pertaining to perceptual and cognitive processes, and traditional issues involved in the analysis of general and culturally-laden concepts. The narrow program of experimental philosophy, focused on the investigation of folk intuitions, is particularly effective only when two general conditions are met: the use of hypothetical scenarios (testing of thought experiments) and the heuristic role of folk intuitions in drawing philosophically relevant conclusions. I will argue that, when aesthetics is concerned, these requirements are not easily met. These difficulties notwithstanding, I will support a pluralistic view where aesthetics is revealed as an instructive example of how experimental approaches and traditional “armchair” philosophy integrate, and enrich each other. (shrink)

The successful specification of the definition of art has so far proven elusive. Discouraged by repeated failed attempts at the definition of art, numerous anti-essentialist philosophers have suggested alternative accounts. In this paper I defend the project of the definition of art by arguing that the strongest anti-essentialist arguments are unsuccessful in ruling out either the possibility or the value of a definition of art. Based on my observations regarding a blind spot in Wittgenstein’s anti-essentialist “look and see” approach, I (...) conclude by suggesting a new avenue of investigation for essentialism regarding art. (shrink)

Contemporary analytic aesthetics has seen a heated debate about whether there are general critical principles that determine the merits/demerits of an artwork. The so-called generalists say ‘yes’, whereas the so-called particularists say ‘no’. On the particularists’ view, a feature that is a merit in one artwork might well turn out to be a defect in another, so critical principles purporting to define merits and defects are pretty much in vain. Against this, the generalists argue that while some features change their (...) status in the way suggested by the particularists not all features do; there are still some features that remain merits or defects across different contexts; these are what the generalists call ‘primary features’. If so, the generalists maintain that there are still general critical principles generated by these primary features. In this article, I provide a limited defence of particularism by critically assessing three arguments for the existence of such primary features. I first argue that Beardsley’s invariable and explanatory conception of primary features is too strong, such that there is no compelling reason for us to believe in their existence. I then argue that Sibley’s prima facie conception and Dickie’s isolation conception of primary features are both too weak—in other words, even if primary features of these kinds exist, they do not generate the sort of critical principles that the particularists reject. Finally, I argue that Connolly and Haydar’s recent attempt to revive the Beardsleyan conception fails. As a result, I contend that there is reason to believe that particularism remains as a live option. (shrink)

La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...) tal reclamo. Al hacerlo, se prevé analizar la diferencia introducida por este último a propósito de la ejecución y la implementación como instancias configuradoras de lo artístico de espesor y relevancia para su lectura funcionalista. La articulación de un bloque explicativo afin a ambos planteos supone, así, una alternativa novedosa para el área teórica en que se inserta al tiempo que otorga una ventaja considerable frente al marco contextualista del tratamiento del problema. Analytic aesthetic addressed the problem of the definition of art and found an al ternative efficient solution in the Dantian concept of artworld. Nevertheless, the contextualist side of the Danto's program must face the claim of a certain lack of specificity. This paper seeks to link that with the developments made by Goodman around art in order to provide effective visible elements to such claim. In doing so, it is expected to analyze the difference between execution and implementation as central instances of artmaking according to his functionalist reading. The relation between both accounts represents, thus, an innovation over the theoretical area in which is inserted as much as a considerable advantage over the contextualist treatment of the problem. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given context (...) iff some person culturally competent in this context have afforded it the status of a candidate for appreciation for reasons considered good in this context. This weakly institutional view is supplemented by auxiliary definitions explaining the notions of cultural contexts, competence, and good reasons for affording the status. The relativisation to contexts brings increased explanatory power and scope, and the ability to account for the diversity of art. (shrink)

What is Estonian Philosophy? What is Estonian Philosophy?

In this paper, I argue that ‘art’, though an open concept, is not undefinable. I propose a particular kind of definition, a disjunctive definition, which comprises extant theories of art. I co-opt arguments from the philosophy of science, likening the concept ‘art’ to the concept ‘species’, to argue that we ought to be theoretical pluralists about art. That is, there are a number of legitimate, perhaps incompatible, criteria for a theory of art. In this paper, I consider three: functionalist definitions, (...) procedural definitions, and an intentional-historical definition. The motivation for this pluralism comes from an analysis of practice, because the term is of apparent value to practitioners. However, a closer analysis of the concept reveals that, while disjunctive definitions help us to understand how we use certain terms, they lack ontological import. In sum, I attempt to glean lessons from the philosophy of science about the philosophy of art. If my analysis is correct, we ought to be eliminative pluralists about art as a concept. (shrink)

This book represents an attempt to distinguish and define what beauty is in metaphysical terms, to arrive at a better understanding of beauty as a transcendental property of being, and to establish beauty's place in philosophy alongside truth and the good through an exploration of whether there can truly be a philosophy of beauty, or whether beauty is merely a type of aesthetic. The first part of this work outlines the history of philosophical thought on the subject, through an introduction (...) to three great theories of beauty - harmony, form, and relationism - and a discussion of the evolution of the fine arts. The second part introduces first the theory of aesthetics, then the relationship between nature, being, and beauty, and finally the controversy over whether beauty is natural or a product of human knowledge and experience. The third part moves towards a philosophy of beauty in a first sense: something that is real but immaterial, something that can be understood but not seen. This idea is constructed through an examination of beauty's relation to beings and existence, and finally through a juxtaposition of beauty with ugliness. (shrink)

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)

En este trabajo, partiendo de un experimento mental y de una exégesis del concepto de representación artística en la obra de Arthur Danto, mostraremos que hay serias dificultades para trazar una distinción de carácter esencialista entre representaciones artísticas y científicas. Negando la posibilidad de establecer dicha distinción y considerando la diferencia en cuestiones de uso y aplicación, cuestionaremos la necesidad de una teoría general de la representación científica y destacaremos, por el contrario, la importancia de la reflexión respecto de otros (...) problemas asociados al uso de representaciones en la práctica científica, a saber, aquellos ligados con preguntas de carácter normativo. (shrink)

The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...) special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art. (shrink)

In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.

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.

In the twenty-five years since philosophers began to bemoan ‘the dreariness of aesthetics’, students in Wittgenstein's wake have done a great deal to eliminate the grounds of the complaint. Unfruitful essentialist theories have been largely displaced by the vigorous, if somewhat uncontrolled, growth of an enterprise which attempts to characterize and explicate aesthetic phenomena outside the desert of definition. The resulting view portrays typically aesthetic concepts as being indivisibly characterizing and evaluative, relativistic in application, necessarily linked to human attitudes, irreducible (...) to non-aesthetic concepts, and yet as having social conditions which make them capable of intersubjective comparison and test. These characteristics are usefully summarized in saying that aesthetic concepts are concepts of appraisal. The theory of aesthetic appraisal discussed here is clearly incompatible with views which postulate dichotomies between objectivity and subjectivity, fact and value, and it is quite analogous to ‘descriptivist’ theories in ethics which reject these absolute distinctions. Moral examples are thus often useful for explicating the notion of aesthetic appraisal and the theory embodying that notion likewise has an important bearing on contemporary controversies in ethics. (shrink)

The emergence of Bildwissenschaft as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft (...) and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image. (shrink)

My thesis attempts to provide an aesthetic definition of art. The thesis is divided into three parts. The first part is a summary of the different attempts in defining art in contemporary analytic philosophy, beginning with a discussion of Morris Weitz’s famous paper “The Role of Theory in Aesthetics”, in which he appealed to Wittgenstein’s “family resemblance” idea while rejecting traditional essential definitions. His attempt has led to the appearance of contemporary essential definitions, whereby art is defined through different relational (...) properties. This is followed by a critically review on Weitz’s claims and those definitions. The second part focuses on Iseminger’s new aestheticism. I found that the notion of appreciation employed by Iseminger was somehow problematic, and proposed neo- Lewisian notion of value-apprehension as a replacement, with a critical discussion of whether such replacement is possible. In the last part of the thesis, I considered and defended my proposal against possible objections. (shrink)

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)

From the late nineteenth century to the 1950s one of the main foci of aesthetic inquiry was the attempt to develop definitions of art and such related concepts as visual art, music, tragedy, beauty, and metaphor. Clive Bell (1958) famously stated that either all works of visual art have some common quality or when we speak of “work of art” we speak nonsense. DeWitt H. Parker (1939) argued more generally that the assumption underlying every philosophy of art is the existence (...) of some common nature present in all the arts. This search for a common quality or nature of art was generally taken to be a form of essentialism. (shrink)

El presente artículo se propone mostrar la vinculación conceptual que se establece en el conjunto de la obra de Arthur Danto –un autor clave en la consideración analítica del concepto de representación- entre asimetrías cognitivas, teoría de la representación y criterio transfigurativo de realidad. Esa articulación nos entrega un modelo de particular predilección por las asimetrías cognitivas vinculadas a la estructura trágica, que es limitativa de las posibilidades aventuradas por el mismo Danto respecto de nuestra capacidad para captar la apertura (...) e incompletud de nuestra aprehensión de la historia. (shrink)