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  1. Art across Cultures and Art by Appropriation.Mark Lafrenz - 2020 - Journal of Aesthetic Education 54 (2):1-20.
    Perceptually indistinguishable artifacts may be artworks in some cultures but not be artworks in others, and artifacts that were not artworks in the context of their original creation can become artworks in contexts of appropriation, that is, in contexts in which they are brought under a cross-culturally appropriate concept or definition of art. A certain background of historical and cultural conditions, some of them theoretical, is necessary for something to be or to become an artwork. It is crucial to my (...)
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  • The Japanese Tea Ceremony and Pancultural Definitions of Art.Daniel Wilson - 2018 - Journal of Aesthetics and Art Criticism 76 (1):33-44.
    Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception (...)
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  • In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  • The Cultural Definition of Art.Simon Fokt - 2017 - Metaphilosophy 48 (4):404-429.
    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 (...)
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  • The intuitive concept of art.Alessandro Pignocchi - 2012 - Philosophical Psychology 27 (3):425-444.
    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 (...)
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  • Concepts of Pornography: Aesthetics, Feminism, and Methodology.Kania Andrew - 2012 - In Hans Maes & Jerrold Levinson (eds.), Art and Pornography: Philosophical Essays. Oxford, GB: Oxford University Press UK. pp. 254-276.
    I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.
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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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  • Borderline Cases and the Project of Defining Art.Annelies Monseré - 2016 - Acta Analytica 31 (4):463-479.
    Most philosophers of art assume that there are three categories with regard to arthood, namely ‘art’, ‘artful’ and ‘non-art’ and that, therefore, a definition must be able to account for ‘artful items’, also called ‘borderline cases of art’. This article, however, defends the thesis that, since there is no agreement over which items fall under the category ‘artful’, the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended (...)
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  • Delighting in natural beauty: Joint attention and the phenomenology of nature aesthetics.Johan De Smedt & Helen De Cruz - 2013 - European Journal for Philosophy of Religion 5 (4):167-186.
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...)
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  • How the intentions of the draftsman shape perception of a drawing.Alessandro Pignocchi - 2010 - Consciousness and Cognition 19 (4):887-898.
    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 (...)
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  • Artifact Categorization. Trends and Problems.Massimiliano Carrara & Daria Mingardo - 2013 - Review of Philosophy and Psychology 4 (3):351-373.
    The general question (G) How do we categorize artifacts? can be subject to three different readings: an ontological, an epistemic and a semantic one. According to the ontological reading, asking (G) is equivalent to asking in virtue of what properties, if any, a certain artifact is an instance of some artifact kind: (O) What is it for an artifact a to belong to kind K? According to the epistemic reading, when we ask (G) we are investigating what properties of the (...)
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  • Creativity and Style in GAN and AI Art: Some Art-historical Reflections.Jim Berryman - 2024 - Philosophy and Technology 37 (2):1-17.
    This paper explores the intersection of art history and AI technology. Special attention is paid to Generative Adversarial Networks (GANs), a machine learning technology widely used in AI art. This technology is particularly interesting to art history and the philosophy of art because it raises enduring questions about the creative process of artmaking, especially what constitutes a new and original work of art. While this is a relatively new area, it is possible to discern emerging directions where art and AI (...)
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  • What is Art? The Role of Intention, Beauty, and Institutional Recognition.Elzė Sigutė Mikalonytė & Markus Kneer - 2023 - Proceedings of the Annual Meeting of the Cognitive Science Society 45:3039-3047.
    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 (...)
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  • (1 other version)Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - 2022 - ACM Transactions on Human-Robot Interactions.
    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 (...)
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  • Are Some Perfumes Works of Art?Brozzo.Chiara Brozzo - 2020 - Journal of Aesthetics and Art Criticism 78 (1):21-32.
    What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...)
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  • The Role of Intuitions in the Philosophy of Art.Annelies Monseré - 2015 - Inquiry: An Interdisciplinary Journal of Philosophy 58 (7-8):806-827.
    According to Herman Cappelen and Bernard Molyneux, it is widely assumed that intuitions are used as evidence for philosophical theories in all areas of philosophy. Philosophers’ self-image, however, is wrong. This wrong self-image, so they argue, has merely misled metaphilosophers, but has had no substantial implications for philosophical practices. This article examines the role of intuitions in the project of defining art. In accordance with Cappelen and Molyneux, I demonstrate that philosophers of art believe intuitions are used as evidence for (...)
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  • A formal ontology of artefacts.Gilles Kassel - 2010 - Applied ontology 5 (3-4):223-246.
    This article presents a formal ontology which accounts for the general nature of artefacts. The objective is to help structure application ontologies in areas where specific artefacts are present - in other words, virtually any area of activity. The conceptualization relies on recent philosophical and psychological research on artefacts, having resulted in a largely consensual theoretical basis. Furthermore, this ontology of artefacts extends the foundational DOLCE ontology and supplements its axiomatization. The conceptual primitives are as follows: artificial entity, intentional production (...)
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  • Realism and human kinds.Amie L. Thomasson - 2003 - Philosophy and Phenomenological Research 67 (3):580–609.
    It is often noted that institutional objects and artifacts depend on human beliefs and intentions and so fail to meet the realist paradigm of mind-independent objects. In this paper I draw out exactly in what ways the thesis of mind-independence fails, and show that it has some surprising consequences. For the specific forms of mind-dependence involved entail that we have certain forms of epistemic privilege with regard to our own institutional and artifactual kinds, protecting us from certain possibilities of ignorance (...)
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  • Can Levinson's Intentional‐Historical Definition of Art Accommodate Revolutionary Art?Daniel Wilson - 2015 - Journal of Aesthetics and Art Criticism 73 (4):407-416.
    In this article, I examine whether Jerrold Levinson's intentional-historical definition of art can successfully accommodate revolutionary art. For Levinson, an item is art if it was intended to be regarded as some prior art was regarded. But revolutionary art involves a regard that is “completely distinct” from preexisting art regards. I consider and reject Levinson's proposed solutions to the problem of accommodating revolutionary art. I then defend an alternative account of transgressive art regard. Unfortunately for the intentional-historical definition, the acceptance (...)
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  • Anti-Essentialism.Tom Leddy - unknown
    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 (...)
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  • Common minds, uncommon thoughts: a philosophical anthropological investigation of uniquely human creative behavior, with an emphasis on artistic ability, religious reflection, and scientific study.Johan De Smedt - unknown
    The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought to (...)
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  • Virtues of Art.Peter Goldie - 2010 - Philosophy Compass 5 (10):830-839.
    The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in (...)
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  • Intention, history, and artifact concepts.Paul Bloom - 1996 - Cognition 60 (1):1-29.
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  • Ejecución, implementación y activación: aportes goodmanianos al problema de la definición del arte en la estética analítica.Mariano O. Martínez Atencio - 2017 - Análisis Filosófico 37 (1):27-53.
    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 (...)
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  • Three Problematic Aspects of Analytical Aesthetics.Anders Pettersson - 2008 - Nordic Journal of Aesthetics 19 (35).
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