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Switch to: References
Citations of:
Music, Art, and Metaphysics [Book Review]
Philosophy and Phenomenological Research 53 (2):471-475 (1993)
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I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship. |
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Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...) |
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Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) |
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According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...) |
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Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) |
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ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...) |
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Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to (...) |
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