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. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

In The Art Instinct: Beauty, Pleasure, and Human Evolution, Denis Dutton articulates a cluster criteria concept of art that is comprised of twelve parts. His approach is rooted in evolutionary aesthetics and focuses on the idea that, in cross-cultural terms, the concept of art is best understood at the ‘conceptual center’ of paradigmatic cases of art. Dutton’s central theme is that thousands of generations of evolution in the Pleistocene period created an art instinct in Homo sapiens that gradually culminated in (...) the predominance of these twelve definitional criteria of art by way of sexual selection. That is, each criterion had survival value in terms of skill displays, mate selection, and perpetuation of genes. The purpose of this paper is to examine the adequacy of Dutton’s concept of art in the context of significant counter-examples to his position from aesthetic theory and practice. (shrink)

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 (...) of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

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)

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 (...) and error; they also demonstrate that not all cases of reference to these kinds can proceed along a purely causal model. As a result, realist views in ontology, epistemology, and semantics that were developed with natural scientific kinds in mind cannot fully apply to the kinds of the social and human sciences. In closing I consider some wider consequences of these results for social science and philosophy. (shrink)

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 (...) and error; they also demonstrate that not all cases of reference to these kinds can proceed along a causal model. As a result, realist views in ontology, epistemology, and semantics that were developed with natural scientific kinds in mind cannot fully apply to the everyday world. In closing I consider some wider consequences of these results for social science and philosophy. (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)

Although popular music is increasingly recognized as an important area of inquiry in philosophy of art, many organizing principles have been taken over from other fields without scrutiny. This article selects heavy metal as an example of the value of applying philosophy of criticism to discourse about popular music. Metal is now in its fifth decade, and its combination of longevity and diversity have made it an attractive topic in popular music studies. In accounts of metal by musicologists and social (...) science researches, metal is almost always referred to as a genre of music, and the genre is said to unify diverse metal subcultures, which are associated with diverse styles of metal. An examination of the concepts of genre and subculture as they are typically understood in popular music studies generally, and in metal studies in particular, suggests that they do not function to delineate metal as a unitary category. However, contemporary philosophy of art provides several theoretical principles that provide criteria for identifying a unified genre. The relevant theories are historical definitions of art and Kendall Walton's account of style. Viewed in terms of these philosophical developments, metal should be seen as an evolving assemblage of related styles, only some of which are associated with fans who constitute a subculture. However, it is not a "category" in Walton's sense of that term. Video abstract. (shrink)

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. (...) Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...) aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity. (shrink)

Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli presented (...) in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto. More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions. (shrink)

An overview of attempts to define music in the Western philosophical tradition.

The role of personal background knowledge—in particular knowledge about the context of production of an artwork—has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches’ explanatory power and framing their collaboration with the humanities (Bullot and Reber 2012). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal background (...) knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of “intention.” I suggest that the observer can recover not only the artist’s abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

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 (...) of transgressive art regard in conjunction with some recent theories of the development of human behavioral modernity may commit the definition to including nonart, prehistoric tools. (shrink)

Am şlefuit materia pentru a afla linia continuă.Und das Problem ensteht: was is das, was übrigbleibt, wenn ich von der Tatsache, daß ich meinen Arm hebe, die abziehe, daß mein Arm sich hebt?Acknowledged to have launched modern poetry with Les Fleurs du mal, Charles Baudelaire was also a prolific and influential art critic, a close friend of Edouard Manet, and an early champion of Eugène Delacroix. At one time decidedly not a friend of sculpture, Baudelaire published a critique of this (...) art form in a section of his Salon de 1846 titled “Pourquoi la sculpture est ennuyeuse” :3Sculpture has several disadvantages inherent in the medium itself. Crude and direct like nature, sculpture is.. (shrink)

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 (...) object we exploit in order to decide whether a certain artifact belongs to a certain kind. (G) thus becomes: (E) How can we know that artifact a belongs to kind K? Finally, (G) can also be read as a question concerning the semantics of artifact kind terms. The semantic reading of (G) is: (S) What kind of reference do artifact kind terms have, if any? In this editorial we expand on the different answers to (O), (E) and (S) that are given in the selected literature on the topic. The result should give us an overall picture of the possible answers to (G). (shrink)

The paper argues that something is art only if (i) it belongs to a special kind of internal history and (ii) needs to be understood and appreciated in the light of such history. This goes against both the traditional view that art has a timeless, ahistorical essence and the historicist view that there can be no ahistorical perspective for understanding art. The paper draws on Hegel’s view that art needs to be understood through its history, but rejects the idea that (...) the history of art has an end in the double sense of a goal and an end point. It also rejects Arthur Danto’s Hegel-inspired claim that the ahistorical essence of art is revealed at the end of its history and opens the door to a natural alliance between philosophers of art and art historians. (shrink)

Richard Stopford, in criticizing my defense of purist restoration, attributes to me and refutes a metaphysical view I do not have concerning the identity and persistence conditions of an art work. I took for granted the ordinary idea of identity as continuity-in-space-and-time-under-a-sortal-concept, such as statue. I argued that Michelangelo’s Pietà remained the same statue after it was disfigured but that the damage was irreparable. By fixing molded prosthetics to the ruined work of art, the Vatican introduced a macaronic element into (...) one’s aesthetic attitude toward the Pietà by making one attend simultaneously, without any visual guidance as to which is which, to parts of the statue that were completed by Michelangelo’s hand and intended to be a work of art and pieces added in the twentieth century for an different purpose, e.g., to make viewing the statue less disconcerting than a recognition of the damage would demand. An integral restoration, in contrast, allows one both to envision the art work as created and to grieve for what has been lost. (shrink)

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 (...) philosophy and in related disciplines? (shrink)

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 (...) their definitions of art and that this belief is false. In contrast with Cappelen and Molyneux, I maintain that philosophers of art’s false self-image causes substantial damage to their philosophical practice. Firstly, intuitions often are used as persuaders, while, in fact, they do not add philosophical force to the defended position. Secondly, and more importantly, intuition-talk and philosophers’ wrong self-image are partly responsible for the confusi.. (shrink)

There is a really big, complicated educational question that sometimes we hear and that always needs addressing, rebuffing, monitoring, and advancing but this is never going to be the last word on the matter because many things can transform it: the claim that no student should graduate from his or her high school without an understanding of what art is.Lots of people express this sentiment but in different ways. The statement could not be any clearer in its purpose. It is (...) quite positive as a statement because it is not without moral worth for it is expressing a substantial social concern. Being a popular kind of pragmatic focus statement, it surely merits an educational response. By making this comment about art... (shrink)