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Switch to: References
Citations of:
Beauty, The Social Network
Canadian Journal of Philosophy 47 (4):437-453 (2017)
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Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) |
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An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) |
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There are bad movies, and there are movies that are so bad that they are good. So-called good bad movies have received a lot of attention from critics and moviegoers in recent years. Many people, including those with good taste, are willing to invest their time and resources in watching and discussing them. In this paper, I will argue that the fact that aesthetically competent consumers of cinema are engaging with good bad movies challenges an intuitive assumption according to which (...) |
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There are bad movies, and there are movies that are so bad that they are good. So-called good bad movies have received a lot of attention from critics and moviegoers in recent years. Many people, including those with good taste, are willing to invest their time and resources in watching and discussing them. In this paper, I will argue that the fact that aesthetically competent consumers of cinema are engaging with good bad movies challenges an intuitive assumption according to which (...) |
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Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or not their (...) |
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