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  1. Ambivalent Agency: A Response to Trogdon and Livingston on Artwork Completion.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (4):457-460.
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  • Artwork Completion: A Response to Gover.Kelly Trogdon & Paisley Nathan Livingston - 2015 - Journal of Aesthetics and Art Criticism 73 (4):460-462.
    Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.
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  • Psychologism and Completeness in the Arts.Guy Rohrbaugh - 2017 - Journal of Aesthetics and Art Criticism 75 (2):131-141.
    When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...)
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  • Psychologism About Artistic Plans: A Response to Rohrbaugh.Wesley D. Cray - 2018 - Journal of Aesthetics and Art Criticism 76 (1):101-104.
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  • A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
    In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.
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  • Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance of a general problem raised by artifacts, both (...)
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  • How to Understand the Completion of Art.Patrick Grafton-Cardwell - 2020 - Journal of Aesthetics and Art Criticism 78 (2):197-208.
    There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...)
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  • The Heart of Classical Work-Performance.Andrew Kania - forthcoming - British Journal of Aesthetics:ayab031.
    In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...)
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  • Worlds Without End: A Platonist Theory of Fiction.Patrick Grafton-Cardwell - 2021 - Dissertation, University of Massachusetts, Amherst
    I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...)
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  • Musical Works as Structural Universals.A. R. J. Fisher - forthcoming - Erkenntnis:1-23.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best version of Musical (...)
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  • LaBeouf, Rönkkö & Turner, Digital Remix, and Group Authorship.Andrew J. Corsa - 2020 - British Journal of Aesthetics 60 (1):27-43.
    I argue that sometimes a group can author a work of art without the work being either co-authored or multiply-authored. Sometimes the group, itself, is an author, rather than any of its members alone or together. I argue that when a group is an author like this, it has mental properties that no individual member of the group possesses. For example, we can consider the groups that authored digital remixes based on a film titled #INTRODUCTIONS created by the artists LaBeouf, (...)
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  • Philosophy of Digital Art as Collaboration.Andrew J. Corsa - 2019 - Hyperrhiz: New Media Cultures 19.
    How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...)
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