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  1. Genres as Rules.Kiyohiro Sen - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    What is unique about art genres? In this paper, I will show that genres are best understood as clusters of regulative rules for appreciation. Evaluation, interpretation, and other appreciative responses to a work of art are sensitive to how the work is categorised, and genres are the categories that play a normative role in this context. Genres as rules have social foundations and arise from a speech act that I distinguish from classification and call framing. Based on this account, I (...)
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  • On the social nature of artefacts.Tim Juvshik - 2024 - Theoria 89 (6):910-932.
    Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which stops (...)
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  • How to Change an Artwork.David Friedell - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...)
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  • 源河亨著『「美味しい」とは何か:食からひもとく美学入門』.森 功次 - 2024 - Kagaku Tetsugaku 56 (2):111.
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  • An Institutional Theory of Art Categories.Kiyohiro Sen - 2022 - Debates in Aesthetics 18 (1):31-43.
    It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...)
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  • On Tags and Conceptual Street Art.Elisa Caldarola - 2021 - Philosophical Inquiries (2):93-114.
    The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...)
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  • Pluralism, Eliminativism, and the Definition of Art.Christopher Bartel & Jack M. C. Kwong - 2021 - Estetika: The European Journal of Aesthetics 58 (2):100-113.
    Traditional monist theories of art fail to account for the diversity of objects that intuitively strike many as belonging to the category art. Some today argue that the solution to this problem requires the adoption of some version of pluralism to account for the diversity of art. We examine one recent attempt, which holds that the correct account of art must recognize the plurality of concepts of art. However, we criticize this account of concept pluralism as being unable to offer (...)
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  • Social Kinds, Reference, and Meta-Ontological Revisionism.Michel-Antoine Xhignesse - 2018 - Journal of Social Ontology 4 (2):137-156.
    Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...)
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