I defend extreme formalism about inorganic nature against arguments put forward by Glenn Parsons. I begin by laying out the general issue over aesthetic formalism, and I describe the position of extreme formalism about inorganic nature. I then reconsider -Ronald Hepburn's beach/seabed example. Next I discuss the notions of function in play in our thinking about inorganic nature. And lastly I consider Parsons's flooding river example. I conclude that extreme formalism about inorganic nature is safe from Parsons's arguments.

Perceptually indistinguishable artifacts may be artworks in some cultures but not be artworks in others, and artifacts that were not artworks in the context of their original creation can become artworks in contexts of appropriation, that is, in contexts in which they are brought under a cross-culturally appropriate concept or definition of art. A certain background of historical and cultural conditions, some of them theoretical, is necessary for something to be or to become an artwork. It is crucial to my (...) central claims in what follows that artworks embody culturally significant meanings or can acquire such meanings over time. This plays an essential role in answering the question of whether something is an... (shrink)

Few dispute the descriptive necessity of intentions in art, little ground has been gained in virtue of such consensus. Intentions matter, but we must know not only which ones matter and why they matter but also the implications of their mattering for art theory writ large. I show that intentionality cannot be exhausted by mere appeals to deliberateness or bare artifactuality. I then argue that only reflexively governed intentions are necessary for art - artistic intentions are communicative intentions. Finally I (...) show how making intentions reflexive accrues myriad art theoretical advantages ranging from interpretation to evaluation of art. Intentions matter because they are communicative. Art becomes language-like and in doing so art gets to matter because language matters. (shrink)

The claim that God is perfectly beautiful has played a key role within the history of a number of religious traditions. However, this view has received surprisingly little attention from philosophers of religion in recent decades. In this article I aim to remedy this neglect by addressing some key philosophical issues surrounding the doctrine of divine beauty. I begin by considering how best to explicate the claim that God is perfectly beautiful before moving on to ask what consequences accepting this (...) claim will have for our broader theorizing in philosophy. (shrink)