This chapter contains section titled: Elaborating the Performance Theory Structure and Focus Heuristics and the Individuation of Artworks Work‐Constitution and Modality on the Performance Theory Performances, Actions, and Doings.

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative (...) examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...) aesthetic theory of art. (shrink)

It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype (...) theory is as a psychological theory not the sort of view that can support philosophical theories like anti-definitionism and historical narrativism. Second, well-known objections and theoretical alternatives to prototype theory theory raise serious questions about that theory’s own credentials. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Presenting no less than a history and critique of the concept of the aesthetic throughtout modern Western thought, The Ideology of the Aesthetic is a critical survey of modern Western philosphy, focusing in particular on the complex relations between aesthetics, ethics, and politics.

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

In chapters ranging from "The Beautiful, the Dainty, and the Dumpy" to "Skin-deep or In the Eye of the Beholder?" Nick Zangwill investigates the nature of beauty as we conceive it, and as it is in itself. The notion of beauty is currently attracting increased interest, particularly in philosophical aesthetics and in discussions of our experiences and judgments about art. In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of (...) things. He uses this principle to defend the notion of the aesthetic, to call for a version of aesthetic formalism, and to reconsider the reality of beauty. The Metaphysics of Beauty brings beauty to the center of intellectual consciousness in a manner informed by contemporary metaphysics and engages with beauty as an enduring object of human thought and experience. (shrink)

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...) Assuming that the propositions are independently plausible and jointly inconsistent, there will be three ways of solving the problem: you may affirm (R) and (S) while denying (X); you may affirm (S) and (X) while denying (R); or you may affirm (R) and (X) while denying (S). The first of these, once the orthodox solution, has been displaced in recent years by the second. The third has never really been defended. I defend it here. If successful, my defence will have shown that there is reason to deny the existence of non-aesthetic art and no reason to believe that art is not essentially aesthetic. (shrink)

What are the groundrules in the philosophy of art? What criteria of adequacy should we use for assessing theories of art?

In 1987 Jerrold Levinson wrote, in a review of George Dickie's _The Art Circle_, that in reading it he felt 'caught in a kind of aesthetic time warp'. I had the same feeling, and indeed have the same feeling when I read papers published since on Dickie's theory. A recent criticism in this journal by Oswald Hanfling is a case in point. To be fair, Hanfling explicit states that he is discussing the 1974 version of the theory rather than Dickie's (...) current views. However, this weakens the paper as a contribution to the current debate. Dickie no longer advocates the 1974 theory, as opposed to the 1984 version. Hanfling also directs most of his argument against the second disjunct of that definition, largely ignoring the first. furthermore, following recent work on the theory by others, Dickie's theory has become a more protean creature than Hanfling suppose. Criticism are rarely decisive; what works against one version of the theory is ineffective against another. In this paper I will argue that the theory as standardly conceived can be broken down into two logically independent parts. Once this is done, the objections current in the literature are not decisive. I will then attempt to evaluate what I take to be the improved version. (shrink)

The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...) that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need. (shrink)

This paper suggests that art cannot be defined in terms of individually necessary and jointly sufficient conditions. Instead, we propose that there are several sufficient conditions for something's being art, and that a successful definition will consist of a disjunction of minimally sufficient conditions. Our proposal owes much to the insights of Berys Gaut's ‘“Art” as a Cluster Concept’ but offers a much simpler logical formulation, which, in addition, is immune to the objections that have been raised to Gaut's account. (...) This paper agrees with Gaut's claim that there are borderline cases of art, and suggests that they arise from indeterminacy about the content of some of the minimally sufficient conditions. It is argued that this disjunctive account is superior to classical theories, resemblance-to-paradigm theories, and prototype theories of art. (shrink)

In this short paper I begin by underlining the sense in which my intentional-historical theory of art, first proposed in 1979, attributes to art a certain irreducible historicality. I next defend the theory, in broad outline, against a number of objections that have been raised against it in the past ten years. I conclude with some remarks on the similarities and differences between ordinary artefact concepts and the concept of an artwork.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Could some social kinds be natural kinds? In this paper, I argue that there are three kinds of social kinds: 1) social kinds whose existence does not depend on human beings having any beliefs or other propositional attitudes towards them ; 2) social kinds whose existence depends in part on specific attitudes that human beings have towards them, though attitudes need not be manifested towards their particular instances ; 3) social kinds whose existence and that of their instances depend in (...) part on specific attitudes that human beings have towards them . Although all three kinds of social kinds are mind-dependent, this does not make them ontologically subjective or preclude them from being natural kinds. Rather, what prevents the third kind of social kinds from being natural kinds is that their properties are conventionally rather than causally linked. (shrink)

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.

Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...) Joyce, Stein, and Eliot on the other.”1 Susanne Langer can be read as provid- ing a justification for modern dance, while the ini- tial version of George Dickie’s institutional the- ory “requires something like the presupposition that Dada is a central form of artistic practice” in order to gain intuitive appeal. The. (shrink)

_ _ _Art and Value_ focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.