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  1. Eugene Delacroix's Theory of Art.George P. Mras - 1968 - Journal of Aesthetics and Art Criticism 26 (4):548-548.
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  • The Clockwork Muse: The Predictability of Artistic Change.Colin Martindale - 1992 - Journal of Aesthetics and Art Criticism 50 (2):171-173.
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  • Inference to the best explanation.Peter Lipton - 1991 - New York: Routledge.
    "How do we go about weighing evidence, testing hypotheses and making inferences? According to the model of 'inference to the Best explanation', we work out what to inter from the evidence by thinking about what would actually explain that evidence, and we take the ability of a hypothesis to explain the evidence as a sign that the hypothesis is correct. In inference to the Best Explanation, Peter Lipton gives this important and influential idea the development and assessment it deserves." "The (...)
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  • The Work of the Imagination.Tamar Szabó Gendler - 2002 - Mind 111 (442):414-418.
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  • Ascribing Functions to Technical Artefacts: A Challenge to Etiological Accounts of Functions.Wybo Houkes & Pieter E. Vermaas - 2003 - British Journal for the Philosophy of Science 54 (2):261-289.
    The aim of this paper is to evaluate etiological accounts of functions for the domain of technical artefacts. Etiological theories ascribe functions to items on the basis of the causal histories of those items; they apply relatively straightforwardly to the biological domain, in which neo‐Darwinian evolutionary theory provides a well‐developed and generally accepted background for describing the causal histories of biological items. Yet there is no well‐developed and generally accepted theory for describing the causal history of artefacts, so the application (...)
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  • Précis of Inference to the Best Explanation, 2 nd Edition.Peter Lipton - 2007 - Philosophy and Phenomenological Research 74 (2):421-423.
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  • The Puzzle of Imaginative Resistance.Tamar Szabó Gendler - 2000 - Journal of Philosophy 97 (2):55.
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  • Aesthetic Experience Revisited.NoË Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
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  • Exploring “fringe” consciousness: The subjective experience of perceptual fluency and its objective bases.Rolf Reber, Pascal Wurtz & Thomas D. Zimmermann - 2004 - Consciousness and Cognition 13 (1):47-60.
    Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...)
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  • Does the chimpanzee have a theory of mind?David Premack & Guy Woodruff - 1978 - Behavioral and Brain Sciences 1 (4):515-526.
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  • Fearing fictions.Kendall L. Walton - 1978 - Journal of Philosophy 75 (1):5-27.
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • Ascribing functions to technical artefacts: A challenge to etiological accounts of functions.Pieter E. Vermaas & Wybo Houkes - 2003 - British Journal for the Philosophy of Science 54 (2):261-289.
    The aim of this paper is to evaluate etiological accounts of functions for the domain of technical artefacts. Etiological theories ascribe functions to items on the basis of the causal histories of those items; they apply relatively straightforwardly to the biological domain, in which neo-Darwinian evolutionary theory provides a well-developed and generally accepted background for describing the causal histories of biological items. Yet there is no well-developed and generally accepted theory for describing the causal history of artefacts, so the application (...)
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  • Visual routines.Shimon Ullman - 1984 - Cognition 18 (1-3):97-159.
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  • Does Beauty Build Adapted Minds? Toward an Evolutionary Theory of Aesthetics, Fiction, and the Arts.John Tooby & Leda Cosmides - 2001 - Substance 30 (1/2):6.
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  • Aesthetic properties of pictorial perception.Shigeko Takahashi - 1995 - Psychological Review 102 (4):671-683.
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  • Aesthetic judgements, artworks and functional beauty.Stephen Davies - 2006 - Philosophical Quarterly 56 (223):224-241.
    I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...)
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  • Pragmatics, Modularity and Mind‐reading.Dan Sperber & Deirdre Wilson - 2002 - Mind and Language 17 (1-2):3–23.
    The central problem for pragmatics is that sentence meaning vastly underdetermines speaker’s meaning. The goal of pragmatics is to explain how the gap between sentence meaning and speaker’s meaning is bridged. This paper defends the broadly Gricean view that pragmatic interpretation is ultimately an exercise in mind-reading, involving the inferential attribution of intentions. We argue, however, that the interpretation process does not simply consist in applying general mind-reading abilities to a particular (communicative) domain. Rather, it involves a dedicated comprehension module, (...)
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  • The Sense of Order: A Study in the Psychology of Decorative Art.Francis Sparshott - 1981 - Journal of Aesthetic Education 15 (1):126.
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  • Aesthetic preference and syntactic prototypicality in music: 'Tis the gift to be simple.J. David Smith & Robert J. Melara - 1990 - Cognition 34 (3):279-298.
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  • The Intentional Stance by Daniel Dennett. [REVIEW]Sydney Shoemaker - 1990 - Journal of Philosophy 87 (4):212-216.
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  • What monet meant: Intention and attention in understanding art.Mark Rollins - 2004 - Journal of Aesthetics and Art Criticism 62 (2):175–188.
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  • Danto and His Critics.Mark Rollins (ed.) - 1993 - Malden, MA: Wiley-Blackwell.
    Updated and revised, the Second Edition of _Danto and His Critics_ presents a series of essays by leading Danto scholars who offer their critical assessment of the influential works and ideas of Arthur C. Danto, the Johnsonian Professor Emeritus in the Department of Philosophy at Columbia University and long-time art critic for _The Nation_. Reflects Danto's revisions in his theory of art, reworking his views in ways that have not been systematically addressed elsewhere Features essays that critically assess the changes (...)
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  • Danto and His Critics.Francis Sparshott - 1994 - Journal of Aesthetics and Art Criticism 52 (4):482-483.
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  • The art of distancing: How formal devices manage our emotional responses to literature.Jenefer Robinson - 2004 - Journal of Aesthetics and Art Criticism 62 (2):153–162.
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  • Expressing the Way the World Is: Expression as Reference.Jenefer M. Robinson - 1979 - The Journal of Aesthetic Education 13 (1):29.
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  • Tracing the identity of objects.Lance J. Rips, Sergey Blok & George Newman - 2006 - Psychological Review 113 (1):1-30.
    This article considers how people judge the identity of objects (e.g., how people decide that a description of an object at one time, t₀, belongs to the same object as a description of it at another time, t₁). The authors propose a causal continuer model for these judgments, based on an earlier theory by Nozick (1981). According to this model, the 2 descriptions belong to the same object if (a) the object at t₁ is among those that are causally close (...)
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  • Exploring "fringe" consciousness: The subjective experience of perceptual fluency and its objective bases.Rolf Reber, P. Wurtz & Thomas E. Zimmermann - 2004 - Consciousness and Cognition 13 (1):47-60.
    Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...)
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  • Ontological relativity and other essays.Willard Van Orman Quine (ed.) - 1969 - New York: Columbia University Press.
    This volume consists of the first of the John Dewey Lectures delivered under the auspices of Columbia University's Philosophy Department as well as other essays by the author. Intended to clarify the meaning of the philosophical doctrines propounded by Professor Quine in 'Word and Objects', the essays included herein both support and expand those doctrines.
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  • Is vision continuous with cognition?: The case for cognitive impenetrability of visual perception.Zenon Pylyshyn - 1999 - Behavioral and Brain Sciences 22 (3):341-365.
    Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - in other words it (...)
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  • Why is a Wing Like a Spoon? A Pluralist Theory of Function.Beth Preston - 1998 - Journal of Philosophy 95 (5):215.
    Function theorists routinely speculate that a viable function theory will be equally applicable to biological traits and artifacts. However, artifact function has received only the most cursory scrutiny in its own right. Closer scrutiny reveals that only a pluralist theory comprising two distinct notions of function--proper function and system function--will serve as an adequate general theory. The first section describes these two notions of function. The second section shows why both notions are necessary, by showing that attempts to do away (...)
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  • Does the chimpanzee have a theory of mind?David Premack & G. Woodruff - 1978 - Behavioral and Brain Sciences 4 (4):515-629.
    An individual has a theory of mind if he imputes mental states to himself and others. A system of inferences of this kind is properly viewed as a theory because such states are not directly observable, and the system can be used to make predictions about the behavior of others. As to the mental states the chimpanzee may infer, consider those inferred by our own species, for example, purpose or intention, as well as knowledge, belief, thinking, doubt, guessing, pretending, liking, (...)
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  • Review of Karl Popper: The Poverty of Historicism[REVIEW]Leon J. Goldstein - 1957 - Ethics 68 (4):296-297.
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  • Psychology and Visual Aesthetics.R. W. Pickford - 1973 - Journal of Aesthetics and Art Criticism 31 (4):552-553.
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  • The nature of music from a biological perspective.Isabelle Peretz - 2006 - Cognition 100 (1):1-32.
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  • How We Understand Art: A Cognitive Development Account of Aesthetic Experience.Michael J. Parsons - 1991 - British Journal of Educational Studies 39 (4):466-467.
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  • Three Essays on Style.Erwin Panofsky & Irving Lavin - 1997 - Journal of Aesthetics and Art Criticism 55 (1):66-68.
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  • Factor analysis of meaning.Charles E. Osgood & George J. Suci - 1955 - Journal of Experimental Psychology 50 (5):325.
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  • Toward a theory of the empirical tracking of individuals: Cognitive flexibility and the functions of attention in integrated tracking.Nicolas J. Bullot - 2009 - Philosophical Psychology 22 (3):353-387.
    How do humans manage to keep track of a gradually changing object or person as the same persisting individual despite the fact that the extraction of information about this individual must often rely on heterogeneous information sources and heterogeneous tracking methods? The article introduces the Empirical Tracking of Individuals theory to address this problem. This theory proposes an analysis of the concept of integrated tracking, which refers to the capacity to acquire, store, and update information about the identity and location (...)
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  • The role of theories in conceptual coherence.Gregory L. Murphy & Douglas L. Medin - 1985 - Psychological Review 92 (3):289-316.
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  • The Idea of History.Arthur E. Murphy - 1947 - Philosophical Review 56 (5):587.
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  • Form and Style in the Arts: An Introduction to Aesthetic Morphology. [REVIEW]Arnold Berleant - 1973 - Philosophy and Phenomenological Research 33 (4):581-582.
    Review of Thomas Munro, Form and Style in the Arts, in Philosophy and Phenomenological Research, XXXII, 4 (June l973).
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  • Evolution in the Arts and Other Theories of Culture History.Van Meter Ames - 1963 - Journal of Aesthetics and Art Criticism 22 (1):75-77.
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  • Aesthetics as science: Its development in America.Thomas Munro - 1951 - Journal of Aesthetics and Art Criticism 9 (3):161-207.
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  • Varieties of Meaning: The 2002 Jean Nicod Lectures.Ruth Garrett Millikan - 2004 - MIT Press.
    How the various things that are said to have meaning—purpose, natural signs, linguistic signs, perceptions, and thoughts—are related to one another.
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  • Emotions, fiction, and cognitive architecture.Aaron Meskin & Jonathan M. Weinberg - 2003 - British Journal of Aesthetics 43 (1):18-34.
    Recent theorists suggest that our capacity to respond affectively to fictions depends on our ability to engage in simulation: either simulating a character in the fiction, or simulating someone reading or watching the fiction as though it were fact. We argue that such accounts are quite successful at accounting for many of the basic explananda of our affective engagements in fiction. Nonetheless, we argue further that simulationist accounts ultimately fail, for simulation involves an ineliminably ego-centred element that is atypical of (...)
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  • On Art and the Mind.Patrick Maynard - 1977 - Philosophical Review 86 (1):125.
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  • Developmental changes within the core of artifact concepts.Adee Matan & Susan Carey - 2001 - Cognition 78 (1):1-26.
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  • The Forger's Art: Forgery and the Philosophy of Art.Kenneth Marantz - 1984 - Journal of Aesthetic Education 18 (3):125.
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  • Creations of the Mind: Theories of Artifacts and their Representation.Eric Margolis & Stephen Laurence - 2009 - Analysis 69 (1):171-172.
    This collection of 16 original articles by prominent theorists from a variety of disciplines provides an excellent insight into current thinking about artifacts. The four sections address issues concerning the metaphysics of artifacts, the nature and cognitive development of artifact concepts, and the place of artifacts in evolutionary history. The most overtly philosophical contributions are in the first two sections. Metaphysical issues addressed include the ‘mind-dependence’ of artifacts and the bearing of this on their ‘real’ existence, and the distinction between (...)
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