Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

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 (...) with one of them fail. This demonstration draws on examples from the artifactual realm to motivate major points of the argument. The third section is an outline of artifact function. It confirms the conclusions of the second section, and also begins the task of describing some of the special features of artifact function needing accommodation within the general theory. (shrink)

This paper criticizes two accounts of the normativity of practical principles: the empiricist account and the rationalist or realist account. It argues against the empiricist view, focusing on the Humean texts that are usually taken to be its locus classicus. It then argues both against the dogmatic rationalist view, and for the Kantian view, through a discussion of Kant's own remarks about instrumental rationality in the second section of the Groundwork. It further argues that the instrumental principle cannot stand alone. (...) Unless there are normative principles directing us to the adoption of certain ends, there can be no requirement to take the means to our ends. The familiar view that the instrumental principle is the only requirement of practical reason is incoherent. (shrink)

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (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.

Preface by Daniel C. Dennett Beginning with a general theory of function applied to body organs, behaviors, customs, and both inner and outer representations, ...

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

Kit Fine; XIV*—Ontological Dependence, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 269–290, https://doi.org/10.1093/aristote.

Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.

Goodness -- Goodness properties -- Expressivism -- Betterness relations -- Virtue/kind properties -- Correctness properties (acts) -- Correctness properties (mental states) -- Reasons-for (mental states) -- Reasons-for (acts) -- On some views about "ought" : relativism, dilemmas, means-ends -- On some views about "ought" : belief, outcomes, epistemic ought -- Directives -- Addendum 1: "Red" and "good" -- Addendum 2: Correctness -- Addendum 3: Reasons -- Addendum 4: Reasoning.

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

The privilege of having three sets of extensive and hard-hitting comments on one's work is as welcome as it is rare, and especially so on this occasion as the lectures were, for me, but thefirst (well, not entirely first) stab at a subject I hope to explore at greater length. The reflectionsthat follow will respond to some of the criticisms, but will not be a point by point reply. I will use the occasion to clarify some obscurities in the lectures, (...) and to contrast my view with some of my critics' own positions. I will proceed thematically, starting with some observations about method and about ontology, proceeding to explore several questions about the relations between social dependence and relativism, between genre, value, and normativity, and concluding with a fewwords on pluralism and liberal values. (shrink)

I defend the historical definition of "function" originally given in my Language, Thought and Other Biological Categories (1984a). The definition was not offered in the spirit of conceptual analysis but is more akin to a theoretical definition of "function". A major theme is that nonhistorical analyses of "function" fail to deal adequately with items that are not capable of performing their functions.

Beginning with Aristotle, philosophers have taken artifacts to be ontologically deficient. This paper proposes a theory of artifacts, according to which artifacts are ontologically on a par with other material objects. I formulate a nonreductive theory that regards artifacts as constituted by - but not identical to - aggregates of particles. After setting out the theory, I rebut a number of arguments that disparage the ontological status of artifacts.

This 2001 book offers an examination of functional explanation as it is used in biology and the social sciences, and focuses on the kinds of philosophical presuppositions that such explanations carry with them. It tackles such questions as: why are some things explained functionally while others are not? What do the functional explanations tell us about how these objects are conceptualized? What do we commit ourselves to when we give and take functional explanations in the life sciences and the social (...) sciences? McLaughlin gives a critical review of the debate on functional explanation in the philosophy of science. He discusses the history of the philosophical question of teleology, and provides a comprehensive review of the post-war literature on functional explanation. What Functions Explain provides a sophisticated and detailed Aristotelian analysis of our concept of natural functions, and offers a positive contribution to the ongoing debate on the topic. (shrink)

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 (...) came to be described in the early twentieth century. (shrink)

What is the purpose of art? What drives us to make it? Why do we value it? Nick Zangwill argues that the function of art is to have certain aesthetic properties in virtue of its non-aesthetic properties, and this function arises because of the artist's insight into the nature of these dependence relations and her intention to bring them about.

This chapter contains sections titled: Introduction The Epistemic Arguments The Ontological Argument The Aesthetic Argument Conclusion.

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)