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)

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)

I defend a view of the species category, pluralistic realism, which is designed to do justice to the insights of many different groups of systematists. After arguing that species are sets and not individuals, I proceed to outline briefly some defects of the biological species concept. I draw the general moral that similar shortcomings arise for other popular views of the nature of species. These shortcomings arise because the legitimate interests of biology are diverse, and these diverse interests are reflected (...) in different legitimate approaches to the classification of organisms. In the final section, I show briefly how the pluralistic approach can help to illuminate some areas of biological and philosophical dispute. (shrink)

In this article, I examine whether Jerrold Levinson's intentional-historical definition of art can successfully accommodate revolutionary art. For Levinson, an item is art if it was intended to be regarded as some prior art was regarded. But revolutionary art involves a regard that is “completely distinct” from preexisting art regards. I consider and reject Levinson's proposed solutions to the problem of accommodating revolutionary art. I then defend an alternative account of transgressive art regard. Unfortunately for the intentional-historical definition, the acceptance (...) of transgressive art regard in conjunction with some recent theories of the development of human behavioral modernity may commit the definition to including nonart, prehistoric tools. (shrink)

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.

Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.

The concept of individuality as applied to species, an important advance in the philosophy of evolutionary biology, is nevertheless in need of refinement. Four important subparts of this concept must be recognized: spatial boundaries, temporal boundaries, integration, and cohesion. Not all species necessarily meet all of these. Two very different types of pluralism have been advocated with respect to species, only one of which is satisfactory. An often unrecognized distinction between grouping and ranking components of any species concept is necessary. (...) A phylogenetic species concept is advocated that uses a grouping criterion of monophyly in a cladistic sense, and a ranking criterion based on those causal processes that are most important in producing and maintaining lineages in a particular case. Such causal processes can include actual interbreeding, selective constraints, and developmental canalization. The widespread use of the biological species concept is flawed for two reasons: because of a failure to distinguish grouping from ranking criteria and because of an unwarranted emphasis on the importance of interbreeding as a universal causal factor controlling evolutionary diversification. The potential to interbreed is not in itself a process; it is instead a result of a diversity of processes which result in shared selective environments and common developmental programs. These types of processes act in both sexual and asexual organisms, thus the phylogenetic species concept can reflect an underlying unity that the biological species concept can not. (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)

I defend a view of the species category, pluralistic realism, which is designed to do justice to the insights of many different groups of systematists. After arguing that species are sets and not individuals, I proceed to outline briefly some defects of the biological species concept. I draw the general moral that similar shortcomings arise for other popular views of the nature of species. These shortcomings arise because the legitimate interests of biology are diverse, and these diverse interests are reflected (...) in different legitimate approaches to the classification of organisms. In the final section, I show briefly how the pluralistic approach can help to illuminate some areas of biological and philosophical dispute. (shrink)

Species pluralism gives us reason to doubt the existence of the species category. The problem is not that species concepts are chosen according to our interests or that pluralism and the desire for hierarchical classifications are incompatible. The problem is that the various taxa we call 'species' lack a common unifying feature.

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

Explores the development of the ideas of evolutionary biology, particularly as affected by the increasing understanding of genetics and of the chemical basis of inheritance.

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.

This edited volume of 13 new essays aims to turn past discussions of natural kinds on their head. Instead of presenting a metaphysical view of kinds based largely on an unempirical vantage point, it pursues questions of kindedness which take the use of kinds and activities of kinding in practice as significant in the articulation of them as kinds. The book brings philosophical study of current and historical episodes and case studies from various scientific disciplines to bear on natural kinds (...) as traditionally conceived of within metaphysics. Focusing on these practices reveals the different knowledge-producing activities of kinding and processes involved in natural kind use, generation, and discovery. -/- Specialists in their field, the esteemed group of contributors use diverse empirically responsive approaches to explore the nature of kindhood. This groundbreaking volume presents detailed case studies that exemplify kinding in use. Newly written for this volume, each chapter engages with the activities of kinding across a variety of disciplines. Chapter topics include the nature of kinds, kindhood, kinding, and kind-making in linguistics, chemical classification, neuroscience, gene and protein classification, colour theory in applied mathematics, homology in comparative biology, sex and gender identity theory, memory research, race, extended cognition, symbolic algebra, cartography, and geographic information science. -/- The volume seeks to open up an as-yet unexplored area within the emerging field of philosophy of science in practice, and constitutes a valuable addition to the disciplines of philosophy and history of science, technology, engineering, and mathematics. -/- Contributions from a diverse group of established and junior scholars in the fields of Philosophy and History and Philosophy of Science including Hasok Chang, Jordi Cat, Sally Haslanger, Joyce C. Havstad, Catherine Kendig, Bernhard Nickel, Josipa Petrunic, Samuli Pöyhönen, Thomas A. C. Reydon, Quayshawn Spencer, Jackie Sullivan, Michael Wheeler, and Rasmus Grønfeldt Winther. (shrink)

Homology is a natural kind concept, but one that has been notoriously elusive to pin down. There has been sustained debate over the nature of correspondence and the units of comparison. But this continued debate over its meaning has focused on defining homology rather than on its use in practice. The aim of this chapter is to concentrate on the practices of homologizing. I define “homologizing” to be a concept-in-use. Practices of homologizing are kinds of rule following, the satisfaction of (...) which demarcates a category—that of being a homologue. Identifying, explaining, discovering, and understanding are exchanges that connect practice to concept through the performance of a rule by practitioners. These practices are constitutive of natural kinding activities. If homologizing is a kind of kinding, consideration of these practices of discovery, tracking, and identification not only clarifies the meaning, use, and progression of the concept of homology, but provides further understanding of the processes and progression of natural kinds and kinding practices in general. (shrink)

Oaks exemplify problems with the reproductive species concept which motivate a reconsideration of the use and nature of species. Ecology is important in the reconsideration. The species level is usually overemphasized in evolutionary thought; selection acts on phenotypes and any mutualistic units. Standard definitions tend to inhibit free conceptual progress. Multispecies, sets of broadly sympatric species that exchange genes, may occur among animals as well as plants and may conceivably bridge kingdoms. This phenomenon can be adaptively important. There may be (...) taxa without species. The degree of modality of adaptive zones can be investigated empirically. (shrink)