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  1. Moral deference.Laurence Thomas - 1993 - Philosophical Forum 24 (1-3):232-250.
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  • A Virtue Theory of Aesthetics.David M. Woodruff - 2001 - The Journal of Aesthetic Education 35 (3):23--36.
    Recent work examining and expanding traditional accounts of a virtue has been used as the foundation for a virtue-based approach to epistemology. A similar approach to aesthetics yields some striking features, which coincide with contemporary philosophical concerns about the nature and definition of art. Those writing on virtue-based epistemology have offered epistemic theories based on intellectual virtues, defining knowledge from the nature of such virtues. This basic program can be applied to aesthetics so that art is defined using a virtue (...)
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  • Response-dependence about aesthetic value.Michael Watkins & James Shelley - 2012 - Pacific Philosophical Quarterly 93 (3):338-352.
    The dominant view about the nature of aesthetic value holds it to be response-dependent. We believe that the dominance of this view owes largely to some combination of the following prevalent beliefs: 1 The belief that challenges brought against response-dependent accounts in other areas of philosophy are less challenging when applied to response-dependent accounts of aesthetic value. 2 The belief that aesthetic value is instrumental and that response-dependence about aesthetic value alone accommodates this purported fact. 3 The belief that response-dependence (...)
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  • Virtues of Art.Peter Goldie - 2010 - Philosophy Compass 5 (10):830-839.
    The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in (...)
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  • Against Value Empiricism in Aesthetics.James Shelley - 2010 - Australasian Journal of Philosophy 88 (4):707-720.
    Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...)
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • (1 other version)The transfiguration of the commonplace.Arthur C. Danto - 1974 - Journal of Aesthetics and Art Criticism 33 (2):139-148.
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  • What is Cultural Appropriation?James O. Young - 2008 - In Cultural Appropriation and the Arts. Wiley-Blackwell. pp. 1–31.
    This chapter contains section titled: Art, Culture, and Appropriation Types of Cultural Appropriation What is a Culture? Objections to Cultural Appropriation In Praise of Cultural Appropriation.
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  • Radical Externalism.Amia Srinivasan - 2020 - Philosophical Review 129 (3):395-431.
    This article presents a novel challenge to epistemic internalism. The challenge rests on a set of cases which feature subjects forming beliefs under conditions of “bad ideology”—that is, conditions in which pervasively false beliefs have the function of sustaining, and are sustained by, systems of social oppression. In such cases, the article suggests, the externalistic view that justification is in part a matter of worldly relations, rather than the internalistic view that justification is solely a matter of how things stand (...)
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  • Aesthetic Contextualism.Jerrold Levinson - 2007 - Postgraduate Journal of Aesthetics 4 (3):1-12.
    Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...)
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  • Cultural appropriation and the intimacy of groups.C. Thi Nguyen & Matthew Strohl - 2019 - Philosophical Studies 176 (4):981-1002.
    What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices (...)
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  • Cultural appropriation and oppression.Erich Hatala Matthes - 2019 - Philosophical Studies 176 (4):1003-1013.
    In this paper, I present an outline of the oppression account of cultural appropriation and argue that it offers the best explanation for the wrongfulness of the varied and complex cases of appropriation to which people often object. I then compare the oppression account with the intimacy account defended by C. Thi Nguyen and Matt Strohl. Though I believe that Nguyen and Strohl’s account offers important insight into an essential dimension of the cultural appropriation debate, I argue that justified objections (...)
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  • On Putting Knowledge 'First'.Jonathan Ichikawa & C. S. I. Jenkins - 2017 - In J. Adam Carter, Emma C. Gordon & Benjamin W. Jarvis (eds.), Knowledge First: Approaches in Epistemology and Mind. Oxford: Oxford University Press.
    There is a New Idea in epistemology. It goes by the name of ‘knowledge first,’ and it is particularly associated with Timothy Williamson’s book Knowledge and Its Limits. In slogan form, to put knowledge first is to treat knowledge as basic or fundamental, and to explain other states—belief, justification, maybe even content itself—in terms of knowledge, instead of vice versa. The idea has proven enormously interesting, and equally controversial. But deep foundational questions about its actual content remain relatively unexplored. We (...)
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  • Frauds, Posers And Sheep: A Virtue Theoretic Solution To The Acquaintance Debate.Madeleine Ransom - 2017 - Philosophy and Phenomenological Research 98 (2):417-434.
    The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...)
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  • (1 other version)Responding to Aesthetic Reasons.Andrew McGonigal - 2017 - Estetika: The European Journal of Aesthetics 54 (1):40–64.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such reasons? In this (...)
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  • Cultural Appropriation and the Arts.James O. Young - 2008 - Wiley-Blackwell.
    Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...)
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  • Cultural Appropriation Without Cultural Essentialism?Erich Hatala Matthes - 2016 - Social Theory and Practice 42 (2):343-366.
    Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...)
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  • The ontology of art and knowledge in aesthetics.Amie L. Thomasson - 2005 - Journal of Aesthetics and Art Criticism 63 (3):221–229.
    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.
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  • Being for Beauty: Aesthetic Agency and Value.Dominic Lopes - 2018 - Oxford, United Kingdom: Oxford University Press.
    For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.
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  • The Metaphysics of Beauty.Nick Zangwill - 2002 - Journal of Aesthetics and Art Criticism 60 (4):358-360.
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  • Art, authenticity and appropriation.James O. Young - 2006 - Frontiers of Philosophy in China 1 (3):455-476.
    It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.
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  • Hume's standard of taste: The real problem.Jerrold Levinson - 2002 - Journal of Aesthetics and Art Criticism 60 (3):227–238.
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  • Towards a virtue theory of art.Peter Goldie - 2007 - British Journal of Aesthetics 47 (4):372-387.
    In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...)
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  • Beauty, The Social Network.Dominic McIver Lopes - 2017 - Canadian Journal of Philosophy 47 (4):437-453.
    Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...)
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  • Aesthetic Experts, Guides to Value.Dominic Mciver Lopes - 2015 - Journal of Aesthetics and Art Criticism 73 (3):235-246.
    A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...)
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  • Race, ethnicity, expressive authenticity: Can white people sing the blues?Joel Rudinow - 1994 - Journal of Aesthetics and Art Criticism 52 (1):127-137.
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  • The Metaphysics of Beauty.Nick Zangwill - 2001 - Ithaca: Cornell University Press.
    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 (...)
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  • (1 other version)Responding to Aesthetic Reasons.Andrew McGonigal - 2020 - Estetika: The European Journal of Aesthetics 54 (1):40.
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  • ... So Black and Blue: Response to Rudinow.Paul Christopher Taylor - 1995 - Journal of Aesthetics and Art Criticism 53 (3):313-316.
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  • (1 other version)The Transfiguration of the Commonplace.Warren Quinn & Arthur C. Danto - 1983 - Philosophical Review 92 (3):481.
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