This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...) there are different kinds of aesthetic experiences . By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires. (shrink)

Einstein's theories of special and general relativity are unanimously praised by scientists for their extraordinary beauty to the extent that some consider the latter to be the most beautiful theory in physics. The grounds for these assertions are assessed here and it is concluded that the beauty of Einstein's theories can be attributed to two of their aspects. The first is that they incorporate all possible ingredients that constitute the beauty of theories: simplicity, symmetry, invariance, unification, etc. The second concerns (...) the perfect logical consistency of Einstein's theories, a crucial factor in the unanimous praise of their beauty. Theories other than Einstein's are also assessed here, namely, electromagnetism and the various quantum theories, and it is concluded that all these suffer from logical flaws. This has resulted in a lack of consensus among scientists with respect to their beauty. Consequently, the unanimous claim that Einstein's theories are of superior beauty as compared to other theories in physics is hereby substantiated. (shrink)

This article deals with the question whether aesthetic considerations affected Einstein in formulating both his theories of relativity. The opinions of philosophers and historians alike are divided on this matter. Thus, Gerald Holton supports the view that Einstein employed aesthetic considerations in formulating his theory of special relativity whereas Jim Shelton opposes it, one of his reasons being that Einstein did not mention such considerations. The other theory, namely, that of general relativity, is discussed by John D. Norton. He asserts (...) that the successful completion of this theory was due to Einstein's adherence to mathematical simplicity resulting from experience, as Einstein himself stated, and not from an aesthetic drive, to which he did not refer. The present work attempts to overcome this deficiency indirectly by investigating Einstein's aesthetic awareness and its consequences for his work. It is found that this awareness was imbedded in his perception of nature and is linked to the criteria (such as simplicity) that guided him in formulating his theories. The conclusion thus reached is that aesthetic considerations did play a role in Einstein's endeavour, contrary to the assertions of Shelton and Norton. (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

This chapter contains sections titled: A Range of Views Criteria of Assessment The Road to a Solution.

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)

The author proposes to add another dichotomy to the list of essential tensions proposed by Professor Duda, namely beauty and ugliness. Physicists believe that only beautiful theories describe the world correctly, and that General Relativity is one of the most beautiful physical theories. The author explains why physicists regard this theory as beautiful.