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Aesthetic Archaeology

Critical Inquiry 48 (1):144-166 (2021)

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  1. Against aesthetic judgments.Bence Nanay - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. New York, USA: Routledge.
    Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more often.
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  • Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...)
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  • The uses of aesthetic testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...)
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  • How to Be a Pessimist about Aesthetic Testimony.Robert Hopkins - 2011 - Journal of Philosophy 108 (3):138-157.
    Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...)
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  • Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  • (1 other version)A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  • Towards a reductive theory of visual style.George Kubler - 1979 - In Leonard B. Meyer & Berel Lang (eds.), The Concept of style. Philadelphia: University of Pennsylvania Press. pp. 119--127.
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  • Connoisseurship and the Stakes of Style.Richard Neer - 2005 - Critical Inquiry 32 (1):1.
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  • Vision and Power.John Hyman - 1994 - Journal of Philosophy 91 (5):236-252.
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  • (1 other version)First Art and Art's Definition.Stephen Davies - 2010 - Southern Journal of Philosophy 35 (1):19-34.
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  • (1 other version)First Art and Art’s Definition.Stephen Davies - 1997 - Southern Journal of Philosophy 35 (1):19-34.
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