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What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) |
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_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address. |
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In order to perfectly describe the world, it is not enough to speak truly. One must also use the right concepts - including the right logical concepts. One must use concepts that "carve at the joints", that give the world's "structure". There is an objectively correct way to "write the book of the world". Much of metaphysics, as traditionally conceived, is about the fundamental nature of reality; in the present terms, this is about the world's structure. Metametaphysics - inquiry into (...) |
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The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher. |
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Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. The second consequence (...) |
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Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...) |
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Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) |
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Bill Brewer presents an original view of the role of conscious experience in the acquisition of empirical knowledge. He argues that perceptual experiences must provide reasons for empirical beliefs if there are to be any determinate beliefs at all about particular objects in the world. This fresh approach to epistemology turns away from the search for necessary and sufficient conditions for knowledge and works instead from a theory of understanding in a particular area. |
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A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames. |
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Carl Plantinga; What a Documentary Is, After All, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 2, 15 April 2005, Pages 105–117, https://doi.org. |
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Indexicality is a feature of predicates and predicate components (verbs, adjectives, adverbs and the like) as well as of referring expressions. With classic referring indexicals such as 'I' or 'that' a distinctive rule takes us from token and context to some item present in the content which is the semantic correlate of the token. Predicates and predicate components may function in an analogous fashion. For example 'thus' is an indexical adverb which latches onto some manner of performance present in its (...) |
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In his comments, Richard Fumerton carefully develops two fundamental concerns with my views, which he interprets sympathetically, and almost entirely correctly. Before turning to these concerns, though, I must make one point about his concise opening statement of my principal claims. As I hope is clear from my précis, perceptual experiences provide reasons for empirical beliefs not simply in virtue of sharing demonstrative content with them. The key idea is that a person cannot properly grasp the objective content of these (...) |
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Issues about the creation of works, what is essential and inessential to their identity, their distinct kinds of properties, including aesthetic properties, ... |
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In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) |
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"Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought.... Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." --Richard Rorty, _The Yale Review_. |
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