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Attempting art: an essay on intention-dependence

Dissertation, McGill University (2017)

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  1. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Edward Lippman - 1993 - Journal of Aesthetics and Art Criticism 51 (4):630-632.
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  • Patterns of Intention: On the Historical Explanation of Pictures.Michael Baxandall - 1986 - Journal of Aesthetics and Art Criticism 45 (1):94-95.
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  • Language, Music and Mind.Georges Rey - 1997 - Philosophical Review 106 (4):641.
    The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are considerably (...)
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  • Art and Illusion. A Study in the Psychology of Pictorial Representation.George Boas - 1960 - Journal of Aesthetics and Art Criticism 19 (2):229-229.
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  • Making It Explicit: Reasoning, Representing, and Discursive Commitment.Robert B. Brandom - 1994 - Harvard University Press.
    What would something unlike us--a chimpanzee, say, or a computer--have to be able to do to qualify as a possible knower, like us? To answer this question at the very heart of our sense of ourselves, philosophers have long focused on intentionality and have looked to language as a key to this condition. Making It Explicit is an investigation into the nature of language--the social practices that distinguish us as rational, logical creatures--that revises the very terms of this inquiry. Where (...)
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  • Art and Philosophy.Joseph Margolis - 1980 - Humanities Press.
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  • Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:177-186.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...)
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  • Attempts: In the Philosophy of Action and the Criminal Law.Gideon Yaffe - 2010 - Oxford University Press.
    Gideon Yaffe presents a ground-breaking work which demonstrates the importance of philosophy of action for the law. Many people are serving sentences not for completing crimes, but for trying to. Yaffe's clear account of what it is to try to do something promises to resolve the difficulties courts face in the adjudication of attempted crimes.
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  • Resisting Reality: Social Construction and Social Critique.Sally Haslanger - 2012 - Oxford University Press.
    In this collection of previously published essays, Sally Haslanger draws on insights from feminist and critical race theory and on the resources of contemporary analytic philosophy to develop the idea that gender and race are positions ...
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  • The Principles of Art.R. G. Collingwood - 1938 - New York: Oxford University Press.
    This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...
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  • VIII—The Place of Intention in the Concept of Art.Anthony Savile - 1969 - Proceedings of the Aristotelian Society 69 (1):101-124.
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  • Platonism in Music.Peter Kivy - 1983 - Grazer Philosophische Studien 19 (1):109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...)
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  • What a Musical Work Is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
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  • Action, Reason, and Purpose.Daniel Bennett - 1965 - Journal of Philosophy 62 (4):85-96.
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  • Actions, Reasons, and Causes.Donald Davidson - 1963 - Journal of Philosophy 60 (23):685.
    What is the relation between a reason and an action when the reason explains the action by giving the agent's reason for doing what he did? We may call such explanations rationalizations, and say that the reason rationalizes the action. In this paper I want to defend the ancient - and common-sense - position that rationalization is a species of ordinary causal explanation. The defense no doubt requires some redeployment, but not more or less complete abandonment of the position, as (...)
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  • Ontology and Social Construction.Sally Haslanger - 1995 - Philosophical Topics 23 (2):95-125.
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  • On the Plurality of Worlds.David K. Lewis - 1986 - Wiley-Blackwell.
    This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.
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  • Meaning, Expression, and Thought.Wayne A. Davis - 2005 - Philosophy and Phenomenological Research 71 (3):744-747.
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  • Æsthetics: Lectures and Essays.Edward Bullough - 1957 - Greenwood Press.
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  • Les Beaux Arts Reduits À Un Même Principe.Charles Batteux - 1746 - Durand.
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  • The Method of Truth in Metaphysics.Donald Davidson - 1977 - Midwest Studies in Philosophy 2 (1):244-254.
    Repr. as Essay 14 in Davidson, Donald, _Inquiries into Truth and Interpretation_, 2nd ed. Oxford, UK (Clarendon, 2001). 215-226.
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  • Look What They've Done to My Song: "Historical Authenticity" and the Aesthetics of Musical Performance.Aron Edidin - 1991 - Midwest Studies in Philosophy 16 (1):394-420.
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  • The Meaning of 'Meaning'.Hilary Putnam - 1975 - Minnesota Studies in the Philosophy of Science 7:131-193.
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  • Historical Definitions of Art.Kathleen Stock - 2003 - In Stephen Davies & Ananta Charana Sukla (eds.), Art and Essence. Praeger. pp. 159--76.
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  • Interactive Kinds.Muhammad Ali Khalidi - 2010 - British Journal for the Philosophy of Science 61 (2):335-360.
    This paper examines the phenomenon of ‘interactive kinds’ first identified by Ian Hacking. An interactive kind is one that is created or significantly modified once a concept of it has been formulated and acted upon in certain ways. Interactive kinds may also ‘loop back’ to influence our concepts and classifications. According to Hacking, interactive kinds are found exclusively in the human domain. After providing a general account of interactive kinds and outlining their philosophical significance, I argue that they are not (...)
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  • Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
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  • The Varieties of Reference.Gareth Evans - 1982 - Oxford University Press.
    Covering the work of Frege, Russell, and more recent work on singular reference, this important book examines the concepts of perceptually-based demonstrative identification, thought about oneself, and recognition-based demonstrative identification.
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  • Events as Property Exemplifications.Jaegwon Kim - 1976 - In M. Brand & D. Walton (eds.), Action Theory. D. Reidel. pp. 310-326.
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  • Ordinary Objects.Amie Thomasson - 2009 - Analysis 69 (1):173-174.
    In recent analytic metaphysics, the view that ‘ordinary inanimate objects such as sticks and stones, tables and chairs, simply do not exist’ has been defended by some noteworthy writers. Thomasson opposes such revisionary ontology in favour of an ontology that is conservative with respect to common sense. The book is written in a straightforward, methodical and down-to-earth style. It is also relatively non-specialized, enabling the author and her readers to approach problems that are often dealt with in isolation in a (...)
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  • On The Plurality of Worlds.Graeme Forbes - 1988 - Philosophical Quarterly 38 (151):222-240.
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  • Fiction and Metaphysics.Amie L. Thomasson - 2002 - Philosophical Quarterly 52 (207):282-284.
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  • The Methodology of Musical Ontology: Descriptivism and its Implications.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...)
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  • Defending Musical Perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.
    If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...)
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  • Mechanism, Purpose, and Explanatory Exclusion.Jaegwon Kim - 1989 - Philosophical Perspectives 3:77-108.
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  • An Ontology of Art.Gregory Currie - 1989 - St. Martin's Press.
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  • A Cognitive Approach to the Earliest Art.Johan De Smedt & Helen3 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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  • Aesthetics: Problems in the Philosophy of Criticism.Monroe Beardsley - 1958 - Harcourt, Brace & World.
    This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.
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  • A Theory of Human Action.Alvin I. Goldman - 1970 - Princeton University Press.
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  • Ordinary Objects.Amie Thomasson (ed.) - 2007 - Oxford University Press.
    Arguments that ordinary inanimate objects such as tables and chairs, sticks and stones, simply do not exist have become increasingly common and increasingly prominent. Some are based on demands for parsimony or for a non-arbitrary answer to the special composition question; others arise from prohibitions against causal redundancy, ontological vagueness, or co-location; and others still come from worries that a common sense ontology would be a rival to a scientific one. Until now, little has been done to address these arguments (...)
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  • Works of Music: An Essay in Ontology.Julian Dodd - 2007 - Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...)
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  • But is It Art?: An Introduction to Art Theory.Cynthia Freeland - 2001 - Oxford University Press.
    From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that (...)
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  • The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Lydia Goehr - 1992 - Oxford University Press.
    What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...)
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  • Works and Worlds of Art.Nicholas Wolterstorff - 1980 - Oxford University Press.
    In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...
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  • Aesthetic Creation.Nick Zangwill - 2007 - Oxford University Press.
    What is the purpose of art? What drives us to make it? Why do we value it? Nick Zangwill argues that the function of art is to have certain aesthetic properties in virtue of its non-aesthetic properties, and this function arises because of the artist's insight into the nature of these dependence relations and her intention to bring them about.
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  • Actions.Gary Watson - 1982 - Journal of Philosophy 79 (8):464-469.
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  • An Ontology of Art.Jerrold Levinson - 1992 - Philosophy and Phenomenological Research 52 (1):215-222.
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  • Art and Philosophy.Nicholas Wolterstorff - 1981 - Journal of Aesthetics and Art Criticism 39 (4):455-459.
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  • Aesthetic Creation.Daniel O. Nathan - 2008 - Journal of Aesthetics and Art Criticism 66 (4):416-418.
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  • The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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  • Philosophy of the Arts.John Holloway - 1953 - Philosophical Quarterly 3 (11):191.
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