Switch to: Citations

References in:

Attempting art: an essay on intention-dependence

Dissertation, Mcgill University (2017)

Add references

You must login to add references.
  1. (1 other version)Trying (as the mental 'pineal gland').Brian O'Shaughnessy - 1997 - In Alfred R. Mele (ed.), The philosophy of action. New York: Oxford University Press. pp. 365 - 386.
    Download  
     
    Export citation  
     
    Bookmark   36 citations  
  • Works of music: an essay in ontology.Julian Dodd - 2007 - New York: 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 -- (...)
    Download  
     
    Export citation  
     
    Bookmark   68 citations  
  • The aesthetic as the science of expression and of the linguistic in general.Benedetto Croce - 1992 - New York: Cambridge University Press. Edited by Colin Lyas.
    The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory intended (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • The imaginary museum of musical works: an essay in the philosophy of music.Lydia Goehr - 1992 - New York: 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   55 citations  
  • The philosophy of action: an introduction.Carlos J. Moya - 1990 - Oxford: Polity Press.
    This new textbook is an exceptionally clear and concise introduction to the philosophy of action, suitable for students interested in the philosophy of mind and the philosophy of social sciences. Moya begins by considering the problem of agency: how are we to understand the distinction between actions and happenings, between actions we perform and things that happen to us? Moya outlines and examines a range of philosophical responses to this problem. He also develops his own original view, treating the analysis (...)
    Download  
     
    Export citation  
     
    Bookmark   25 citations  
  • The intentionality of human action.George M. Wilson - 1980 - Stanford, Calif.: Stanford University Press.
    CHAPTER ONE Introduction Twenty-five years ago it was pretty widely held among Anglo- American philosophers that it was sheer confusion to suppose that an ...
    Download  
     
    Export citation  
     
    Bookmark   89 citations  
  • Trying to define art as the sum of the arts.Stephen Davies - 2008 - Pazhouhesh Nameh-E Farhangestan-E Honar (Research Journal of the Iranian Academy of the Arts) 8:12–23.
    defining art conjunctively, that is, by defining the individual arts and joining these definitions in an exhaustive list. I suggest that the individual art forms are no easier to define than is the general category of art. As well, not everything falling within a given art form counts as art, not every instance of art in the given medium falls within the art form, and some artworks do not belong to an art form at all, so conjoining definitions of the (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • Musical works: Ontology and meta-ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
    The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   30 citations  
  • Medium, subject matter and representation.John Dilworth - 2003 - Southern Journal of Philosophy 41 (1):45-62.
    I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • Descriptive and revisionary metaphysics.Susan Haack - 1979 - Philosophical Studies 35 (4):361 - 371.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
    Download  
     
    Export citation  
     
    Bookmark   325 citations  
  • A Theory of Human Action.Alvin Ira Goldman - 1970 - Englewood Cliffs, NJ, USA: Princeton University Press.
    Download  
     
    Export citation  
     
    Bookmark   483 citations  
  • (1 other version)Two concepts of rules.John Rawls - 1955 - Philosophical Review 64 (1):3-32.
    Download  
     
    Export citation  
     
    Bookmark   583 citations  
  • Why philosophy of art in cross-cultural perspective?Julius Moravcsik - 1993 - Journal of Aesthetics and Art Criticism 51 (3):425-435.
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • Volition and basic action.Hugh McCann - 1974 - Philosophical Review 83 (4):451-473.
    The purpose of this paper is to defend the view that the bodily actions of men typicaly involve a mental action of voliton or willing, and that such mental acts are, in at least one important sense, the basic actions we perform when we do things like raise an arm, move a finger, or flex a muscle.
    Download  
     
    Export citation  
     
    Bookmark   49 citations  
  • What a musical work is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
    Download  
     
    Export citation  
     
    Bookmark   143 citations  
  • (2 other versions)Defining art historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
    Download  
     
    Export citation  
     
    Bookmark   85 citations  
  • Paintings and their places.Susan L. Feagin - 1995 - Australasian Journal of Philosophy 73 (2):260 – 268.
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  • (1 other version)The transfiguration of the commonplace.Arthur C. Danto - 1974 - Journal of Aesthetics and Art Criticism 33 (2):139-148.
    Download  
     
    Export citation  
     
    Bookmark   134 citations  
  • Historical narratives and the philosophy of art.Noel Carroll - 1993 - Journal of Aesthetics and Art Criticism 51 (3):313-326.
    Download  
     
    Export citation  
     
    Bookmark   29 citations  
  • 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   48 citations  
  • Erotic art and pornographic pictures.Jerrold Levinson - 2005 - Philosophy and Literature 29 (1):228-240.
    In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the erotic and the pornographic, (...)
    Download  
     
    Export citation  
     
    Bookmark   25 citations  
  • Pornographic art.Matthew Kieran - 2001 - Philosophy and Literature 25 (1):31-45.
    The received view holds that pornographic representations can only be bad art. Three arguments for this view are examined based on definitional considerations, the purpose of sexual arousal being inimical to the realization of artistic value, the problem of appreciating a work as pornography and as art. It is argued not only that the received view is without warranty but, moreover, that there are works which are only properly appreciable as pornographic art.
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • The Varieties of Reference.Gareth Evans - 1982 - Oxford: Oxford University Press. Edited by John Henry McDowell.
    Download  
     
    Export citation  
     
    Bookmark   1963 citations  
  • (1 other version)Mechanism, purpose, and explanatory exclusion.Jaegwon Kim - 1989 - Philosophical Perspectives 3:77-108.
    Download  
     
    Export citation  
     
    Bookmark   204 citations  
  • Debates about the Ontology of Art: What are We Doing Here?Amie L. Thomasson - 2006 - Philosophy Compass 1 (3):245-255.
    Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.
    Download  
     
    Export citation  
     
    Bookmark   39 citations  
  • Making It Explicit: Reasoning, Representing, and Discursive Commitment.Robert Brandom - 1994 - Cambridge, Mass.: 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   993 citations  
  • (1 other version)The meaning of 'meaning'.Hilary Putnam - 1975 - Minnesota Studies in the Philosophy of Science 7:131-193.
    Download  
     
    Export citation  
     
    Bookmark   1417 citations  
  • Дизайн онлайн-делиберации: Выбор, критерии и эмпирические данные.Todd Davies, Reid Chandler & Anatoly Kulik - 2013 - Политическая Наука 2013 (1):83-132.
    Перевод статьи: Davies T., Chandler R. Online deliberation design: Choices, criteria, and evidence // Democracy in motion: Evaluating the practice and impact of deliberative civic engagement / Nabatchi T., Weiksner M., Gastil J., Leighninger M. (eds.). -- Oxford: Oxford univ. press, 2013. -- P. 103-131. А. Кулик. -/- Вниманию читателей предлагается обзор эмпирических исследований в области дизайна онлайн-форумов, предназначенных для вовлечения граждан в делиберацию. Размерности дизайна определены для различных характеристик делиберации: назначения, целевой аудитории, разобщенности участников в пространстве и во времени, (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Philosophy of the Arts.M. Weitz - 1951 - Philosophy 26 (99):363-363.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • (1 other version)The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
    Download  
     
    Export citation  
     
    Bookmark   46 citations  
  • (1 other version)Mortal Questions.Thomas Nagel - 1983 - Religious Studies 19 (1):96-99.
    Download  
     
    Export citation  
     
    Bookmark   475 citations  
  • (2 other versions)Languages of Art. An Approach to a Theory of Symbols.Nelson Goodman - 1970 - Critica 4 (11/12):164-171.
    Download  
     
    Export citation  
     
    Bookmark   239 citations  
  • 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • (2 other versions)Essays on Actions and Events: Philosophical Essays Volume 1.Donald Davidson - 1970 - Oxford, GB: Clarendon Press.
    Machine generated contents note: Essay 1.
    Download  
     
    Export citation  
     
    Bookmark   694 citations  
  • Inference during reading.Gail McKoon & Roger Ratcliff - 1992 - Psychological Review 99 (3):440-466.
    Download  
     
    Export citation  
     
    Bookmark   55 citations  
  • The End of Art.Donald Kuspit - 2005 - Journal of Aesthetics and Art Criticism 63 (1):85-86.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • (1 other version)Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art & Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Enigmatic Variations.David Davies - 2012 - The Monist 95 (4):643-662.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • (2 other versions)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 (...)
    Download  
     
    Export citation  
     
    Bookmark   39 citations  
  • Mythologies of Tribal Art.Denis Dutton - unknown
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • On artifacts and works of art.Risto Hilpinen - 1992 - Theoria 58 (1):58-82.
    Download  
     
    Export citation  
     
    Bookmark   60 citations  
  • 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.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • (1 other version)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 ...
    Download  
     
    Export citation  
     
    Bookmark   115 citations  
  • Works and worlds of art.Nicholas Wolterstorff - 1980 - New York: 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 ...
    Download  
     
    Export citation  
     
    Bookmark   79 citations  
  • Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford, GB: Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...)
    Download  
     
    Export citation  
     
    Bookmark   55 citations  
  • Outlines of Pyrrhonism.Sextus Empiricus - 1990 - Harvard University Press. Edited by R. G. Bury.
    Throughout history philosophers have sought to define, understand, and delineate concepts important to human well-being. One such concept is "knowledge." Many philosophers believed that absolute, certain knowledge, is possible--that the physical world and ideas formulated about it could be given solid foundation unaffected by the varieties of mere opinion. Sextus Empiricus stands as an example of the "skeptic" school of thought whose members believed that knowledge was either unattainable or, if a genuine possibility, the conditions necessary to achieve it were (...)
    Download  
     
    Export citation  
     
    Bookmark   87 citations  
  • Piece: Contra aesthetics.Timothy Binkley - 1977 - Journal of Aesthetics and Art Criticism 35 (3):265-277.
    Download  
     
    Export citation  
     
    Bookmark   21 citations  
  • (1 other version)Definitions of Art. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations