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Attempting art: an essay on intention-dependence

Dissertation, Mcgill University (2017)

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  1. 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 -- (...)
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  • 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 (...)
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  • Definitions of art.Stephen Davies - 1991 - Ithaca, N.Y.: Cornell University Press.
    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, (...)
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  • An ontology of art.Gregory Currie - 1989 - New York: St. Martin's Press.
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  • 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 (...)
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  • 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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  • 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, (...)
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  • 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, (...)
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • (1 other version)Two concepts of rules.John Rawls - 1955 - Philosophical Review 64 (1):3-32.
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  • What a musical work is.Jerrold Levinson - 1980 - Journal of Philosophy 77 (1):5-28.
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  • (2 other versions)Defining art historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
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  • Balinese aesthetics.Stephen Davies - 2007 - Journal of Aesthetics and Art Criticism 65 (1):21–29.
    According to the Balinese expert, Dr. Anak Agung Mad ´e Djelantik, “no writings about aesthetics specifically as a discipline exist in Bali.”1 The arts are discussed in ancient palm leaf texts, but mainly in connection with religion, spirituality, ceremony, and the like. However, there are famous accounts by expatriate Westerners and anthropologists.2 There have also been collaborations between Balinese and Western scholars.3 In addition, there is a significant literature written in Indonesian by Balinese experts, beginning in the 1970s.4 Considerable experience (...)
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  • (1 other version)The transfiguration of the commonplace.Arthur C. Danto - 1974 - Journal of Aesthetics and Art Criticism 33 (2):139-148.
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  • Piece: Contra aesthetics.Timothy Binkley - 1977 - Journal of Aesthetics and Art Criticism 35 (3):265-277.
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  • 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, (...)
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  • 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.
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  • The Varieties of Reference.Gareth Evans - 1982 - Oxford: Oxford University Press. Edited by John Henry McDowell.
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  • (1 other version)Mechanism, purpose, and explanatory exclusion.Jaegwon Kim - 1989 - Philosophical Perspectives 3:77-108.
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  • 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.
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  • 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 (...)
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  • (1 other version)The meaning of 'meaning'.Hilary Putnam - 1975 - Minnesota Studies in the Philosophy of Science 7:131-193.
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  • 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, (...)
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  • (2 other versions)An Ontology of Art, by Gregory Currie. [REVIEW]Jerrold Levinson - 1992 - Philosophy and Phenomenological Research 52 (1):215-222.
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  • Aesthetics, Problems in the Philosophy of Criticism.Monroe C. Beardsley - 1981 - Hackett Publishing Company.
    This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.
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  • (1 other version)Mortal Questions.Thomas Nagel - 1983 - Religious Studies 19 (1):96-99.
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  • (4 other versions)Moral Luck.Bernard Williams - 1981 - Critica 17 (51):101-105.
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  • The Intentionality of Human Action.John Martin Fischer & George M. Wilson - 1984 - Philosophical Review 93 (3):483.
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  • The Ancient and Modern System of the Arts.James O. Young - 2015 - British Journal of Aesthetics 55 (1):1-17.
    Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...)
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  • The Art Circle: A Theory of Art.George Dickie - 1984 - Haven.
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  • Artworks: Definition, Meaning, Value.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 56 (3):311-313.
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  • The Invention of Art: A Cultural History.Larry Shiner - 2003 - Journal of Aesthetics and Art Criticism 61 (4):401-403.
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  • Beyond Art.Dominic Lopes - 2014 - New York, NY: Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  • Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2009 - British Journal of Aesthetics 53 (2):139-164.
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  • Attempts: In the Philosophy of Action and the Criminal Law.Gideon Yaffe - 2010 - Oxford, GB: 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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  • 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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  • 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 (...)
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  • The aesthetic point of view.Monroe C. Beardsley - 1970 - Metaphilosophy 1 (1):39–58.
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  • The ontology of art and knowledge in aesthetics.Amie L. Thomasson - 2005 - Journal of Aesthetics and Art Criticism 63 (3):221–229.
    Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.
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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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  • (1 other version)Aesthetics and Philosophy of Art.Dominic McIver Lopes - 2016 - In Herman Cappelen, Tamar Gendler & John Hawthorne (eds.), The Oxford Handbook of Philosophical Methodology. Oxford, United Kingdom: Oxford University Press. pp. 657-670.
    This chapter begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and artistic phenomena, and between first-order and second-order methods. It also examines how aesthetics and the philosophy of art are (...)
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  • Aesthetics: Problems in the Philosophy of Criticism.Monroe C. Beardsley - 1958 - Philosophy 36 (136):80-81.
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  • Art and Philosophy.Nicholas Wolterstorff - 1981 - Journal of Aesthetics and Art Criticism 39 (4):455-459.
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  • Art as Performance.David Davies - 2003 - Malden, MA: Wiley-Blackwell.
    In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...)
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  • Kant after Duchamp.Thierry De Duve - 1998 - MIT Press.
    Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's ready mades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "this is art." De Duve employs this shift (replacing the word "beauty" by the word "art") in a rereading of Kant's (...)
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  • The Style Theory of Art.James D. Carney - 1991 - Pacific Philosophical Quarterly 72 (4):272-289.
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  • Basic Actions.Arthur C. Danto - 1965 - American Philosophical Quarterly 2 (2):141 - 148.
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  • Multiple Instances and Multiple 'Instances'.D. Davies - 2010 - British Journal of Aesthetics 50 (4):411-426.
    The distinction between singular and multiple artworks is usually drawn modally in terms of the notion of an ‘instance’ of a work. Singular works, it is claimed, can only have a single instance, whereas multiple works allow of more than one instance. But this is enlightening only if we have a clear idea of what is meant by an ‘instance’. I argue that there are two different notions of a work's ‘instances’ in play in the literature – what I term (...)
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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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  • On the very idea of ‘outsider art’.David Davies - 2009 - British Journal of Aesthetics 49 (1):25-41.
    There has been little serious philosophical reflection on whether, and in virtue of satisfying what conditions, ‘Outsider Art’ is art, as is standardly assumed. I critically examine a number of responses to this question implicit in curatorial practice and the critical literature. I argue that none of these responses carries conviction, and propose, on the basis of broader considerations in the philosophy of art, that the arthood of ‘Outsider’ pieces must be settled by reference to their individual provenance. This supports (...)
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