The question of how to demarcate science from pseudo-science commands relatively little attention today. In the philosophy of logic, by contrast, the problem of demarcating the logical constants is less skeptically regarded. In aesthetics, where the problem is how to demarcate art from non-art, the question as to whether the problem is a real one or a pseudo-problem also continues to be debated. This paper discusses the hypothesis that the demarcation questions in these three areas are parallel, or at least (...) similar enough to be interesting. Some arguments for the conclusion that the demarcation problem is a pseudo-problem are considered, as are some demarcation proposals of a deflationist or minimalist sort. All are found wanting. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, but (...) actually is, art. (shrink)

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 (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given context (...) iff some person culturally competent in this context have afforded it the status of a candidate for appreciation for reasons considered good in this context. This weakly institutional view is supplemented by auxiliary definitions explaining the notions of cultural contexts, competence, and good reasons for affording the status. The relativisation to contexts brings increased explanatory power and scope, and the ability to account for the diversity of art. (shrink)

Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...) in that they are essentially gestural, referential, and symbolic, and they present material in a condensed and allusive form. Andy Warhol’s work is an example of the theatrical manipulation of presentational media to create a strange and unusual universe. (shrink)

This paper is a critique of Stephen Davies' institutional definition of art. I argue that Davies' definition suffers from a range of problems.

This paper is a critical assessment of M. W. Rowe's functional definition of art.

In this paper the author reviews the most debated theories of art in contemporary aesthetics and offers a new, intentional-attributive definition of art. He begins by expanding on Weitz’s theory, after which he presents arguments that refute Weitz's claim that it is logically impossible to define art. The author then examines the institutional, the historical, and the aesthetic definitions of art and shows that all of these have weaknesses and none stands up completely to criticism. Taking into consideration the shortcomings (...) of the examined definitions, he suggests his own definition of art: for all x, x is an artwork if the author of x mainly intended to reveal such properties of x, the perception of which would evoke experiences, containing ends in themselves. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...) authorised member of an artworld has a good reason to confer the status on an object if it satisfies a subset of criteria respected as sufficient within this artworld. The first horn of the dilemma is averted because explaining the reasons behind conferral cannot eliminate references to the institution, and the second loses its sharpness, as accepting partial arbitrariness of the conferral does not deprive the theory of its explanatory power. (shrink)

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).

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 (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...) its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art (...) presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic. (shrink)

Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...) such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life. (shrink)

Poetry is sometimes used in a logical argument sense of the five major arguments, and the meaning behind it is the argument and expression that its common element is imagination. In fact, the distinguishing feature of poetry from other arguments is the poetic nature of the language. Poetry is sometimes used in an artistic sense and can be considered one of the seven arts. The definition of artistic poetry can be understood as a speech that is firstly rhythmic, secondly rhyming, (...) and thirdly imaginative. In this article, poetry is used in the second sense, as poetry in the artistic sense can have a sublime aspect. In fact, poetry in the first sense has an industrial and organic aspect, while poetry in the second sense has an authentic aspect. Mulla Sadra, in addition to writing in prose in rational knowledge, has also expressed many of his sublime philosophical ideas in poetic language. What Sadr al-Muta'allihin has written in poetic form is poetry in the second sense because it has both the three conditions of being rhythmic, rhyming, and imaginative, as well as expressing sublime wisdom in poetic and sublime art language. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

This article analyses the moral status of racial profiling from a consequentialist perspective and argues that, contrary to what proponents of racial profiling might assume, there is a prima facie case against racial profiling on consequentialist grounds. To do so it establishes general definitions of police practices and profiling, sketches out the costs and benefits involved in racial profiling in particular and presents three challenges. The foundation challenge suggests that the shifting of burdens onto marginalized minorities may, even when profiling (...) itself is justified, serve to prolong unjustified police practices. The valuation challenge argues that although both costs and benefits are difficult to establish, the benefits of racial profiling are afflicted with greater uncertainty than the costs, and must be comparatively discounted. Finally, the application challenge argues that using racial profiling in practice will be complicated by both cognitive and psychological biases, which together reduce the effectiveness of profiling while still incurring its costs. Jointly, it is concluded, these challenges establish a prima facie case against racial profiling, so that the real challenge consists in helping officers practice the art of the police and not see that which it is useless that they should see. (shrink)

In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...) necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear whether any of them is ultimately successful.

In this paper I argue that philosophers of sport should avoid value-laden definitions of sport; that is, they should avoid building into the definition of sport that they are inherently worthwhile activities. Sports may very well often be worthwhile as a contingent matter, but this should not be taken to be a core feature included in the definition of sport. I start by outlining what I call the ‘legitimacy-conferring’ element of the category ‘sport’. I then argue that we ought not (...) to include such a dimension in our definition of sport, on the grounds that it confuses issues of description with issues of definition: the issue of what sport does with what sport is. Following this, I consider a Wittgensteinian family resemblance approach to defining sport; Kevin Schieman’s argument that sports are necessarily good games; and the oft-cited wide-following and institutional criteria, as arguments for including an evaluative dimension in the definition of sport. I conclude that none succeed, for similar reasons: they either fail to track our common sense intuitions about what does or does not count as a sport; and/or they make it impossible for us to ever describe something a ‘bad’ sport (or instance of sport). Just as a good definition of, say, art, shouldn’t make it impossible for us to describe something as ‘bad art’, I argue that our definition of sport shouldn’t build in a necessarily positive evaluation. I conclude by discussing some of the practical reasons why supporters of activities about which there is currently debate as to their status as sports might want to see those activities included under the sports umbrella, but suggest that this on its own isn’t a good reason for modifying a philosophical definition of sport to include them. (shrink)

WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...) (from the Latin ars, meaning “skill” or “craft”) is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as “liberal arts” and “martial arts”. However, in the modern use of the word, which rose to prominence after 1750, “art” is commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999). (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...) missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of ‘art’ – taking a huge hint from the concept of ‘arthouse cinema’ - is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration - through various available media - of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself. (shrink)

What is the folk concept of art? Does it track any of the major definitions of art philosophers have proposed? In two preregistered experiments (N=888) focusing on two types of artworks (paintings and musical works), we manipulate three potential features of artworks: intentional creation, the possession of aesthetic value, and institutional recognition. This allows us to investigate whether the folk concept of art fits an essentialist definition drawing on one or more of the manipulated factors, or whether it might be (...) a disjunctive or cluster concept. The results suggest that none of the three manipulated properties are necessary for an object to be art, though some, even by themselves, suffice. The folk concept of art might thus well be a cluster concept instead of an essentialist concept. (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

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 (...) individual art forms (supposing they could be defined) would not map the extension of ’art’. Taken together, these problems indicate that the approach advocated here to art’s definition cannot be successful or convincing. (shrink)

The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...) result in incorporating an essentially institutional component or making the theory extremely complex and virtually impossible to use. (shrink)

Abstract: The purpose of this essay is to explore the nature and role of art as a human phenomenon from a broadly cognitive perspective. Like science and religion, art serves to mediate the unknown, at once to embrace and to defend against the fundamental mystery of existence. Thus, it may challenge the status quo while generally serving to maintain it. Art tracks the individuation of subjectivity, serving the pleasure principle, yet is appropriated by the collective’s commitment to the reality principle. (...) While science and religion close in on serious answers to fundamental questions, art opens up possibilities toward playfulness, uselessness, imagination, and arbitrary whim. Though art has no unifying definition, meaning, or intent through time and across cultures, it remains important to people, both to do and to enjoy. It serves to counterbalance the naive realism of science, the “rationality” of modern society, and the literalism of text-based religion. While its allegiance is divided, its most worthy intent is to aid us to confront and negotiate the great mystery revealed to us in consciousness. (shrink)

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 (...) the production and appreciation of somerecently discovered Palaeolithic artefacts. (shrink)

The nature and characteristics of traditional art have always been controversial, and Frithjof Schuon, as one of the leading figures of the traditionalist movement, has made many claims in this regard. One of the ways to investigate philosophical issues is to clarify concepts by providing the necessary and sufficient conditions, which has been widely used in the contemporary philosophy of art. This paper, which has been done by descriptive-analytical method, tries to introduce the necessary and sufficient conditions for a supposed (...) work of art to be categorized under the category of "traditional art" by referring to Schuon's works. The results show that the three conditions of "symbolic expression of intellectual realities", "being functional and useful" and "conformity of form, raw materials, and symbolism with the rules of traditional art" can be considered as necessary conditions and together as a sufficient condition for an artwork to be "traditional" from Schuon's point of view. (shrink)

In this paper, we argue that, in order to account for the apparently substantive nature of definitional disputes, a commitment to what we call ‘Socratic essentialism’ is needed. We defend Socratic essentialism against a prominent neo-Carnapian challenge according to which apparently substantive definitional disputes always in some way trace back to disagreements over how expressions belonging to a particular language or concepts belonging to a certain conceptual scheme are properly used. Socratic essentialism, we argue, is not threatened by the possibility (...) that some apparently substantive definitional disputes may turn out to be verbal or conceptual, since this pluralist strategy, in our view, requires a commitment to more, rather than fewer, essences. What is more, a deflationary, metaphysically ‘light-weight’ construal of the essence-ascriptions in question leads to a peculiar conception of the pursuit of metaphysicians as behaving like deceptive (or self-deceived) grammarians pretending to be scientists. Moreover, this deflationary attitude, we argue, spreads beyond metaphysics and philosophy more broadly to apparently substantive definitional disputes in the sciences as well as other in other disciplines, such as art criticism. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

Discusses the question of the objectivity or subjectivity of moral judgments, hoping to illuminate it by contrasting moral and aesthetic judgments. In her critical assessment of the nature of moral judgments, Foot concludes that some such judgments (as e.g. that Nazism was evil) are definitely objective. The concept of morality here supplies criteria independent of local standards, which function as fixed starting points in arguments across local boundaries, whereas, by contrast, aesthetic truths can ultimately depend on locally determined criteria. More (...) problematic is the apparently different relation of moral and of aesthetic judgments to rational choice. Individuals may have no reason to choose what is beautiful, but we think that they must always have reason to choose what is morally right, which raises one of the most difficult problems in moral philosophy. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. -/- My apologies: I entered this item twice by mistake. PhilPapers will fix this soon. (shrink)

Stecker's revised definition of art in Artworks: Definition, Meaning, Value is stated thus: "w is a work of art at t if and only if (a) w has form c which is a member of C and the maker of w intended it to fulfill a sub-set of functions f1 ... fn of F such that f1 ... fn are functions of c or (b) w is an object which achieves excellence in fulfilling a function in F" 1 where: w (...) is an artwork; t is a time; C is the set of central art forms at t; c is a member of the set C; F is the set of functions standardly or correctly regarded as belonging to C at t; f1 ... fn are members of the set F. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...) are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique and the (...) Grateful Dead’s song “The Other One” provide a framework for understanding the artistic mathematical sublime in music, wherein the pleasure and displeasure experienced when engaging with music can be identified as instances of the sublime. Beginning with an elucidation of Kant’s concepts of judgments of taste and the sublime, the paper explores their similarities and differences. Notably, his theory of the sublime is less developed than his theory of the beautiful. This provides an opportunity to interrogate arguments surrounding which objects can elicit the sublime and how artworks represent or present it to their viewers. After demonstrating a textual disparity of the role of music in Kant’s Critique, I show how music without words, also known as jams, can fit the definition of free beauty and can be classified as art. The discussion further delineates the process of experiencing the mathematical sublime and describes indicators in music theory for discerning the sublime in musical compositions. I use the Grateful Dead’s performance of “The Other One” on April 7, 1972, to illustrate how particular works of art manifest the mathematical sublime. The paper concludes by reflecting on how the qualitative description of the piece highlights why “The Other One” should be seen as both artistic (because, while the piece is coherent, there is no discernible concept that seems to unify it) and sublime (because it is mind-blowingly complex). How we engage with music like the Grateful Dead can allow us to discuss why particular works of art are meaningful to us. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...) aesthetics will be found. Taking into account Dorfles’s claim about redeeming the unnatural as nature in its being the product of man’s creativity, we will assess his works focusing on the case of the artefact and graphic-musical object. Dorfles’s theory will be applied without following the different levels of analysis entirely: phenomenological, since the relationship between men, objects and machine is intentional; functional, as art depends on the role, determining a significance inside social condition, but on a symbolic or formal level, insofar as determining a stable presence of the significance at the level of the aspect, the shape becoming a mirror of men. In the end our own aesthetic constitution will be found together with the recalibration of the relationship with nature and the world through an idea of form combining artificialness and naturalness. (shrink)

R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- After (...) the exposition of ch. 1, the remainder of that chapter and the subsequent three chapters are each centred around one sort of objection. In ch. 1, I consider the objection that Collingwood’s scalar understanding of ‘art’ is deviant and unhelpful. I respond by first observing that the understanding is not deviant, and second that it is more philosophically and artistically illuminating. In ch. 2, I consider the objection that Collingwood’s understanding of ‘emotion’ is so narrow that it fails to do justice to the fact that art can be philosophically potent. I respond that his understanding of ‘emotion’ is broad enough that this objection fails. In ch. 3, I consider the objection that Collingwood has no theoretical room for the prima facie plausible thought that some emotions are not worth expressing in art. In response, I reinterpret the points that appear to support this contention in a way that makes them both more plausible and more Collingwoodian. Finally, in ch. 4, I consider the objection that Collingwood does not have the theoretical room to do justice to the value of the delight we take in art. I respond by arguing that although he does not have this room to say that this delight is itself an artistic value, it does yet have an important place in his philosophy. (shrink)