Results for 'Art��rs Logins'

998 found
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  1.  96
    O Pensamento Social dos Estados Unidos: uma abordagem histórica.Emanuel Isaque Cordeiro da Silva - manuscript
    HISTÓRIA DA SOCIOLOGIA: O DESENVOLVIMENTO DA SOCIOLOGIA I -/- A SOCIOLOGIA NOS ESTADOS UNIDOS -/- -/- HISTORY OF SOCIOLOGY: THE DEVELOPMENT OF SOCIOLOGY I -/- SOCIOLOGY IN UNITED STATES -/- -/- Emanuel Isaque Cordeiro da Silva – IFPE-BJ, CAP-UFPE e UFRPE. E-mails: [email protected] e [email protected] WhatsApp: (82)9.8143-8399. -/- -/- PREMISSA -/- A Sociologia nos Estados Unidos desenvolveu-se no contexto de dois grandes eventos que marcaram profundamente a história do país. -/- O primeiro foi a Guerra de Secessão (também conhecida como (...)
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  2.  70
    História da Sociologia: O desenvolvimento da sociologia brasileira.Emanuel Isaque Cordeiro da Silva - manuscript
    HISTÓRIA DA SOCIOLOGIA: O DESENVOLVIMENTO DA SOCIOLOGIA I -/- A SOCIOLOGIA BRASILEIRA -/- HISTORY OF SOCIOLOGY: THE DEVELOPMENT OF SOCIOLOGY I -/- THE BRAZILIAN SOCIOLOGY -/- Emanuel Isaque Cordeiro da Silva – IFPE-BJ, CAP-UFPE e UFRPE. E-mails: [email protected] e [email protected] WhatsApp: (82)9.8143-8399. -/- PREMISSA -/- Como na França de Émile Durkheim, os primeiros passos da Sociologia no Brasil, em termos institucionais, ocorreram a partir de iniciativas para a inclusão dessa disciplina no ensino secundário (hoje, ensino médio). A primeira tentativa ocorreu (...)
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  3. Two-State Solution to the Lottery Paradox.Artūrs Logins - 2020 - Philosophical Studies 177 (11):3465-3492.
    This paper elaborates a new solution to the lottery paradox, according to which the paradox arises only when we lump together two distinct states of being confident that p under one general label of ‘belief that p’. The two-state conjecture is defended on the basis of some recent work on gradable adjectives. The conjecture is supported by independent considerations from the impossibility of constructing the lottery paradox both for risk-tolerating states such as being afraid, hoping or hypothesizing, and for risk-averse, (...)
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  4. Save the Children!Artūrs Logins - 2016 - Analysis 76 (4):418-422.
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  5. Normative Reasons Without (Good) Reasoning.Artūrs Logins - 2019 - Ethics 130 (2):208-210.
    According to the good reasoning view of normative reasons, p is a reason to F, just in case p is a premise of a good pattern of reasoning. This article presents two counterexamples to the most promising version of the good reasoning view.
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  6. Common Sense and Evidence: Some Neglected Arguments in Favour of E=K.Artūrs Logins - 2017 - Theoria 83 (2):120-137.
    In this article I focus on some unduly neglected common-sense considerations supporting the view that one's evidence is the propositions that one knows. I reply to two recent objections to these considerations.
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  7. Is an Increase in Probability Always an Increase in Evidential Support?Artūrs Logins - 2022 - Erkenntnis 87 (3):1231-1255.
    Peter Achinstein has argued at length and on many occasions that the view according to which evidential support is defined in terms of probability-raising faces serious counterexamples and, hence, should be abandoned. Proponents of the positive probabilistic relevance view have remained unconvinced. The debate seems to be in a deadlock. This paper is an attempt to move the debate forward and revisit some of the central claims within this debate. My conclusion here will be that while Achinstein may be right (...)
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  8. Necessary Truths, Evidence, and Knowledge.Artūrs Logins - 2016 - Filosofia Unisinos 17 (3):302-307.
    According to the knowledge view of evidence notoriously defended by Timothy Williamson (2000), for any subject, her evidence consists of all and only her propositional knowledge (E=K). Many have found (E=K) implausible. However, few have offered arguments against Williamson’s positive case for (E=K). In this paper, I propose an argument against Williamson’s positive case in favour of (E=K). Central to my argument is the possibility of the knowledge of necessary truths. I also draw some more general conclusions concerning theorizing about (...)
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  9.  85
    Persistent Burglars and Knocks on Doors: Causal Indispensability of Knowing Vindicated.Artūrs Logins - forthcoming - European Journal of Philosophy:1– 23.
    The aim of the present article is to accomplish two things. The first is to show that given some further plausible assumptions, existing challenges to the indispensability of knowledge in causal explanation of action fail. The second is to elaborate an overlooked and distinct argument in favor of the causal efficacy of knowledge. In short, even if knowledge were dispensable in causal explanation of action, it is still indispensable in causal explanation of other mental attitudes and, in particular, some reactive (...)
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  10.  10
    Art State, Art Activism and Expanded Concept of Art.Janez Strehovec - 2021 - Cultura 18 (2):55-73.
    Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...)
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  11.  89
    The Problem of Massive Deception for Justification Norms of Action.Arturs Logins - 2014 - Acta Analytica 29 (4):457-468.
    In this paper, I argue against recent versions of justification norms of action and practical deliberation . I demonstrate that these norms yield unacceptable results in deception cases. However, a further modification of justification norms in the light of these results appears to be ad hoc. Hence, I claim, we should reject justification norms of action and practical deliberation.
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  12.  55
    On Williamson's Account of Propositional Evidence.Artūrs Logins - 2013 - Logique Et Analyse 56 (223):347-354.
    In this paper I examine Williamson’s (2000) claim that all evidence is propositional. I propose to reject this claim. I give two objections to two premises of Williamson’s argument. The first is a critique of Williamson’s claim that we choose between hypotheses on the basis of our evidence. The second objection is that Williamson’s claim that evidence is an explanandum of an hypothesis leads to counter-intuitive consequences and thus is not central to what evidence is, at least on an ordinary (...)
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  13. How to Argue with a Pragmatist.Artūrs Logins - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    According to recently popular pragmatist views it may be rational for one to believe p when one’s evidence doesn’t favour p over not-p. This may happen according to pragmatists in situations where one can gain something practically important out of believing p. In this paper I argue that given some independently plausible assumptions about the argumentative nature of philosophy and the irrelevance of bribes for good arguments, pragmatism leads to a contradiction.
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  14. Subjective Unpossessed Reasons.Artūrs Logins - 2018 - Thought: A Journal of Philosophy 7 (4):262-270.
    A common assumption in contemporary debates about normative reasons is that ‘subjective’ and ‘possessed’ are two names for the same sort of reason. This paper challenges that assumption. Given our cognitive limitations, it is unsurprising that normative reasons that derive from what we know and reasons that we are in a position to use in our deliberation are not always one and the same.
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  15. Mark McBride, Basic Knowledge and Conditions on Knowledge, Cambridge: Open Book Publishers, 2017, 228 Pp., £16.95 , ISBN 978‐1‐78374‐283‐7. [REVIEW]Artūrs Logins - 2019 - Dialectica 73 (1-2):280-285.
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  16. On Having Evidence: A Reply to Neta.Arturs Logins - 2015 - Logos and Episteme 6 (3): 367-370.
    According to one line of thought only propositions can be part of one’s evidence, since only propositions can serve the central functions of our ordinary concept of evidence. Ram Neta has challenged this argument. In this paper I respond to Neta’s challenge.
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  17.  66
    Scepticisme, Fidéisme Et Évidentialisme : Oppositions Et Origines.Artūrs Logins - 2013 - Dialogue 51 (4):613-642.
    Les principales attitudes adoptées devant les questions centrales de l’épistémologie générale sont selon nous l’évidentialisme, le scepticisme et le fidéisme. Dans cet article, nous présentons d’une part les arguments permettant d’accepter une forme de l’évidentialisme selon laquelle aucune croyance fausse ne peut être justifiée sur la base de raisons probantes. D’autre part, nous proposons de considérer l’aspect historique de l’émergence de l’évidentialisme au début des Lumières. Nous explorons un cas particulier qui témoigne de l’émergence de l’évidentialisme moderne comme opposition au (...)
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  18.  43
    Knowledge, Practice, and Merit.Arturs Logins - 2012 - Discipline Filosofiche 22 (2):133-152.
    In this paper I discuss the role that knowledge plays with regard to rational action. It has been recently argued that knowledge determines appropriate action. I examine this proposal, consider objections against it, and finally propose a defense of it.
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  19.  56
    Art, Authenticity, and Understanding.David Suarez - forthcoming - In Jens Pier (ed.), Limits of Intelligibility: Issues from Kant and Wittgenstein. Routledge.
    Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive (...)
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  20. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  21. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...)
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  22. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  23. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
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  24. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
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  25. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  26. Rights and Consent in Mixed Martial Arts.Stephen Kershnar & Robert Kelly - 2019 - Journal of the Philosophy of Sport 47 (1):105-120.
    MMA fighting in a competition is not necessarily wrong and is often, as far as we can tell, permissible. Our argument has two premises. First, if an act does not infringe on anyone’s moral right or violate another side-constraint, then it is morally permissible. Second, MMA-violence does not infringe on anyone’s moral right or violate another side-constraint. The first premise rested on two assumptions. First, if a person does a wrong act, then he wrongs someone. Second, if one person wrongs (...)
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  27. Art Concept Pluralism.Christy Mag Uidhir & P. D. Magnus - 2011 - Metaphilosophy 42 (1-2):83-97.
    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 (...)
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  28. The Art, Poetics, and Grammar of Technological Innovation as Practice, Process, and Performance.Coeckelbergh Mark - 2018 - AI and Society 33 (4):501-510.
    Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...)
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  29. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    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 (...)
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  30. “Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value.Quan-Hoang Vuong, Manh-Tung Ho, Hong-Kong T. Nguyen, Thu-Trang Vuong & Ho Manh Toan - 2018 - Arts 7 (4):62.
    A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...)
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  31. An Internal Feud Novel That Lebanon Cıvıl War Determıned Its Narratıve Technıque: Kevâbısu Beyrût (Beyrut’s Nıghtmaırs).Adnan Arslan - 2018 - Tasavvur - Tekirdag Theology Journal 4 (1):283 - 303.
    One of the main features that distinguish modern novel from traditional one is the use of new narrative techniques such as monologue, flow of consciousness, leitmotiv and intertextuality. These techniques relate to new approaches that take shape in formal elements such as time, characters and event patterns that make up the modern novel. Which expression technique is used in the work is often related to the form and content of the novel. This research examines the Kevâbîsu Beyrût, which uses modern (...)
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  32. Art and Negative Affect.Aaron Smuts - 2009 - Philosophy Compass 4 (1):39-55.
    Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...)
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  33. Trust and Sincerity in Art.C. Thi Nguyen - 2021 - Ergo: An Open Access Journal of Philosophy 8:21-53.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  34. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro (ed.), Bloomsbury Companion to Aesthetics. pp. 39-54.
    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 (...)
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  35. 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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  36. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  37. Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    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" (...)
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  38. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
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  39.  71
    The Art of Medicine: From Small Beginnings: To Build an Anti-Eugenic Future.Benedict Ipgrave, Miroslava Chavez-Garcia, Marcy Darnovsky, Subhadra Das, Charlene Galarneau, Rosemarie Garland-Thomson, Nora Ellen Groce, Tony Platt, Milton Reynolds, Marius Turda & Robert A. Wilson - 2022 - The Lancet 10339 (399):1934-1935.
    Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.
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  40.  64
    Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and 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 (...)
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  41. The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  42. 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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  43. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/ Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
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  44. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  45. Art or Porn: Clear Division or False Dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  46. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    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 (...)
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  47.  74
    Art, Beauty and Morality.Chiara Brozzo & Andy Hamilton - forthcoming - In Mark Hopwood & Silvia Panizza (eds.), The Murdochian Mind.
    In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...)
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  48. Monuments as Commitments: How Art Speaks to Groups and How Groups Think in Art.C. Thi Nguyen - 2019 - Pacific Philosophical Quarterly 100 (4):971-994.
    Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...)
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  49. The Art of Food.Aaron Meskin - 2013 - The Philosophers' Magazine 61 (61):81-86.
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  50. The Art of Immoral Artists.Shen-yi Liao - forthcoming - In Carl Fox & Joe Saunders (eds.), The Routledge Handbook of Philosophy and Media Ethics. New York: Routledge.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
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