Results for 'Artistic merit'

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  1. Creativity as an Artistic Merit.James Grant - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge. pp. 333-349.
    The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The (...)
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  2. Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in (...)
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  3. The Norms of Realism and the Case of Non-Traditional Casting.Catharine Abell - 2022 - Ergo 9.
    This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view (...)
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  4. Barbarous Spectacle and General Massacre: A Defence of Gory Fictions.Ian Stoner - 2020 - Journal of Applied Philosophy 37 (4):511-527.
    Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...)
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  5. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
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  6. Non-Monotonic Theories of Aesthetic Value.Robbie Kubala - forthcoming - Australasian Journal of Philosophy.
    Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...)
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  7. The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...)
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  8. The uses of aesthetic testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable (...)
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  9. Good-for-nothings.Susan Wolf - 2010 - Proceedings and Addresses of the American Philosophical Association 85 (2):47-64.
    Many academic works as well as many works of art are such that if they had never been produced, no one would be worse off. Yet it is hard to resist the judgment that some such works are good nonetheless. We are rightly grateful that these works were created; we rightly admire them, appreciate them, and take pains to preserve them. And the authors and artists who produced them have reason to be proud. This should lead us to question the (...)
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  10. On the Ethics of Imagination and Ethical-Aesthetic Value Interaction in Fiction.Adriana Clavel-Vazquez - forthcoming - Ergo.
    Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...)
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  11. Symposium: Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1-10.
    The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...)
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  12. An autonomist view on the ethical criticism of architecture.Ricardo Miguel - 2016 - Philosophy@Lisbon (5):131-141.
    It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim (...)
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  13. What's so Important about Music Education?(review).Leonard Tan - 2011 - Philosophy of Music Education Review 19 (2):201-205.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching four (...)
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  14. Merit Transference and the Paradox of Merit Inflation.Matthew Hammerton - forthcoming - Journal of Value Inquiry.
    Many ethical systems hold that agents earn merit and demerit through their good and bad deeds. Some of these ethical systems also accept merit transference, allowing merit to be transferred, in certain circumstances, from one agent to another. In this article, I argue that there is a previously unrecognized paradox for merit transference involving a phenomenon I call “merit inflation”. With a particular focus on Buddhist ethics, I then look at the options available for resolving (...)
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  15.  43
    Artistic Activism and Feminist Placemaking in Iran’s ‘Women, Life, Freedom’ Movement.Asma Mehan - 2024 - Mozaik e-Zine 1 (4):8-21.
    In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...)
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  16. Immoral Artists.Erich Hatala Matthes - 2023 - In James Harold (ed.), Oxford Handbook of Ethics and Art. New York, NY: Oxford University Press.
    This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...)
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  17. Automation, Basic Income and Merit.Katharina Nieswandt - 2021 - In Keith Breen & Jean-Philippe Deranty (eds.), Whither Work? The Politics and Ethics of Contemporary Work. Routledge. pp. 102–119.
    A recent wave of academic and popular publications say that utopia is within reach: Automation will progress to such an extent and include so many high-skill tasks that much human work will soon become superfluous. The gains from this highly automated economy, authors suggest, could be used to fund a universal basic income (UBI). Today's employees would live off the robots' products and spend their days on intrinsically valuable pursuits. I argue that this prediction is unlikely to come true. Historical (...)
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  18. When Artists Fall: Honoring and Admiring the Immoral.Alfred Archer & Benjamin Matheson - 2019 - Journal of the American Philosophical Association 5 (2):246-265.
    Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...)
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  19. Artistic Exceptionalism and the Risks of Activist Art.Christopher Earley - 2023 - Journal of Aesthetics and Art Criticism 81 (2):141-152.
    Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...)
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  20. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge.
    What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of (...)
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  21.  70
    Scholarly merits: From measurement to judgment.Joachim Funke - 2017 - Perspectives on Psychological Science 12 (6):1145-1147.
    The discussion in Perspectives on Psychological Science about criteria for scholarly merit shows a potential bias of quantitative measurements compared with informed judgments of scholarly merits. This comment argues for a selection procedure that is open for qualitative arguments.
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  22. Artistic Style as the Expression of Ideals.Robert Hopkins & Nick Riggle - 2021 - Philosophers' Imprint 21 (NO. 8):1-18.
    What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...)
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  23. Meriting Concern and Meriting Respect.Jon Garthoff - 2010 - Journal of Ethics and Social Philosophy 5 (2):1-29.
    Recently there has been a somewhat surprising interest among Kantian theorists in the moral standing of animals, coupled with a no less surprising optimism among these theorists about the prospect of incorporating animal moral standing into Kantian theory without contorting its other attractive features. These theorists contend in particular that animal standing can be incorporated into Kantian moral theory without abandoning its logocentrism: the claim that everything that is valuable depends for its value on its relation to rationality. In this (...)
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  24. The Artist's Sanction in Contemporary Art.Sherri Irvin - 2005 - Journal of Aesthetics and Art Criticism 63 (4):315-326.
    I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...)
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  25. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not (...)
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  26. The philosopher as artist: Ludwig Wittgenstein seen through Edoardo Paolozzi.Wolfgang Huemer - 2019 - In Diego Mantoan & Luigi Perissinotto (eds.), The philosopher and the Artist: Wittgenstein and Paolozzi. Palgrave Macmillan. pp. 31-43.
    In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone (...)
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  27. Making Artists of Us All: The Evolution of an Educational Aesthetic.George E. Abaunza - 2005 - Dissertation, Florida State University
    The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...)
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  28. The Artistic Expression of Feeling.Gary Kemp - 2020 - Philosophia 49 (1):315-332.
    In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of (...)
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  29. THE ARTIST AND THE INTUTION DELUSION.Derya Ölçener - 2022 - Turkey:
    Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world (...)
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  30. An artist's journey on a TUGboat.Tine Wilde - 2023 - Tugboat 44:60-63.
    How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to (...)
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  31. The Art of Immoral Artists.Shen-yi Liao - 2024 - In Carl Fox & Joe Saunders (eds.), Routledge Handbook of Philosophy and Media Ethics. Routledge. pp. 193-204.
    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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  32. Art, Artists and Pedagogy.C. Naughton, G. Biesta & David R. Cole (eds.) - forthcoming - London, UK: Routledge.
    This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.
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  33. Personal Style and Artistic Style.Nick Riggle - 2015 - Philosophical Quarterly 65 (261):711-731.
    What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. (...)
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  34. Artistic expression as interpretation.John Dilworth - 2004 - British Journal of Aesthetics 44 (1):162-174.
    According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement (...)
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  35. Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication.Gizela Horváth & Rozália Klára Bakó - 2016 - Santalka: Filosofija, Komunikacija 24 (1):48–58.
    Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, (...)
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  36. How Artistic Creativity is Possible for Cultural Agents.Aili Bresnahan - 2015 - In Nordic Studies in Pragmatism. Helsinki, Finland: pp. 197-216.
    Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...)
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  37. The Artistic Turn.Tine Wilde - 2012 - Dutch Internet Journal BLIND! 29 (Macht).
    We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...)
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  38.  60
    Artists, Propagandists, Political Masters.Gary James Jason - 2024 - Liberty 3.
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  39. Aesthetic Value, Artistic Value, and Morality.Andrea Sauchelli - 2016 - In David Coady, Kimberley Brownlee & Kasper Lipper-Rasmussen (eds.), A Companion to Applied Philosophy. Chichester, UK: Blackwell. pp. 514-526.
    This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
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  40. Artists in the Moves: The Ten Best Fims.Gary James Jason - 2011 - Liberty (January).
    In this essay, I briefly review ten of the best bio flicks of artists. After laying out my criteria for assessing biographical films about artists, I review my ten choices. These films are: The Agony and the Ecstasy; Frida; Local Color; The Moon and Sixpence; Girl with the Pearl Earring; Pollock; Rembrandt; Moulin Rouge; Modigliani; and Lust for Life. For each film, I try to explain the ways in which the directors were able to show the artist’s creative processes and (...)
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  41.  56
    Deep personal relationships, value, merit, and change.Brad Hooker - 2022 - Ratio 35 (4):344-351.
    A paper of Roger Crisp’s four years ago contained arguments that seemed to imply that having deep personal relationships does not constitute an element of well‐being. The lesson to draw from that paper of Crisp’s, according to a recent journal article of mine, is that one’s having a deep personal relationship does constitute an element of one’s well‐being on condition that one’s affection for the other person is merited. Crisp’s paper earlier in this issue of Ratio responds to my arguments. (...)
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  42. Personal Merit and the Politics of Gratitude.Julen Ibarrondo - 2017 - Telos: Revista Iberoamericana de Estudios Utilitaristas 21:39-63.
    Most philosophers recognize that sometimes particular individuals have to be grateful to others who have benefited them in a way that provides reasons for treating them in a differential way. In the same way, I argue, there are cases in which society as such benefits from the actions of a person, which gives rise to collective duties of gratitude that must be expressed at the political and socio-economic levels. The political concern about merit should not be merely instrumental, but (...)
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  43. The Explanatory Merits of Reasons-First Epistemology.Eva Schmidt - 2020 - In Christoph Demmerling & Dirk Schroder (eds.), Concepts in Thought, Action, and Emotion: New Essays. New York, NY: Routledge. pp. 75-91.
    I present an explanatory argument for the reasons-first view: It is superior to knowledge-first views in particular in that it can both explain the specific epistemic role of perception and account for the shape and extent of epistemic justification.
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  44. Those Dumb Artists! Amnesiacs, Artists, and Other Idiots.Dena Shottenkirk & Anjan Chatterjee - 2010 - In Matthew L. Camilleri (ed.), Structural Analysis. Nova Science Publishers. pp. 240.
    Henry Molaison, aged eighty-two, died at the end of 2008, and just after noon on exactly the first anniversary of his death, December 2, 2009, scientists began slicing his brain into 2,500 tissue samples. Known primarily in his lifetime as only H.M., he left his brain to science so that it could be dissected and digitally mapped – a gift much beloved by many scientists. An amnesiac in life, H.M. first rose to prominence in 1962 when Dr. Brenda Milner, a (...)
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  45. Meinongian Merits and Maladies.Samuel Hoadley-Brill - manuscript
    According to what has long been the dominant school of thought in analytic meta-ontology––defended not only by W. V. O. Quine, but also by Bertrand Russell, Alvin Plantinga, Peter van Inwagen, and many others––the meaning of ‘there is’ is identical to the meaning of ‘there exists.’ The most (in)famous aberration from this view is advanced by Alexius Meinong, whose ontological picture has endured extensive criticism (and borderline abuse) from several subscribers to the majority view. Meinong denies the identity of being (...)
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  46. Understanding Propaganda: The Epistemic Merit Model and Its Application to Art.Sheryl Tuttle Ross - 2002 - Journal of Aesthetic Education 36 (1):16-30.
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  47. Art, artists, and computers.Mihai Nadin - 1988 - Arts and Artists 17 (5):5-6.
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  48.  97
    Artist or Charlatan?Mihai Nadin - 1989 - The FIT Review 6 (1):18-23.
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  49. Artistic imagination needs more understanding than scientific imagination.Ningombam Bupenda Meitei - manuscript
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  50. L'utilité contre le mérite ?Pierre Landou - 2012 - In du mot au concept, séminaire science éducation. PUG.
    Article où l'on soutient l'incompatibilité du mérite et de l'utilité commune, à partir d'une lecture de la seconde proposition du premier article de la déclaration de 1789.
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