Imogen Dickie's book Fixing Reference promises to reframe the investigation of mental intentionality, or what makes thoughts be about particular things. Dickie focuses on beliefs, and argues that if we can show how our ordinary means of belief formation sustain a certain connection between what our beliefs are about and how they are justified, we will have explained the ability of these ordinary means of belief formation to generate beliefs that are about particular objects. A worry about Dickie's approach is (...) that the explanation it offers is circular and thus not a genuine explanation of mental aboutness. This article develops a version of that worry in detail and turns it aside. Nonetheless, I argue that the explanatory value of the account remains unclear. While it does promise a dialectical advance over traditional theorizing about aboutness, it does not reveal how our ordinary means of belief formation make beliefs be about what they are about. (shrink)

In this paper, I will look at the relationship between Weitz’s claim that art is an “open” concept and Dickie’s institutional theory of art, in its most recent form. Dickie’s theory has been extensively discussed, and often criticized, in the literature on aesthetics, yet it has rarely been observed – to my knowledge at least – that the fact that his theory actually incorporates, at least to some extent, Weitz’s claim about the “openness” of the concept of art, precisely accounts (...) for what I take to be the main flaws in the theory. In what follows I present arguments for that claim, looking briefly at the position of both authors with respect to the concept of art, then showing how they relate to each other, and what implications this has for Dickie’s institutional theory, and more generally for the traditional project of characterising art. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

The main focus of my comments is the role played in Dickie's view by the idea that "the mind has a need to represent things outside itself". But there are also some remarks about her (very interesting) suggestion that descriptive names can sometimes fail to refer to the object that satisfies the associated description.

Coordination in thought is the treatment of beliefs by the believer as being about the same thing. Such treatment can be indirect, via an identity belief, or direct. Direct coordination presents a problem concerning how this treatment is justified. Dickie accounts for the justification of coordination in terms of aptness to a motivational state: coordination serves to fulfil a need to represent things outside the mind. I argue that this account gets the problem coordination presents wrong, and so does not (...) present an adequate solution. While the material of that account may be reconfigured to provide a more promising proposal, I argue that this depends on a specious psychology of belief, and will anyway end up being circular. I propose an account that, while similar in some ways, improves on both the official and reconfigured Dickie-style accounts, and points to some broader conclusions about the nature of rational cognition. (shrink)

I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories of (...) aesthetic experience, I argue they are not a problem for Dewey. Dewey’s account of experience is not only compatible with Dickie’s ‘institutional theory’ but Dewey’s oft criticized notion of ‘an experience’ additionally brings a needed evaluative component to contextual definitions by showing how appeals to our experience of the theoretical, historical, and institutional contexts of the ‘artworld’ can better explain how something like a urinal can become worthy of aesthetic appreciation. (shrink)

A discussion of Imogen Dickie's book "Fixing Reference.".

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)

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)

Attention has a long history in philosophy, despite its near absence in the twentieth century. This chapter provides an overview of philosophical research on attention. It begins by explaining the concept of "selection from limitation," contrasting it with the more recent "selection for action." It reviews historical texts that discuss attention, focusing on those in the Western canon whose understanding of "attention" aligns with contemporary usage. It then describes the differential treatment of attention in phenomenology and behaviorism in the last (...) century. Finally, it discusses contemporary research by topic: attention, perception, and knowledge; attention and consciousness; attention and action; and attention and the self. It includes work by Allport,Aristotle, Astell, Augustine, Bergson, Berkeley, Block, Bradley, Buddhaghosa, Campbell, Cherry, De Brigard, Dehaene and Naccache, Descartes, Dickie, Du Bois, Ganeri, Hegel, Heidegger, James, Kant, Koch and Tsuchiya, LaBerge, Locke, Mack and Rock, Malebranche, Merleau-Ponty, Mole, Montemayor and Haladjian, Neumann, Pashler, Posner, Prinz, Reid, Rensink, Reynolds and Heeger, Treisman, Watzl, Wittgenstein, Wollstonecraft, and Wu. (shrink)

Non-naturalism is the view that normative properties are response-independent, irreducible to natural properties, and causally inefficacious. An underexplored question for non-naturalism concerns the metasemantics of normative terms. Ideally, the non-naturalist could remain ecumenical, but it appears they cannot. Call this challenge the metasemantic challenge. This chapter suggests that non-naturalists endorse an epistemic account of reference determination of the sort recently defended by Imogen Dickie, with some modifications. An important implication of this account is that, if correct, a fully fleshed out (...) moral epistemology will simultaneously rebut metasemantic objections to non-naturalism. Thus, both the metasemantic and the more widely discussed epistemological challenges in effect amount to one. Before setting out the positive view, the chapter considers why all of the traditional metasemantic theories cause trouble for the non-naturalist. This includes discussions of teleosemantics, conceptual role semantics, as well as Schroeter and Schroeter’s “connectedness” model. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...) how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

What is involved in having a singular thought about an ordinary object? On the leading epistemic view, one has this capacity if and only if one has belief-forming dispositions which would reliably enable one to get its properties right (Dickie, 2015). I first argue that Dickie’s official view entails surprising and unpalatable claims about either rationality or singular thought, before offering a precisification. Once we have reached that level of abstraction, it becomes difficult to see what is distinctively epistemic about (...) the framework. If we are to tease out the delicate connection between singular thought and knowledge, we should suspend the assumption that there is a homogeneous core, present in all cases of such thought, and that it is from there that its (univocal) epistemic character derives. (shrink)

La introducción de las redes generativas antagónicas en el mundo del arte ha revitalizado la clásica pregunta: ¿puede una máquina crear arte? Estos algoritmos requieren una mínima intervención humana para funcionar, por lo que sus creaciones se consideran CG-art. En esta clase particular de arte los computadores no son una herramienta al servicio humano, sino un agente creativo autónomo. Por otro lado, estudios cognitivos recientes han demostrado que las personas son escépticas ante la idea de que una máquina pueda crear (...) arte. Este artículo tiene como objetivo mostrar que el CG-art no puede excluirse arbitrariamente del dominio artístico. Para ello se utiliza la distinción hecha por Dickie entre teorías del arte de tipo natural y cultural. Luego, utilizando el concepto función de estatus de Searle, se propone considerar al arte como un fenómeno independiente del lenguaje. Complementando ambos enfoques sostengo que, la teoría idónea para explicar el fenómeno del CG-art es del tipo natural. Esto implica que la sociedad no puede negar el carácter de arte a estas creaciones algorítmicas. Así, la idea de que las máquinas pueden crear arte es fortalecida. (shrink)

[ES] En este trabajo, ofreceré una reconstrucción sucinta de los argumentos sobre el significado de la noción de mundo del arte, así como de sus implicaciones en la ontología del arte. En primer lugar, describiré de manera esquemática los principios básicos de la noción de mundo del arte de Danto, y a partir de estos principios delinearé su influencia en la teoría institucional del arte de George Dickie. Sobre esta base, apoyado en la crítica al rol de la teoría en (...) estética de Morris Weitz, intentaré evidenciar las dificultades de lo que se ha dado en llamar la teoría institucional del arte al momento definir lo que es el arte. En la parte final del trabajo, presentaré algunas sugerencias que podrían tomarse en consideración al momento de abordar la relación entre el mundo del arte y la ontología del mundo del arte. [EN] In this paper, I will offer a succinct reconstruction of the arguments about the meaning of the notion of the world of art, as well as its implications in the ontology of art. First, I will outline the basic principles of Danto's notion of the art world, and from these principles I will outline its influence on George Dickie's institutional theory of art. On this basis, supported by Morris Weitz's critique to the role of the theory of aesthetics, I will try to highlight the difficulties of what has been called the institutional theory of art at the moment of defining what art is. In the final part of the paper, I will present some suggestions that could be taken into account when considering the relation between the world of art and the artworld ontology. (shrink)

An institutional analysis of art posits the theory that works of art are classified as such not by virtue of their exhibited properties, but rather by virtue of their relational ones, and more specifically by virtue of their place within an institutional framework, the ‘artworld’. The most thorough and compelling account of an institutional theory is provided by George Dickie in his book ‘The Art Circle’. As such, it is on the institutional definition of art presented therein that I shall (...) focus this essay. (shrink)

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art by means (...) of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)