[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My (...) approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

This article focuses on one aspect of the late mediaeval debate over divine power, as it was discussed by Oxford philosophers Walter Chatton (d. 1343) and William Ockham (d. 1347). Chatton and Ockham would have agreed, for example, that God is ultimately responsible for the existence of the works of Pablo Picasso, but they would not agree over wheher it violates God's omnipotence to say that he cannot make something that Picasso made, for example, the painting Guernica, without using (...) Picasso himself as an intermediate cause. The context of their dispute was a larger debate regarding the ontological status of relations. This article (1) explains how these two issues, omnipotence and relations, became so interestingly tangled together, (2) tries to see which of the two men mentioned above got the better of their exchange, and finally (3) draws out some important consequences for fourteenth-century discussions of causality, occasionalism, and omnipotence. (shrink)

It is generally accepted that Picasso might have used a different canvas as the vehicle for his painting Guernica, and also that the artwork Guernica itself necessarily represents a certain historical episode—rather than, say, a bowl of fruit. I argue that such a conjunctive acceptance entails a broadly propositional view of the nature of representational artworks. In addition, I argue—via a comprehensive examination of possible alternatives—that, perhaps surprisingly, there simply is no other available conjunctive view of the nature (...) of representational artworks in general. CiteULike Connotea Del.icio.us What's this? (shrink)