Results for 'Intention in Art'

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  1. Interpreting AI-Generated Art: Arthur Danto’s Perspective on Intention, Authorship, and Creative Traditions in the Age of Artificial Intelligence.Raquel Cascales - 2023 - Polish Journal of Aesthetics 71 (4):17-29.
    Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI (...)
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  2. Intentional image and transcendental image in the work of art.Bogdan Nita - 2012 - Image 2 (2321):231.
    The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...)
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  3. 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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  4. Art, Intention, and Everyday Psychology.Joshua Landy - 2020 - Nonsite 1 (32).
    Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention (...)
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  5. Attempting art: an essay on intention-dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, Mcgill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting (...)
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  6. Failures of Intention and Failed-Art.Michel-Antoine Xhignesse - 2020 - Canadian Journal of Philosophy 50 (7):905-917.
    This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not (...)
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  7. Arthur Danto’s Andy Warhol: the Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  8. What is Art? The Role of Intention, Beauty, and Institutional Recognition.Elzė Sigutė Mikalonytė & Markus Kneer - 2023 - Proceedings of the Annual Meeting of the Cognitive Science Society 45:3039-3047.
    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 (...)
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  9. The Intentional-Attributive Definition of Art.Alex Aliyev - 2009 - Consciousness, Literature and the Arts 10 (2).
    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 (...)
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  10. Appropriation and Authorship in Contemporary Art.Sherri Irvin - 2005 - British Journal of Aesthetics 45 (2):123-137.
    Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...)
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  11. In support of content theories of art.John Dilworth - 2007 - Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
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  12. Schelling's 'Art in the Particular': Re-orienting Final Cause.Nat Trimarchi - 2024 - Cosmos and History 20 (1):416-419.
    Schelling’s Principle of Art returns us to an ancient epic sensibility, laying the foundations for reversing the unrealistic ‘modern mythology’ arguably at the core of humanity’s ecological/existential crisis. This contribution examines how, by detailing his systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (Principle). Hence Schelling’s ‘affirming principles’ determine boundary conditions for his ‘mythological categories’, revealing why their generalities inform (...)
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  13. The ethical implications of the intentional fallacy: How we ought to address the art of immoral artists.Rosanna Sparacino - 2019 - Stance 12 (1):23-31.
    I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...)
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  14. 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 (...)
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  15. 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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  16. (1 other version)Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - 2022 - ACM Transactions on Human-Robot Interactions.
    In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...)
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  17. The Living Image in Bio-Art and in Philosophy.Vid Simoniti - 2019 - Oxford Art Journal 42 (2):177-196.
    What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...)
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  18. 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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  19. Art, artefact and nature in Gillo Dorfles’s work. For an understanding of our aesthetic constitution.Filomena Parente - 2022 - Debates in Aesthetics 17 (2):39-53.
    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 (...)
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  20.  94
    The Aesthetic Intelligibility of Artefacts: Schelling’s Concept of Art in the System of Transcendental Idealism.Giacomo Croci - 2024 - Estetika: The European Journal of Aesthetics 61 (2):158-175.
    The article reassesses Schelling’s philosophy of art in the System of Transcendental Idealism, focusing on its practical philosophy and the concept of the artefact. Often unexplored, this perspective offers a new account of Schelling’s early aesthetics, linking aesthetic experience to historical becoming. The discussion begins with an analysis of Schelling’s theory of intentional action, followed by a reconstruction of his understanding of artefact. It argues that Schelling integrates both social and material dimensions into his concept of artefacts. The paper then (...)
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  21. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Newcastle upon Tyne: Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...)
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  22. Refutations: Essays in Politics, Economics, Ethics and Art / Refutações: Ensaios em Política, Economia, Ética e Arte.Rodrigo Cid (ed.) - 2020 - Porto Alegre, BR: Editora Fi.
    With this book we want to illustrate the way we philosophers think that public argument and debate should be. Our goal is not to present a collection of academic texts. Although most of us are part of the academy, we want to present to the lay public shorter, more essay-like texts, originally published on an Internet page called Refutations. The page is not, of course, an academic journal; it is a digital magazine with opinion texts that share simplicity, rigor and (...)
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  23. Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.Sherri Irvin - 2019 - British Journal of Aesthetics 59 (3):273-288.
    This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...)
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  24. Art and pornography.Hans Maes - 2009 - Journal of Aesthetic Education 43 (3):pp. 107-116.
    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.
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  25. Sensory Knowledge and Art.Brian R. Nelson - 2017 - Cambridge, England: Open Angle Books.
    The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical (...)
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  26. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...)
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  27. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  28. The Folk Concept of Art.Elzė Sigutė Mikalonytė & Markus Kneer - manuscript
    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 (...)
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  29. Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers.Marianna Charitonidou - 2020 - Visual Resources 36 (4):382-396.
    The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...)
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  30.  48
    Art, Technology, and Trans-Death Options.Reyes Espinoza - 2019 - In Dalila Honorato, María Antοnia González Valerio, Marta De Menez & Andreas Giannakoulopoulos (eds.), TABOO ‒ TRANSGRESSION ‒ TRANSCENDENCE in Art & Science 2018. Corfu, Greece: Ionian University Publications. pp. 194-199.
    Death across human history is codified and controlled by religion, dogma, or social￾political circumstances. However, it is possible to take death out of these realms, instead dying how one wishes. One can design their own death. I will argue that human trans-death can be an intentional performance by persons and that this intentional performance can be combined with the newest and most novel methods of preserving a consciousness. This thesis opens possibilities for future exhibitions and live performances combining art and (...)
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  31. Introduction to the Symposium on Christy Mag Uidhir's Art and Art-Attempts.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):1.
    Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product (...)
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  32. Brentano and Aesthetic Intentions.Lynn Pasquerella - 1992 - Brentano Studien 4:235-249.
    Brentano's philosophy of art, contained primarily in his book, Grundzuge der Ästhetik, is the result of an original theory of intrinsic value that was derived from Brentano's philosophical psychology. In his aesthetics, Brentano endeavored to find an objective ground for the value of aesthetic contemplation through his theory of the intentional objects of emotions and desires. The lack of attention Brentano's aesthetics has received is surprising, given that two of the many students Brentano influenced, Husserl (through the development of the (...)
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  33. Can Unmodified Food be Culinary Art?Sara Bernstein - 2020 - Argumenta 2 (5):185-198.
    You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust (...)
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  34. What Makes a Kind an Art-kind?Michel-Antoine Xhignesse - 2020 - British Journal of Aesthetics 60 (4):471-88.
    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 (...)
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  35. Art and the Unknown.Dan J. Bruiger - manuscript
    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. (...)
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  36. Collingwood On Art, Craft And All That Jazz.Adam Wills - 2010 - Postgraduate Journal of Aesthetics 7 (2):38-49.
    R. G. Collingwood is best known within the philosophy of art for his development of the so-called expressionist theory. Briefly stated, this theory regards expression as a necessary condition for the production of any artwork, where expression is conceived as a process whereby the artist transforms inchoate thoughts and feelings into some clarified form within a given artistic medium. My intention is not to examine the conception of expression itself, but instead, turn to Collingwood’s earlier distinction between art and (...)
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  37.  78
    "Stranded on the Shores of History"? Monuments and (Art-)Historical Awareness.Jakub Stejskal - forthcoming - History and Theory.
    Can past agents deliberately influence our historical awareness by designing objects’ appearances and sending them to us down the stream of time? We know they have certainly tried to do so by raising monuments. But according to an influential narrative, the efforts of these so-called monumentalists are destined to fail: no monument can keep a legacy alive in perpetuity. In this article, I argue that this narrative misrepresents the nature of the monumentalists’ mission, and I set out to show that (...)
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  38.  61
    Searching for the Present, Where? Being-becoming in Akbar Padamsee's Figurations (1995-2006).Srajana Kaikini - 2023 - Mumbai: The Guild.
    This research essay was published in the monograph dedicated to the first major exhibition dedicated to photography and drawings by theAkbar Padamsee in India after his demise early 2022 at the age of 91. “Searching for the present, where?...” is drawn from The Guild and some important private collections. The exhibition is a tribute to Padamsee’s commendable contribution to the Indian art. This is also the first time the photographs and drawings spanning from over a decade are contextualised in an (...)
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  39. Being Moved by Art: A Phenomenological and Pragmatist Dialogue.Simon Høffding, Carlos Vara Sánchez & Tone Roald - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):85-102.
    This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...)
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  40. Two-Dimensional Theories of Art.Thomas N. P. A. Brouwer - 2022 - Thought: A Journal of Philosophy 11 (3):142-149.
    What determines whether an object is an artwork? In this paper I consider what I will call ‘social’ theories of art, according to which the arthood of objects depends in some way on the art-related social practices that we have. Though such a dependence claim is plausible in principle, social theories of art tend to unpack the determining link between artworks and social practices in terms of intentional relations between the objects in question and the people involved in the relevant (...)
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  41. The Dialectic of Consciousness and Unconsciousness in Spontaneity of Genius: A Comparison between Classical Chinese Aesthetics and Kantian Ideas.Xiaoyan Hu - 2017 - Proceedings of the European Society for Aesthetics 9:246–274.
    This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...)
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  42. Engineering an Artful and Ethical Solution to the Problem of Global Warming.Shane J. Ralston - 2009 - Review of Policy Research 26 (6):821-837.
    The idea of geoengineering, or the intentional modification of the Earth's atmosphere to reverse the global warming trend, has entered a working theory stage, finding expression in a variety of proposed projects, such as launching reflective materials into the Earth's atmosphere, positioning sunshades over the planet's surface, depositing iron filings into the oceans to encourage phytoplankton blooms, and planting more trees, to name only a few.
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  43. Delighting in natural beauty: Joint attention and the phenomenology of nature aesthetics.Johan De Smedt & Helen De Cruz - 2013 - European Journal for Philosophy of Religion 5 (4):167-186.
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...)
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  44. The Subtle Art of Plagiarizing God: Augustine’s Dialogue with Divine Otherness.Martijn Boven - 2020 - In A. P. DeBattista, J. Farrugia & H. Scerri (eds.), Non Laborat Qui Amat. pp. 51-68.
    From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, I (...)
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  45. Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art.Jake Spinella - 2023 - Journal of Aesthetics and Art Criticism 81 (3):306-316.
    Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...)
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  46. Christy Mag Uidhir, Art & Art-Attempts. Reviewed by. [REVIEW]Michel-Antoine Xhignesse - 2015 - Philosophy in Review 35 (3):182-184.
    A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).
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  47. Interprétation et description d’une oeuvre d’art.Sherri Irvin - 2005 - Philosophiques 32 (1):135-148.
    According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...)
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  48. Scholastic Clues in Two Latin Fencing Manuals Bridging the gap between medieval and renaissance cultures.Hélène Leblanc & Franck Cinato - 2023 - Acta Periodica Duellatorum 11 (1):39-63.
    Intellectual historians have rarely attended to the genre of fighting manuals, but these provide a new window on long-debated questions such as the relationship between Scholasticism and Humanism. This article offers a close comparison of the first known fencing manual, the 14-th century Liber de Arte Dimicatoria (Leeds, Royal Armouries FECHT 1, previously and better known as MS I.33), and the corpus of fighting manuals which underwent a remarkable expansion during the 15th and 16th centuries. While the former clearly shows (...)
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  49. Gadamer – Cheng: Conversations in Hermeneutics.Andrew Fuyarchuk - 2021 - Journal of Chinese Philosophy 48 (3):245-249.
    1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...)
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  50. The Role of Teleological Thinking in Judgments of Persistence of Musical Works.Elzė Sigutė Mikalonytė & Vilius Dranseika - 2022 - Journal of Aesthetics and Art Criticism 80 (1):42-57.
    In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in (...)
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