Results for 'Sherry L. Dupuis'

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  1. La possibilité d’une logique de la découverte : l’abduction comme modèle philosophique pour la découverte scientifique.Gregorie Dupuis-Mc Donald - 2019 - Revue Phares 19 (1):105-125.
    Dans cet article, nous examinerons le thème de la découverte en science. Nous soutiendrons qu’il est possible de définir une stratégie rationnelle soutenant la découverte au moyen du principe de l’abduction. Afin de démontrer cette thèse, il s’agira d’abord de diagnostiquer le problème de la complexité et de l’irrationalité de la découverte scientifique et de considérer la position néo-positiviste endossée par Karl Popper et Hans Reichenbach, selon laquelle la découverte ne peut faire l’objet d’une étude proprement logique ou épistémologique. Par (...)
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  2. « L’argument de la vitrine cassée est le meilleur du monde moderne ». Reconsidérer les rapports entre l’action directe et la politique délibérative.Francis Dupuis-Déri - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):127-140.
    Dans ce texte, je réponds aux commentaires et aux critiques qui ont été adressées à mon texte de 2007 qui mettait en rapport l’action directe et la démocratie délibérative. Je concède que j’ai fait preuve d’un peu trop d’optimisme, en particulier dans un cadre politique libéral, à vouloir chercher dans ce face-à-face une voie permettant de déboucher sur un dialogue. Je reprends certains des commentaires qui me permettent de distinguer plusieurs formes de débats publics et de les pluraliser, pour faire (...)
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  3. 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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  4. La conscience et l’appréhension de l’expérience musicale: pour une esthétique phénoménologique.Grégorie Dupuis-Mcdonald - 2012 - Phares 12 (2).
    Nous éprouvons une fière réjouissance d’avoir assisté à l’événement « De la musique avant toute chose ! » et c’est l’enthousiasme que cette rencontre aura produit qui nous aura poussé à approfondir la réflexion entamée ce jour-là. À tel point que la pluralité et la rigueur des vues exposées par les différentes interventions philosophiques, et encore l’exaltante performance musicale, aurons rendu compte de l’ampleur et de la richesse que revêt la question musicale. D’une part, nous avons compris lors de cet (...)
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  5. Artworks and Representational Properties.Sherri Irvin - 2004 - Dialogue 43 (4):627-644.
    A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...)
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  6. Contestation internationale contre élites mondiales : l’action directe et la politique délibérative sont-elles conciliables ?Francis Dupuis-Déri - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):50-75.
    Dans cet article, j’analyse à la lumière des normes libérales de la politique délibérative le bien-fondé de l’action directe contre les institutions internationales associées au néolibéralisme et à la mondialisation du capitalisme (Banque mondiale, Organisation mondiale du commerce, etc.). Le processus délibératif de ces organismes étant illégitime du point de vue de la théorie de la politique délibérative, les activistes du mouvement altermondialiste sont en droit de contester ces organismes. De plus, une attitude de contestation peut avoir en elle-même une (...)
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  7. La distinction du contexte de découverte et du contexte de justification : sa motivation, son problème, ses possibles solutions.Grégorie Dupuis-Mc Donald - 2017 - Ithaque 20:1-22.
    Le travail qui suit vise à présenter la distinction des contextes de découverte et de justification telle que proposée par Reichenbach. Nous analysons dans quels termes Reichenbach introduit cette distinction et nous montrons quelles difficultés elle implique. Nous étudions de manière synthétique, sur la base de sources secondaires critiques, la signification de cette distinction. En effet, nous analysons la motivation de cette distinction. Nous insistons sur l’ambiguïté de cette distinction, et nous montrons qu’elle veut distinguer deux éléments inséparables. Nous montrons (...)
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  8. Pragmatist Aesthetics and the Experience of Technology.David L. Hildebrand - 2018 - In Anders Buch & Theodore R. Schatzki (eds.), Questions of Practice in Philosophy and Social Theory. New York, NY: Routledge. pp. 114-135.
    Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s (...)
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  9. And, I mean every word of it: Comments on Francis Dupuis-D�ri�s �Global Protesters Versus Global Elite: Are Direct Action and Deliberative Politics Compatible?�.Genevieve Fuji Johnson - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):103-111.
    Focusing on how recent protests centered on global economic and environmental injustices can contribute to furthering deliberative politics and realizing deliberative democracy, Francis Dupuis- D � ri examines the important and historical tension between force and persuasion. However, casting protest as legitimate in the framework of deliberative politics and as serving deliberative democracy obscures its own value in endeavors to achieve social, economic, and environmental justice. Being sympathetic to Dupuis- D � ri � s work, I wish to (...)
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  10. L’action collective et la légitimité de la démocratie délibérative.Pierre Hamel - 2012 - Les Ateliers de L’Ethique 7 (1):76-87.
    L’article de Francis Dupuis-Déri propose que l’action directe constitue une voie privilégiée pour améliorer et encourager des délibérations plus égalitaires et participatives. Mon commentaire est subdivisé en deux parties. Dans un premier temps je situerai l’enjeu de la démocratie délibérative du point de vue de l’action collective. Dans un second temps je reviendrai à la thèse mise en avant par Francis Dupuis-Déri pour mettre en lumière ce qui me semble important dans son analyse. Je soulignerai par ailleurs certaines (...)
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  11. Démocratie ou oligarchie ? Quelques réflexions sur notre situation politique actuelle.Martin Breaugh - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):119-126.
    L’article de Francis Dupuis-Déri commenté ici et qui tente de réconcilier l’action directe avec la théorie délibérative pose un certain nombre de questions. En premier lieu, pourquoi concéder aux théories libérales un contenu démocratique alors que ces théories démontrent plutôt une mise à l’écart de l’agir collectif démocratique. En ce sens, les régimes libéraux ne sont pas tant élitistes que profondément oligarchiques. Une fois cette précision apportée au débat, il est possible de lire l’article de F. Dupuis-Déri comme (...)
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  12. Politique délibérative, démocratie représentative et action violente.Alban Bouvier - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):88-102.
    L’article de Francis Dupuis-Déri, « Contestation internationale contre élites mondiales : l’action directe et la politique délibérative sont-elles conciliables ? »[1] soulève bon nombre de questions. Sur le fond, quoiqu’il m’eût été beaucoup plus agréable de multiplier les points d’accord en réponse à une aimable invitation à discuter cet article, je dois me résoudre à exprimer de nombreux désaccords, dont je ne sais pas toujours à quel point ils sont profonds, sauf sur une question, d’ordre éthique, où je suis (...)
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  13. Le trilemme anarchiste.Bertrand Cassegrain - 2013 - Les Ateliers de L'Éthique 8 (1):28-46.
    Dans son article « L’anarchie en philosophie politique », Francis Dupuis-Déri (2007) tente de réhabiliter l’anarchisme face au silence dont il est victime en philosophie politique. Dans cet article, j’entends accepter l’invitation de Dupuis-Déri à prendre au sérieux l’anarchisme et, plus particulièrement, le modèle général d’organisation politique qu’il propose en tentant de répondre à cette question : l’anarchisme est-il un régime politique moralement défendable ? Je réponds par la négative en montrant que l’anarchisme fait face à un trilemme (...)
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  14. Against Legitimacy.Matt James - 2012 - Les ateliers de l'éthique/The Ethics Forum 7 (1):112-118.
    Francis Dupuis-Déri confronts the domestication of radical ideas in his superb and stimulating essay, “Global Protestors Versus Global Elites: Are Direct Action and Deliberative Politics Compatible?”, and leads to the intriguing claim that the legitimacy of radical anti-capitalist protest rests ultimately on its internally deliberative quality. This account, however compelling as it stands in many ways, seems to give undue predominance to legitimacy claims. The problem of democracy and global capitalism today is that the global justice movement’s designated constituency (...)
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  15. Closure Failure and Scientific Inquiry.Sherri Roush - 2017 - Res Philosophica 94 (2):1-25.
    Deduction is important to scientific inquiry because it can extend knowledge efficiently, bypassing the need to investigate everything directly. The existence of closure failure—where one knows the premises and that the premises imply the conclusion but nevertheless does not know the conclusion—is a problem because it threatens this usage. It means that we cannot trust deduction for gaining new knowledge unless we can identify such cases ahead of time so as to avoid them. For philosophically engineered examples we have “inner (...)
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  16. Contextual Effects of Video Tutorials on The Academic Performance of STEM 12 Students.Sherry V. Mecida, Krisna Rika O. Barron, Henry I. I. E. Lemana, Andre Eldridge O. Oberez, Alraiza K. Sampulna, Sheryn Mae M. Huesca, Sabrie K. Bailan, Mike Jones E. Sajorga, Tristan Kyle O. Sarceda, Queenie Rose T. Teniero & Orczy Louis Edniel W. Baculi - 2023 - Universal Journal of Educational Research 2 (2):86-98.
    As schools publicly modernize in response to societal changes, additional teaching and learning methods are developed, observed, and used since learners have different learning styles that make it easier for them to grasp and retain the material. During the COVID-19 pandemic, teachers require different media to keep the classroom involved while presenting the lesson materials online, one of which is video tutorials. The purpose of this study was to analyze the extent of contextual effects of video tutorials used in general (...)
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  17. The Pervasiveness of the Aesthetic in Ordinary Experience.Sherri Irvin - 2008 - British Journal of Aesthetics 48 (1):29-44.
    I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...)
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  18. Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness.Sheila Lintott & Sherri Irvin - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 299-317.
    Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...)
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  19. The State of the Discipline: New Data on Women Faculty in Philosophy.Sherri Lynn Conklin, Irina Artamonova & Nicole Hassoun - 2019 - Ergo: An Open Access Journal of Philosophy 6.
    This paper presents data on the representation of women at 98 philosophy departments in the United States, which were ranked by the Philosophical Gourmet Report (PGR) in 2015 as well as all of those schools on which data from 2004 exist. The paper makes four points in providing an overview of the state of the field. First, all programs reveal a statistically significant increase in the percentage of women tenured/tenure-track faculty, since 2004. Second, out of the 98 US philosophy departments (...)
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  20. The Divine Essence and the Conception of God in Spinoza.Sherry Deveaux - 2003 - Synthese 135 (3):329-338.
    I argue against a prevailing view that the essence of Godis identical with the attributes. I show that given what Spinoza says in 2d2 – Spinoza'spurported definition of the essence of a thing – the attributes cannot be identical withthe essence of God (whether the essence of God is understood as the distinct attributesor as a totality of indistinct attributes). I argue that while the attributes do notsatisfy the stipulations of 2d2 relative to God, absolutely infinite and eternal power does (...)
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  21. Scratching an Itch.Sherri Irvin - 2008 - Journal of Aesthetics and Art Criticism 66 (1):25-35.
    I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...)
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  22. Authors, Intentions and Literary Meaning.Sherri Irvin - 2006 - Philosophy Compass 1 (2):114–128.
    This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.
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  23. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...)
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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. 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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  26. Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art & 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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  27. On the Well-being of Aesthetic Beings.Sherri Irvin - forthcoming - In Helena Fox, Kathleen Galvin, Michael Musalek, Martin Poltrum & Yuriko Saito (eds.), Oxford Handbook of Mental Health and Contemporary Western Aesthetics. Oxford University Press.
    As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...)
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  28. Is Aesthetic Experience Possible?Sherri Irvin - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press. pp. 37-56.
    On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...)
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  29. Forgery and the Corruption of Aesthetic Understanding.Sherri Irvin - 2007 - Canadian Journal of Philosophy 37 (2):283-304.
    Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...)
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  30. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...)
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  31. In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  32. 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 of (...)
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  33. Unreadable Poems and How They Mean.Sherri Irvin - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford, GB: Oxford University Press. pp. 88-110.
    Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...)
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  34. Bodies, Functions, and Imperfections.Sherri Irvin - 2023 - In Peter Cheyne (ed.), Imperfectionist Aesthetics in Art and Everyday Life. London: Routledge. pp. 271-283.
    The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...)
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  35. Teaching and Learning Guide for: Authors, Intentions and Literary Meaning.Sherri Irvin - 2008 - Philosophy Compass 4 (1):287-291.
    The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...)
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  36. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...)
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  37. 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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  38. Aesthetics of the Everyday.Sherri Irvin - 2009 - In Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics. Malden, MA: Wiley. pp. 136-139.
    This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.
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  39. Aesthetics and the Private Realm.Sherri Irvin - 2009 - Journal of Aesthetics and Art Criticism 67 (2):226-230.
    I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.
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  40. Repeatable Artworks and the Relevant Similarity Relation.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):30.
    Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...)
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  41. Motherhood and the Workings of Disgust.Sherri Irvin - 2011 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 79-90.
    I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...)
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  42. Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
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  43. The Expressive Import of Degradation and Decay in Contemporary Art.Sherri Irvin - 2022 - In Peter Miller & Soon Kai Poh (eds.), Conserving Active Matter. Bard Graduate Center - Cultura. pp. 65-79.
    Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...)
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  44. Sculpture.Sherri Irvin - 2013 - In Berys Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics Third Edition. Routledge. pp. 606-615.
    This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.
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  45. Body.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 410-414.
    The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic (...)
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  46. The Nature of Aesthetic Experience and the Role of the Sciences in Aesthetic Theorizing.Sherri Irvin - 2019 - Estetika: The European Journal of Aesthetics 56 (1):100-109.
    Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...)
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  47. Artworks, Objects and Structures.Sherri Irvin - 2012 - In Anna Christina Ribeiro (ed.), Continuum Companion to Aesthetics. Continuum. pp. 55-73.
    This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.
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  48. Contemporary Art: Ontology.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 170-172.
    The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...)
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  49. Aesthetics as a Guide to Ethics.Sherri Irvin - 2010 - In Robert Stecker & Ted Gracyk (eds.), Aesthetics Today: A Reader. Rowman & Littlefield Publishers. pp. 370-377.
    This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...)
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  50. Does Contemporary Art Have Cognitive Value?Sherri Irvin - 2003 - AE: Canadian Aesthetics Journal 8.
    In his book Art and Knowledge, James O. Young suggests that avant-garde and contemporary art, because it tends to eschew the resources of illustrative representation, lacks cognitive value. Because he regards cognitive value as a necessary condition for a high degree of aesthetic value, he concludes that contemporary works tend to have little aesthetic value and thus do not deserve to be regarded as valuable artworks (or, in many cases, as artworks at all). In this paper, I mount a defense (...)
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