Results for 'art'

983 found
Order:
  1. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  2. The Aesthetic Creation Theory of Art.Rafael De Clercq - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:20-24.
    This is a critical discussion of Nick Zangwills Aesthetic Creation Theory of Art, as he has presented the theory in his book Aesthetic Creation. The discussion (...)focuses on two questions: first, whether the notion of art implied by Zangwills theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  3. Against Raunchy Women's Art.Cynthia Freeland - 2009 - In Curtis Carter (ed.), Art and Social Change. International Association for Aesthetics. pp. 56-72.
    This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy (...) Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  4. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., (...)shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when philosophical aesthetics tends toward insularity, we shouldnt be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldnt be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  5. Playing with Fire: Art and the Seductive Power of Pain.Iskra Fileva - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave Macmillan.
    I discuss the aesthetic power of painful art. I focus on artworks that occasion pain byhitting too close to home,” i.e., by presenting narratives meant (...)to beabout us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  6. David Davies, Art as Performance.Reviews by Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  7.  92
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes (...)-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (from the Latin ars, meaningskillorcraft”) is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases asliberal artsandmartial arts”. However, in the modern use of the word, which rose to prominence after 1750, “artis commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999). (shrink)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  8. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer (...) this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  9. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of (...)photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photographys printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  10. Painting the Difference: Sex and Spectator in Modern Art, by Charles Harrison[REVIEW]Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244–246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  11.  90
    Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  12.  31
    Review of New Feminist Art Criticism by Katy Deepwell[REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in (...) Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  13. The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2000 - Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  14.  41
    The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15. Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  16.  26
    Monuments as Commitments: How Art Speaks to Groups and How Groups Think in Art.C. Thi Nguyen - forthcoming - Pacific Philosophical Quarterly.
    Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselveshow 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 arts powers to capture subtlety and emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  17. Games: Agency as Art.C. Thi Nguyen - forthcoming - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  18. Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  19. The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures (...)in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothlyit may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  20. Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz".Cynthia R. Nielsen - 2016 - Journal of Applied Hermeneutics (1).
    Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  21. The Sublime, Ugliness and Contemporary Art: A Kantian Perspective.Mojca Kuplen - 2015 - Con-Textos Kantianos 1 (1):114-141.
    The aim of this paper is twofold. First, to explain the distinction between Kants notions of the sublime and ugliness, and to answer an important question (...)that has been left unnoticed in contemporary studies, namely why it is the case that even though both sublime and ugliness are contrapurposive for the power of judgment, occasioning the feeling of displeasure, yet that after all we should feel pleasure in the former, while not in the latter. Second, to apply my interpretation of the sublime and ugliness to contemporary art, and to resolve certain issues that have been raised in accounting for the possibility of artistic sublimity. I argue that an experience of a genuine artistic sublimity is an uncommon occurrence. I propose that the value of contemporary art can be best explained by referring to Kants notion of ugliness and his theory of aesthetic ideas. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  22.  42
    The Conquest of Time: The Forgotten Power of Art.Derek Allan - manuscript
    Its common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a (...)half-truth: it tells us nothing about the nature of this power of survivalabout how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art istimeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of arts capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-calledtest of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the paststretching back to Lascaux and beyondis as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  23.  78
    The Aesthetics of Theory Selection and the Logics of Art.Ian O’Loughlin & Kate McCallum - 2018 - Philosophy of Science (2):325-343.
    Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving (...)criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  24. Art and Cultural Heritage: An ASA Curriculum Diversification Guide.Erich Hatala Matthes - 2017 - American Society for Aesthetics, Curriculum Diversification Guides.
    Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating (...)
    Download  
     
    Export citation  
     
    Bookmark  
  25. Iris Murdoch on Art, Ethics, and Attention.Anil Gomes - 2013 - British Journal of Aesthetics 53 (3):321-337.
    Can the experience of great art play a role in our coming to understand the ethical framework of another person? In this article I draw out three (...)
    Download  
     
    Export citation  
     
    Bookmark  
  26.  38
    Necessity of Origins and Multi-Origin Art.Joshua Spencer & Chris Tillman - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy:1-14.
    The Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  27. Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  28. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. London: Routledge. pp. 179–191.
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art (...)
    Download  
     
    Export citation  
     
    Bookmark  
  29. Stephen Davies, The Artful Species: Aesthetics, Art, and Evolution (2013).John Powell - 2013 - Literature & Aesthetics 23 (2):1-1.
    This review article critiques Stephen Davies' The Artful Species: Aesthetics, Art, and Evolution.
    Download  
     
    Export citation  
     
    Bookmark  
  30. Why Pornography Can'T Be Art.Christy Mag Uidhir - 2009 - Philosophy and Literature 33 (1):193-203.
    Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  31. The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its (...)
    Download  
     
    Export citation  
     
    Bookmark  
  32. Art Concept Pluralism.Christy Mag Uidhir & P. D. Magnus - 2011 - Metaphilosophy 42 (1-2):83-97.
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  33. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  34. Aesthetic Consciousness of Site-Specific Art.Regina-Nino Kurg - 2013 - South African Journal of Philosophy 32 (4):349–353.
    The aim of this article is to examine Edmund Husserls theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus (...) will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic unity of the aesthetic object is limited. Moreover, following Husserls theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limitedness of the synthetic unity of the aesthetic object. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  35.  44
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance (...)
    Download  
     
    Export citation  
     
    Bookmark  
  36.  28
    Art and the "Real World".Derek Allan - manuscript
    A conference paper examining the relationship between art and what is loosely termed thereal world”.
    Download  
     
    Export citation  
     
    Bookmark  
  37.  82
    Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative (...)
    Download  
     
    Export citation  
     
    Bookmark  
  38. Body Phenomenology, Somaesthetics and Nietzschean Themes in Medieval Art.Matthew Crippen - 2014 - Pragmatism Today 5:40-45.
    Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty (...), lived somaesthetic reflection, or what the late Sam Mallin calledbody phenomenology”—understood as a meditation on the body reflecting on both itself and the worldis my starting point. Another is John Deweys bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontarios permanent collection. Following Deweys suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Deweys belief that intimate engagement with art entails a total coordination of ones capacities around the artwork, while simultaneously reinforcing Merleau-Pontys ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondos painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving artand indeed the world. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  39. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  40.  10
    Playing The Game After The End Of Art: Comments For Hans Maes.Kalle Puolakka - 2005 - Postgraduate Journal of Aesthetics 2 (1):12-19.
    In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that (...)
    Download  
     
    Export citation  
     
    Bookmark  
  41. The Buck Passing Theory of Art.James O. Young - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (4): 421-433.
    In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or (...)
    Download  
     
    Export citation  
     
    Bookmark  
  42. Why Art Became Ugly.Stephen R. C. Hicks - 2004 - Navigator 6 (10).
    For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  43. Art as Its Own Interpretation.Nicholas Maxwell - 2003 - In Andreea Ruvoi (ed.), Interpretation and Its Objects: Studies in the Philosophy of Michael Krausz. Rodopi.
    In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  44. On Defining Art Historically.Graham Oppy - 1991 - British Journal of Aesthetics 32 (2):153-161.
    This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear (...)whether any of them is ultimately successful. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  45.  9
    Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? (...)Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feelingand on the other, historical analysis is about the careful and scholarly reconstruction of a past social reality, the two must be at loggerheads. What the art historian writes about on a weekday whilst wearing her hard hat at the office must not be confused with what she personally feels, wandering around a gallery in her woolly hat at the weekend. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  46. Pornographic Art - A Case From Definitions.Simon Fokt - 2012 - British Journal of Aesthetics 52 (3):287-300.
    On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean byart’, even though it seems (...)
    Download  
     
    Export citation  
     
    Bookmark  
  47. Art: A Brief History of Absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art( (...)s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way thenatureof art was conceived in early modern aesthetics. The author claims that the formulation of theaesthetic natureof art led to the process of the gradual disappearance of all of the formal elements that had previously characterized the visual arts; the result wasemptinessornothingnessas art. The author refers to this process in terms ofvanishing actsthat allow for the formulation of an aesthetics of absence in connection to twentieth-century art (complementing the Ästhetik der Absenz, formulated in German art theory). The author also briefly addresses the consequences that these processes have for the way contemporary art, and art world operate. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  48. Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art.Simon Fokt - 2013 - Metaphilosophy 44 (5):640-654.
    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)
    Download  
     
    Export citation  
     
    Bookmark  
  49. Is Proprioceptive Art Possible?Markus Schrenk - 2014 - In Graham George Priest & Damon Young (eds.), Philosophy and the Martial Arts. New York: Routledge. pp. 101-116.
    I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as (...)
    Download  
     
    Export citation  
     
    Bookmark  
  50. Art or Porn: Clear Division or False Dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 983