Results for 'art'

998 found
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  1. 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. (...)
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  2. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of actiontheprocess arts”. In the process (...) arts, artists create artifacts to engender activity in their audience, for the sake of the audiences aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game players own decisions that are elegant, the rock climbers own movement that is graceful, and the tango dancersrapport that is beautiful. The artifacts role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process artthe designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)
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  3. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro (ed.), Bloomsbury Companion to Aesthetics. pp. 39-54.
    Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and (...)
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  4. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology (...)of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)
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  5. Games: Agency as Art.C. Thi Nguyen - 2020 - 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 (...)
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  6. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, (...)I argue that we should focus instead on art-critical reasons that justify actionsnamely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)
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  7. 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 (...)
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  8. Art and Negative Affect.Aaron Smuts - 2009 - Philosophy Compass 4 (1):39-55.
    Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same (...)
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  9. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption (...)
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  10. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/ Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend (...)
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  11. Trust and Sincerity in Art.C. Thi Nguyen - 2021 - Ergo: An Open Access Journal of Philosophy 8 (2):21-53.
    Our life with art is suffused with trust. We dont just trust one anothers aesthetic testimony; we trust one anothers aesthetic actions. Audiences trust artists (...)
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  12. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games (...)
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  13. Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in (...)
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  14. The Art of Immoral Artists.Shen-yi Liao - forthcoming - In Carl Fox & Joe Saunders (eds.), The Routledge Handbook of Philosophy and Media Ethics. New York: Routledge.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artists (...)art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artists art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artists art? Philosophers generally agree that we should not always reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)
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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 (...)
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  16.  81
    From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to (...)
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  17.  39
    Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and 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 (...)
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  18. 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)
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  19. The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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  20. 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)
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  21.  37
    Art, Beauty and Morality.Chiara Brozzo & Andy Hamilton - forthcoming - In Mark Hopwood & Silvia Panizza (eds.), The Murdochian Mind.
    In this chapter, we examine Iris Murdochs views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, (...)Kant, and Freud. We argue that Murdochs views about art, though traditionally linked to Plato, are more compatible with Kants thought than has been acknowledgedthough with his ethics rather than his aesthetics. Murdoch shows Platos influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)
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  22. 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)
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  23. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning ofart.’ Finding a (...)
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  24.  34
    Art, Authenticity, and Understanding.David Suarez - forthcoming - In Jens Pier & Aron Schwertner (eds.), Limits of Intelligibility: Issues from Kant and Wittgenstein. Routledge.
    Early 20th century debates over the possibility ofmetaphysicsare grounded in a set of questions and answers whose central themes are already delineated in Kants (...)critical philosophy. Wittgenstein and Carnap are sympathetic to Kants dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive forms of understanding and expression exemplified in art. This Romantic turn to art is not taken arbitrarily; it is motivated by methodological considerations that emerge within Kants own critical system. I take up the Kantian considerations which lead to an understanding of art as a window into the fundamental conditions of meaning-making before turning to Heideggers development of this line of thought. Next, I examine Carnap and Wittgensteins skepticism concerning the meaning of Heideggers philosophical terminology, focusing on what is perhaps the most problematic case: Heideggers talk ofthe nothing’. I argue that this skepticism is overblown. Heideggers talk of the nothing is meaningful in the way that talk about figure and ground is meaningful: it serves as an ostensive indication of intersubjectively accessible structural features of our encounters with things. I conclude by drawing out the existential ramifications of the decision to speak or be silent, drawing on Audre Lorde to illustrate the place of art in making it possible for us to lead authentic lives. (shrink)
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  25.  92
    ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattaris notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them asart(s) of becoming”. Art(s) (...)
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  26. 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 (...)
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  27. The Art of Food.Aaron Meskin - 2013 - The Philosophers' Magazine 61 (61):81-86.
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  28. Dual Character Art Concepts.Shen‐yi Liao, Aaron Meskin & Joshua Knobe - 2020 - Pacific Philosophical Quarterly 101 (1):102-128.
    Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a (...)
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  29. The Science of Art: A Neurological Theory of Aesthetic Experience.Vilayanur Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic (...)
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  30. 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 (...)
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  31. Art and Pornography.Hans Maes - 2009 - Journal of Aesthetic Education 43 (3):pp. 107-116.
    This paper provides an in-depth review of Jerrold Levinsons 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 Levinsons own intentional-historical definition of art and his Wollheimian account of depiction. (shrink)
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  32. Art, Philosophy, and Creativity.Said Mikki - manuscript
    We reflect on the nature of art, the creative process, and the connection between art and philosophy.
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  33. 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 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)
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  34. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins (...)
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  35. 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 (...)
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  36. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoríaarte conceptualse aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte (...)
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  37. Art and Objects: A Manifesto.Said Mikki - manuscript
    We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within (...)
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  38. 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 FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)
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  39. Art and Modal Knowledge.Dustin Stokes - 2006 - In Dominic Lopes & Matthew Kieran (eds.), Knowing Art: Essays in Epistemology and Aesthetics. Springer.
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  40.  28
    Art Concept Pluralism Undermines the Definitional Project.P. D. Magnus & Christy Mag Uidhir - 2022 - British Journal of Aesthetics 62 (1):81-84.
    This discussion note addresses Caleb HazelwoodsPractice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an (...) analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralismbut it is a mistake to take these as the basis for a disjunctive definition. (shrink)
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  41. Can Food Be Art in Virtue of Its Savour Alone?Mohan Matthen - 2021 - Critica 53 (157).
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a (...)theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food. (shrink)
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  42. 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 willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)
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  43. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and (...)
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  44. Art and Ambiguity: A Gestalt-Shift Approach to Elusive Appearances.John O'Dea - 2018 - In Fabian Dorsch & Fiona Macpherson (eds.), Phenomenal Presence.
    I defend a solution to a long-standing problem with perceptual appearances, brought about by the phenomenon of perceptual constancy. The problem is that in conditions which (...)are non-ideal, yet within the range that perceptual constancy works, we see things veridically despite anappearancewhich is traditionally taken to be non-veridical. For example, a tilted coin is often taken to have anelliptical appearance”, shadowed surfaces adarker appearance”. These appearances are puzzling for a number of reasons. I defend and elaborate on an approach taken by Sean Kelly, and earlier by the art historian E.H. Gombrich, according to which we can be tricked by our ability to bring about a kind of Gesltalt shift between different possible perceptual interpretations of a scene. (shrink)
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  45. Ethics of Mixed Martial Arts.Walter Veit & Heather Browning - forthcoming - In J. Holt & M. Ramsay (eds.), The Philosophy of Mixed Martial Arts: Squaring the Octagon. London: Routledge. pp. 134-149.
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  46. Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, Ill argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it (...) evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just afeelingorsensationthat results from engaging with a work of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)
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  47.  96
    Art, Aesthetics, and the Medium: Comments for Nguyen on the Art-Status of Games.Christopher Bartel - 2021 - Journal of the Philosophy of Sport 48 (3):321-331.
    Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic (...)
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  48. The Art of the Unseen: Three Challenges for Racial Profiling.Frej Klem Thomsen - 2011 - The Journal of Ethics 15 (1-2):89 - 117.
    This article analyses the moral status of racial profiling from a consequentialist perspective and argues that, contrary to what proponents of racial profiling might assume, there is (...)
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  49. ForArtto BeArt’, It has to Be Strange and Disturbing.Jakob Zaaiman - 2015 - Alldaynight.Info.
    What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art (...)
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  50. 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)
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