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 (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is (...) appropriate, and argues that they obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-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 pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

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 puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon (...) that is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of (...) Fiume, for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

What is the folk concept of art? Does it track any of the major definitions of art philosophers have proposed? In two preregistered experiments (N=888) focusing on two types of artworks (paintings and musical works), we manipulate three potential features of artworks: intentional creation, the possession of aesthetic value, and institutional recognition. This allows us to investigate whether the folk concept of art fits an essentialist definition drawing on one or more of the manipulated factors, or whether it (...) might be a disjunctive or cluster concept. The results suggest that none of the three manipulated properties are necessary for an object to be art, though some, even by themselves, suffice. The folk concept of art might thus well be a cluster concept instead of an essentialist concept. (shrink)

In this paper, I will look at the relationship between Weitz’s claim that art is an “open” concept and Dickie’s institutional theory of art, in its most recent form. Dickie’s theory has been extensively discussed, and often criticized, in the literature on aesthetics, yet it has rarely been observed – to my knowledge at least – that the fact that his theory actually incorporates, at least to some extent, Weitz’s claim about the “openness” of the concept of art, (...) precisely accounts for what I take to be the main flaws in the theory. In what follows I present arguments for that claim, looking briefly at the position of both authors with respect to the concept of art, then showing how they relate to each other, and what implications this has for Dickie’s institutional theory, and more generally for the traditional project of characterising art. (shrink)

The thesis explores the adequacy of five well-known conceptions of art to the case of gardens. It concludes that, of those conceptions, the cluster theory is best suited to the case of gardens.

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin (...) and end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? (...) Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)

The article reassesses Schelling’s philosophy of art in the System of Transcendental Idealism, focusing on its practical philosophy and the concept of the artefact. Often unexplored, this perspective offers a new account of Schelling’s early aesthetics, linking aesthetic experience to historical becoming. The discussion begins with an analysis of Schelling’s theory of intentional action, followed by a reconstruction of his understanding of artefact. It argues that Schelling integrates both social and material dimensions into his concept of artefacts. The (...) paper then examines Schelling’s comparison between artefacts in general and works of art, asserting that aesthetic experience in the context of the System exemplifies ‘hermeneutic obstinacy’. This characteristic, typical of works of art, correlates with the open nature of historical reality. (shrink)

This article expands on the concept of aura, within the frame of art ontology, and based on neurophilosophy, the stages of human thought, and peak experiences. Aura, generally signifying the subjective value of a work of art, is in this work associated with peak experiences and neurobiological impacts. In this context, the concept of aura involves an effort to understand the effects that a work of art has on the viewer and how these effects form a peak experience. (...) This study investigates how aura and peak experiences have changed and evolved in different cultural and historical contexts, considering the stages of human thought. In the end, the thesis presents a broader definition of the concept of aura; stating that aura shows variability according to conditions, periods, and spaces, and it is a concept that enables the subject to reach peak experiences. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

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 with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the (...) arts will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

We have a rough idea of what artifacts are: artifacts are objects made to serve a certain purpose. However, there is no consensus on how to specify this definition. Essentialists argue that objects are grouped into artifact kinds by sharing non-trivial artifact essences, while anti-essentialists argue that there is no such essence to be found. However, the prominent essentialist and anti-essentialist accounts suffer from extensional and definitional problems. I argue that the problems current essentialist and anti-essentialist accounts face mainly stem (...) from the assumption of artifact concept monism. According to artifact concept monism, there is only a single way to group objects into artifact kinds. To remedy the problems that stem from artifact concept monism, this paper offers an alternative framework by drawing parallels from the debates on species concept pluralism and art concept pluralism. (shrink)

The articles examines how failure, especially in so-called 'stochastic' arts or sciences like medicine and navigation stimulated reflections about the nature of the knowledge required of a genuine art (techne) or science.

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body (...) of anthropological and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...) though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time? -/- Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future. -/- ‘It's wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.’ – James Elkins, School of the Art Institute of Chicago ‘In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed "methods" and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.’ – Whitney Davis, University of California at Berkeley. (shrink)

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...) in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)

On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, (...) but actually is, art. (shrink)

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 the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes (...) lignes, le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...) its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the (...) folk as necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to understand (...) the concept. The study conducted a focused group interview (FGI) with concert with classical music marketing specialists and their strategic collaborators. The framework of entrepreneurial orientation (EO) was applied to analyze identify arts entrepreneurship in each organization. The entrepreneurial approaches of these organizations are identified by how their entrepreneurial orientation (EO) is executed in their innovativeness, risk-taking, and proactiveness. The results of this empirical study are demonstrated in three aspects: 1) Strategic collaboration with an unconventional partner resulted in realization of entrepreneurial orientation. 2) Entrepreneurship through strategic collaboration resulted in reducing production costs, sourcing new funds, increasing the audience base and performance opportunities 3) Arts entrepreneurship was designed to maintain the core value that the quality of music would not be compromised or altered. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory of (...) projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...) roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking example of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty; on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it? (shrink)

On the basis of the conception of aesthetic imagination derived from evolutionary psychology, cognitive psychology, and social cognitive neuroscience, today it is possible - and more appropriate - to invert the traditional view of anthropologists and archeologists that conceives the arts (from the early pre-historic arts) as mere instruments supporting religious beliefs, practices, and rituals.

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 the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all (...) of the formal elements that had previously characterized the visual arts; the result was “emptiness” or “nothingness” as art. The author refers to this process in terms of “vanishing acts” that 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)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

Theoretically grounded in queer death studies and environmental humanities, this article has a twofold aim. Firstly, it explores the somatechnics of environmental violence in the context of Northern and Eastern Europe, while paying attention to ongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemical weapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussion on environmental violence and artistic renderings (...) of eco-grief, the article hopes to contribute to a better understanding of the socio-cultural responses to more-than-human death and loss, and their accompanying ethical imaginaries and affordances. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency (...) is bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

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)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word (...) “expressiveness” is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

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 (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...) missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of ‘art’ – taking a huge hint from the concept of ‘arthouse cinema’ - is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration - through various available media - of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself. (shrink)

Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...) And finally we should draw a line between intention at time of conception and intention at time of display. A good interpretation, then, will attribute *specific* intentions to the *postulated* artist at the time of *display*. Problem solved? The postulated author of this essay thought so, at least, at the moment when he hit "send.". (shrink)

This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the (...) dominance of referential art following the conceptualist period. Referential artworks are split into object and reference. This impedes untrammeled creativity, which would otherwise promote the integration of diverse formal elements. This article proposes painting that exemplifies such artistic creation. (shrink)

The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that is (...) essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...) able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

The nature and characteristics of traditional art have always been controversial, and Frithjof Schuon, as one of the leading figures of the traditionalist movement, has made many claims in this regard. One of the ways to investigate philosophical issues is to clarify concepts by providing the necessary and sufficient conditions, which has been widely used in the contemporary philosophy of art. This paper, which has been done by descriptive-analytical method, tries to introduce the necessary and sufficient conditions for a supposed (...) work of art to be categorized under the category of "traditional art" by referring to Schuon's works. The results show that the three conditions of "symbolic expression of intellectual realities", "being functional and useful" and "conformity of form, raw materials, and symbolism with the rules of traditional art" can be considered as necessary conditions and together as a sufficient condition for an artwork to be "traditional" from Schuon's point of view. (shrink)

This paper aims at propounding possible relations between the concepts of time and art in Martin Heidegger’s thinking. Time and art which hold a central place in different periods of Heidegger’s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork’s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, it (...) is argued that the work of art bears a temporality of its own and an attempt is made to show how this is realized with the experience of art. (shrink)

Discusses the question of the objectivity or subjectivity of moral judgments, hoping to illuminate it by contrasting moral and aesthetic judgments. In her critical assessment of the nature of moral judgments, Foot concludes that some such judgments (as e.g. that Nazism was evil) are definitely objective. The concept of morality here supplies criteria independent of local standards, which function as fixed starting points in arguments across local boundaries, whereas, by contrast, aesthetic truths can ultimately depend on locally determined criteria. (...) More problematic is the apparently different relation of moral and of aesthetic judgments to rational choice. Individuals may have no reason to choose what is beautiful, but we think that they must always have reason to choose what is morally right, which raises one of the most difficult problems in moral philosophy. (shrink)