Results for 'artwork'

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Bibliography: Art and Artworks in Aesthetics
Bibliography: Artworks in Aesthetics
Bibliography: Art and Artworks, Misc in Aesthetics
  1. Complete Artworks without Authors.Kelly Trogdon - forthcoming - Canadian Journal of Philosophy.
    Investigation of a puzzle concerning complete yet authorless artworks.
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  2. Artwork completion: a response to Gover.Kelly Trogdon & Paisley Nathan Livingston - 2015 - Journal of Aesthetics and Art Criticism 73 (4):460-462.
    Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.
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  3. (1 other version)How Artworks Modify our Perception of the World.Alfredo Vernazzani - 2021 - Phenomenology and the Cognitive Sciences 22 (2):1-22.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...)
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  4. Artworks versus designs.John Dilworth - 2001 - British Journal of Aesthetics 41 (2):162-177.
    I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...)
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  5. Artworks are Valuable for Their Own Sake.Gerad Gentry - 2023 - Journal of the American Philosophical Association, 9(2) 9 (2):234-252.
    To hold that artworks are valuable for their own sake—regardless of whatever secondary value they may have, such as entertainment, formation, education, or a pleasurable experience—is to hold that their final worth is not derived from external or secondary ends. I call this collective set of views the end-in-itself view. Nicholas Stang recently leveled a twofold charge of reductio ad absurdum and operating from a double standard against the EI view. In this article, I refute Stang by showing that the (...)
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  6. Repeatable Artworks as Created Types.Lee Walters - 2013 - British Journal of Aesthetics 53 (4):461-477.
    I sketch here an intuitive picture of repeatable artworks as created types, which are individuated in part by historical paths (re)production. Although attractive, this view has been rejected by a number of authors on the basis of general claims about abstract objects. On consideration, however, these general claims are overgeneralizations, which whilst true of some abstracta, are not true of all abstract objects, and in particular, are not true of created types. The intuitive picture of repeatable artworks as created types (...)
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  7. Artwork and Document in the Photography of Louise Lawler.Sherri Irvin - 2012 - Journal of Aesthetics and Art Criticism 70 (1):79-90.
    What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears (...)
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  8. Artworks Are Not Valuable for Their Own Sake.Nicholas F. Stang - 2012 - Journal of Aesthetics and Art Criticism 70 (3):271-280.
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  9. Artworks and Representational Properties.Sherri Irvin - 2004 - Dialogue 43 (4):627-644.
    A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that (...)
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  10. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  11. Artworks, Objects and Structures.Sherri Irvin - 2012 - In Anna Christina Ribeiro (ed.), Continuum Companion to Aesthetics. Continuum. pp. 55-73.
    This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.
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  12. The Abstractness of Artworks and Its Implications for Aesthetics.John Dilworth - 2008 - Journal of Aesthetics and Art Criticism 66 (4):341-353.
    Artworks have at least some necessary content properties, as do abstract entities such as propositions. But no concrete item, whether an object, event, process etc., could have any necessary content property. So no artwork could be identical with a concrete item. Hence artworks must be abstract. I also argue that artworks are only contingently connected with concrete items, just as propositions are only contingently linked to their linguistic tokens.
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  13. A representational theory of artefacts and artworks.John Dilworth - 2001 - British Journal of Aesthetics 41 (4):353-370.
    The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...)
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  14. How to Change an Artwork.David Friedell - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...)
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  15. Indiscernible Properties, Discernible Artworks.Maria Jose Alcaraz - 2004 - Postgraduate Journal of Aesthetics 1 (3):136-146.
    In this paper I will try to trace a discussion about status of art in some recent theories, which pay special attention to the fact that artworks are the kind of things to which representational, expressive, and aesthetic properties are ascribed. First, I will briefly mention some already established criticisms—developed by Richard Wollheim1—against the idea that artworks cannot be identified with physical objects. These criticisms have the further aim of providing an account of art experience that includes our perceiving representational (...)
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  16. On the Analogy between Artworks and Selves.John Gibson - 2024 - East Asian Journal of Philosophy 3 (2):1-13.
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  17. Methodology in the ontology of artworks: exploring hermeneutic fictionalism.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...)
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  18. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...)
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  19. Cultivating Perception: Phenomenological Encounters with Artworks.Helen A. Fielding - 2015 - Signs 40 (2):280-289.
    Phenomenally strong artworks have the potential to anchor us in reality and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter things and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, thinking (...)
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  20. Hegel's End of Art and the Artwork as an Internally Purposive Whole.Gerad Gentry - 2023 - Journal of the History of Philosophy 61 (3):473-498.
    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 (...)
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  21. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...)
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  22. Against the Moral Appraisal of Interrogative Artworks: Wayne Booth and the case of Huck Finn.Donovan Miyasaki - 2007 - Philosophy and Literature 31 (1):125-132.
    In the following essay, I argue that in the case of some works of art, moral evaluation should not play a role in artistic appraisal. While I reject the strong ethicist’s view—the view that moral evaluation may inform the artistic evaluation of any artwork—I will not do so in favor of the aestheticist’s position. The aestheticist argues for a rigid distinction between the moral and aesthetic evaluation of an artwork. On this view, the moral status of the work (...)
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  23. Architecture and sites: a lesson from the categorization of artworks.Elisa Caldarola - 2021 - Croatian Journal of Philosophy 21 (1):5-24.
    Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture (...)
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  24. Unveiling the Creation of AI-Generated Artworks: Broadening Worringerian Abstraction and Empathy Beyond Contemplation.Leonardo Arriagada - 2024 - Estudios Artísticos 10 (16):142-158.
    In his groundbreaking work, Abstraction and Empathy, Wilhelm Worringer delved into the intricacies of various abstract and figurative artworks, contending that they evoke distinct impulses in the human audience—specifically, the urges towards abstraction and empathy. This article asserts the presence of empirical evidence supporting the extension of Worringer’s concepts beyond the realm of art appreciation to the domain of art-making. Consequently, it posits that abstraction and empathy serve as foundational principles guiding the production of both abstract and figurative art. This (...)
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  25. Can Aesthetic Theories Of Art Be Rescued From The Problem Of Avant-Garde And Other Non-Perceptual Artworks?
– An Exploration Of Non-Perceptual Aesthetic Properties.Angharad Shaw - 2007 - Postgraduate Journal of Aesthetics 4 (1):28-38.
    Proponents of the aesthetic theory of art advocate that the aesthetic domain encompasses all artworks. However, there is a belief that although much art falls under the aesthetic, there are some artworks that do not. Avant-garde artworks are offered as counterexamples to the aesthetic theory as they are artworks that reject the very idea of the aesthetic. This paper explains the idea of non-perceptual aesthetic properties and explores whether it can incorporate avant-garde artworks into the domain of the aesthetic.
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  26. A Twist in the Plot - Systems Thinking and Building Models for Analyzing Literary Artwork.Ben Moshe Sheli - manuscript
    Models are being used extensively for practicing and understanding scientific, engineering and mathematical subjects, but are rarely used as art analyzing tools, particularly, in learning environments. Contrarily, using art to explain mathematical ideas is not unprecedented. Strogatz (1988), for example, built a model based on Romeo and Juliet’s love story and used it to explain the idea of differential mathematics, and system dynamics. Artwork, specially written and plastic classics, is a fixed form of art. We frame them and put (...)
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  27. Copies, Replicas, and Counterfeits of Artworks and Artefacts.Marzia Soavi & Massimiliano Carrara - 2010 - The Monist 93 (3):414-432.
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  28. The Double Life of Jeff Koon's Made in Heaven Glass Artworks.Max Ryynanen - 2004 - Nordic Journal of Aesthetics 16 (29-30).
    This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...)
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  29. 'Art' in Nancy's 'first philosophy': The artwork and the praxis of sense making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    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 (...)
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  30.  30
    Experience and the Organic Unity of Artworks.D. Seiple - 1998 - In M. Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press. pp. 28-30.
    Dewey’s view of art “as experience” takes the art object proper to be distinct from the physical artifact. The "work of art" is a label for a set of perceptual procedures in relation to a complex "situation" – one that is pregnant with vitality and saturated with “pervasive quality.” This qualitative trait is organic rather than merely mechanical in that the informed percipient’s sensibilities have already been sufficiently “funded” with a repertoire of emotionally imbued responses that culminate in a distinctive (...)
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  31. A Matter of Immediacy: The Artwork and the Political in Walter Benjamin and Martin Heidegger.Dimitris Vardoulakis - 2015 - In Andrew E. Benjamin & Dimitris Vardoulakis (eds.), Sparks Will Fly: Benjamin and Heidegger. Albany: State University of New York Press. pp. 237-257.
    Vardoulakis examines the connection between the political and aesthetic commitments of the philosophies of Martin Heidegger and Walter Benjamin. He compares "The Origin of the Work of Art" to "The Work of Art in the Age of Technological Reproducibility.".
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  32. How to Frame Serial Art.Christy Mag Uidhir - 2013 - Journal of Aesthetics and Art Criticism 71 (3):261-265.
    Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement (...)
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  33. (2 other versions)Aesthetic Gestures: Elements of a Philosophy of Art in Frege and Wittgenstein.Nikolay Milkov - 2019 - In Newton Da Costa & Shyam Wuppuluri (eds.), Wittgensteinian : Looking at the World From the Viewpoint of Wittgenstein's Philosophy. Springer Verlag. pp. 506-18.
    Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...)
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  34. Glued to the Image: A Critical Phenomenology of Racialization through Works of Art.Alia Al-Saji - 2019 - Journal of Aesthetics and Art Criticism 77 (4):475-488.
    I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...)
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  35.  84
    Two-Dimensional Theories of Art.Thomas N. P. A. Brouwer - 2022 - Thought: A Journal of Philosophy 11 (3):142-149.
    What determines whether an object is an artwork? In this paper I consider what I will call ‘social’ theories of art, according to which the arthood of objects depends in some way on the art-related social practices that we have. Though such a dependence claim is plausible in principle, social theories of art tend to unpack the determining link between artworks and social practices in terms of intentional relations between the objects in question and the people involved in the (...)
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  36. “Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value.Quan-Hoang Vuong, Manh-Tung Ho, Hong-Kong T. Nguyen, Thu-Trang Vuong & Ho Manh Toan - 2018 - Arts 7 (4):62.
    A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...)
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  37. Black Holes: Artistic metaphors for the contemporaneity.Gustavo Ruiz da Silva & Gustavo Ottero Gabetti - 2023 - Unigou Remote 2023.
    This paper investigates the cultural significance of black holes and suns as metaphors in continental European literature and art, drawing on theoretical insights from French continental authors such as Jean-François Lyotard and Ray Brassier. Lyotard suggests that black holes signify the ultimate form of the sublime, representing the displacement of humanity and our unease with our place in the cosmos. On the other hand, Brassier views black holes as a consequence of the entropic dissolution of matter, reflecting physical reality's indifference (...)
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  38. Theatrical Performances and the Works Performed.Sherri Irvin - 2009 - Journal of Aesthetic Education 43 (3):pp. 37-50.
    I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...)
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  39. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...)
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  40. 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 the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be (...)
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  41. What if Heidegger used Fountain instead of van Gogh’s Shoes to launch the Origin of a Work of Art?’.Paul Halloran - 2020 - Toutfait Online Journal.
    Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his (...)
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  42. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...)
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  43. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  44. On Evasion.Jack Kahn - 2018 - ART PAPERS 43 (4):29-32.
    The artwork from Bruno Bettelheim's Empty Fortress supplies a model of resistance to depiction. Little Joey, an autistic patient whose identity was likely forged, is a political agent despite evading representation. By doing so, he contests for authorship of "autistic identity" decades before the neurodiversity movement began.
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  45. The Kingfisher Story Collection.Quan-Hoang Vuong - 2022 - Hanoi, Vietnam: AISDL.
    (Third edition with additions) -/- This is a collection of short stories centering around the protagonist character, Kingfisher, originally written in Vietnamese by myself. -/- The book aims to introduce international readers to snippets of Vietnamese culture through the ordinary yet humorous life of the bird village. -/- The first 15 of these short stories were published in the Khoảng Lặng (Quiet Moment) column of the Vietnamese magazine Kinh Tế và Dự Báo (Economy and Forecast Review) from 2017 to 2019. (...)
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  46. Point d'expérience spectatorielle, point de magie- Diderot et la communication artistique géniale.Juliette Hélène Christie - manuscript
    Artwork of astounding genius requires a spectator (and not just anyone will do!). The materialist magic worked by an artistic genius only affects others; each genius is impervious to their own magic. Diderot's thought is wonderful and really deserves wider attention (if any thought really does deserve attention ...): a masterpiece is incomplete without one who can appreciate it. -/- This is a talk presented (a few years ago) to an audience of nearly none at a conference. I only (...)
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  47. Counterfactual Reasoning in Art Criticism.Angela Sun - 2022 - Journal of Aesthetics and Art Criticism 80 (3):276-285.
    When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how (...)
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  48. Intuiciones sobre la noción de obra del arte.Paulo Vélez León - 2012 - In Vélez León Paulo & Pacurucu Hernán (eds.), Políticas al borde. Una investigación estética sobre el arte contemporáneo cuencano en los discursos políticos actuales. Redesep. pp. 25-56.
    Algunas de las preguntas fundamentales de la filosofía del arte son: 1) ¿Qué es una obra de arte?, 2) ¿Qué es Arte?, 3) ¿Qué es el arte? Responderlas es determinar el sentido del arte. Este tipo de preguntas están planteadas bajo la fórmula ¿Qué es X?, es decir, preguntas en las cuales en lo simple esta lo complejo, preguntas en donde lo simple no quiere decir que sean sencillas; son preguntas que traen dentro de si su naturaleza y carácter metafísico-ontológico-gnoseológico, (...)
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  49. On Resisting Art.James Harold - 2023 - Journal of Aesthetics and Art Criticism 81 (1):35-45.
    What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...)
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  50. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are (...)
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