When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, non-Eurocentric account. The (...) account focuses less on genealogy and more on what necessitates something like an art-historical awareness or attention in the first place. Relying on examples from ancient Mesopotamia, it argues that art-historical thought can be identified whenever and wherever material objects are attended to or produced for their potential to manifest visibly and over time their meaning. (shrink)

Marianna Charitonidou's books discuss the problem of changes in the creation of architecture in the 20th century. The author showed representatives of four generations of architects of this period. The first group is represented by Le Corbusier and Ludwig Mies van der Rohe. The second generation was described as a group of opponents to the CIAM environment centered around the Team X grouping and the activities of Alison and Peter Smithson and Aldo van Eyck. Generation three was discussed based on (...) the work of Aldo Rossi and Giancarlo Da Carlo. Generation four, active since the 1980s, was linked to the activities of Rem Koolhaas and Bernard Tschumi. (shrink)

Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If artworks (...) are to be understood as agents enchanting their recipients, how can they be forces of disenchantment at the same time? I argue that the shift in perspective from perceiving art objects as enchanting agents to approaching them as possible means of gaining cognitive distance is inadequately addressed by these theories. (shrink)

Two stories have dominated the historiography of early modern philosophy: one in which a seventeenth century Age of Reason spawned the Enlightenment, and another in which a skeptical crisis cast a shadow over subsequent philosophy, resulting in ever narrower "limits to knowledge." I combine certain elements common to both into a third narrative, one that begins by taking seriously seventeenth-century conceptions of the topics and methods central to the rise of a "new" philosophy. In this revisionist story, differing approaches (...) to the central subject matter of early modern metaphysics--knowledge of substances through their essences and causal powers--arise as a result of disagreements about the powers of the human cognitive faculties. Methodological writings are seen as attempts to direct readers in the proper use of their cognitive faculties. The early modern rejection of the Aristotelian theory of cognition ranks equally in importance with rejection of Aristotelian doctrines about nature. Skepticism is more often than not a tool to be used in teaching the reader the proper use of the cognitive faculties, or indeed in convincing the reader of the existence or inexistence of certain cognitive faculties or powers. Instead of early modern "epistemology" or "theory of knowledge," one speaks, with seventeenth century writers, of theories of the cognitive faculties and their implications for the possibility of human knowledge. The early modern rejection of Aristotelian logic can then be seen as reflecting a negative assessment about the fit between syllogistic reasoning and logic as an art of reasoning or thinking which refines the use of the cognitive faculties. -/- Central to this new historiography is the story of the relation between the intellect and senses as cognitive faculties or powers. The development of philosophy from Descartes to Kant can be portrayed as a series of claims about the power of the intellect to know the essences of things, with resulting consequences for ontology and the foundations of natural philosophy. I illustrate this revised narrative by comparing three conceptions of the intellect in three philosophical settings, provided by several late scholastic Aristotelians, Descartes, and Locke. I have two aims: first, to exhibit the central role played by the conception of intellect or understanding in these authors, and, second, to locate their discussions of the cognitive faculties in relation to recent understandings of psychology, epistemology, logic, mind, and their relations. Early modern writings do not easily fit into the modern categories of epistemology and psychology; more generally, the early modern concern with the workings of mind does not coincide with recent conceptions of naturalism. These findings can help us to see problems with our current categories. (shrink)

Scientific revolution has been one of the most controversial topics in the history and philosophy of science. Yet it has been no consensus on what is the best unit of analysis in the historiography of scientific revolutions. Nor is there a consensus on what best explains the nature of scientific revolutions. This chapter provides a critical examination of the historiography of scientific revolutions. It begins with a brief introduction to the historical development of the concept of scientific revolution, (...) followed by an overview of the five main philosophical accounts of scientific revolutions. It then challenges two historiographical assumptions of the philosophical analyses of scientific revolutions. (shrink)

It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...) of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).

It is truly critical and crucial to analyze the revolutionary and radical role of technology in defining the aesthetic experience of modern man. Printmaking has initiated mass communication of visuals, and photography has re-defined realism, creating an alternate possibility of ‘seeing’ other than physically being with the object itself. Virtual reality and other artificial platforms are further facilitating this change in unpredictable ways. Inevitably, the criteria for aesthetic appreciation has transcended its traditional norms, related to concepts like ‘originality’ and asks (...) critical questions addressing the newer problems of aesthetics, in the background of mechanical reproduction and the irrevocable alteration it has brought to the sensorial experience of the new age. This article attempts to trace the status of these questions by analyzing the historiography of photographs, and graphic prints and their relationship with the new aesthetic idiom as well. (shrink)

The Shroud of Turin is one of the most studied and controversial artifacts. To better understand the reasons for this impossible consensus, we focus on a specific point in the ongoing historical debate: the alleged relationship between the Shroud of Turin and the Pray Codex, the first illuminated manuscript in Hungarian named after the eighteenth-century Jesuit György Pray (1723–1801). Scholars have often compared the characteristics of a miniature in the Pray Codex, commonly dated circa 1192–1195, with the features of the (...) Turin Shroud. The comparison of the Pray Codex with the Shroud of Turin makes the position that the Turin Shroud has absolutely no direct or indirect link with the Pray Codex untenable. It can be said with confidence that the miniaturist of the Pray Codex probably had a direct or indirect link with the Shroud of Turin. (shrink)

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

Introduction to a symposium in The Journal of Aesthetics and Art Criticism on the 50th anniversary of Kendall Walton's "Categories of Art." Featuring papers by Madeleine Ransom, Stacie Friend, David Davies and Kendall Walton.

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

This paper attempts to give a critical appraisal of Professor Suresh Chandra’s views on Historiography of Civilization with reference to Dravidian Civilization. “Historiography of Indian Civilization: Harappans, Dravidians, Aryans and Gandhi’s freedom struggle” (published in JICPR June 1996) and “Demythologizing History: Dravidians in Relation to Harappans and the Aryans” (presented in the seminar on Dravidian Philosophy organized by Dravidian University, Kuppam) are the two significant works which are devoted to Historiography of civilization by Prof. Suresh Chandra. This (...) paper mainly confines to the first article since the second one, as the author himself stated, is an offshoot of the first. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

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 of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...) On the contrary, it is precisely because art teaches indirectly that it teaches better than philosophy and science do. (shrink)

Originating in the field of biology, the concept of the hybrid has proved to be influential and effective in historical studies, too. Until now, however, the idea of hybrid knowledge has not been fully explored in the historiography of pre-modern science. This article examines the history of pre-Copernican astronomy and focuses on three case studies—Alexandria in the second century CE; Baghdad in the ninth century; and Constantinople in the fourteenth century—in which hybridization played a crucial role in the development (...) of astronomical knowledge and in philosophical controversies about the status of astronomy and astrology in scholarly and/or institutional settings. By establishing a comparative framework, this analysis of hybrid knowledge highlights different facets of hybridization and shows how processes of hybridization shaped scientific controversies. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

The world is facing a once-in-a-lifetime situation: the COVID-19 pandemic. During the pandemic, the World Health Organization announced an infodemic as well. This infodemic caused infollution and sparked many controversies. Pandemics as extraordinary occurrences are always attractive to historians. However, infodemics and biased information threaten objective history-writing. Objectivity as it regards historians is already a much-discussed subject. In this commentary, the fundamental theories about objectivity are delineated. Second, the relationship between the infodemic and COVID-19 pandemic is explained. Lastly, the problems (...) regarding objectivity in the historiography of the COVID-19 pandemic are explored. (shrink)

The article aims at clarifying the historical status and cognitive potentials of such a genre of contemporary historiography of philosophy as biographical encyclopedia (dictionary). Based on extensive bibliographic material, the author demonstrates that in the late XX – early XXI centuries in the English-speaking countries there was a real outbreak of interest in encyclopedias and dictionaries, compiled from personalized articles about the life and works of philosophers of certain epochs, countries, trends, etc. According to the author, the increasing popularity (...) of this genre can be considered as a logical continuation of the historical and biographical turns that took place in the Anglo-American (analytic) philosophy in the 1980s and 1990s, respectively. The author specifically emphasizes that it caused the appearance of a significant number of encyclopedias and dictionaries, which contain the well-known facts as well as the significant elements of scholar novelty. The article also shows that similar tendencies have taken place in the contemporary Ukrainian historiography of philosophy. It is shown that Ukrainian experts also made their own significant contribution to the development of this genre. They have successfully developed a special approach, which presupposes the focus on life and works of the representatives of a particular academic institution. The intellectual value of this approach is demonstrated by the example of the recently published two-volume encyclopedia “Kyiv Theological Academy in Names: 1819-1924”. It contains a systematic and very informative presentation of the biographies of many representatives of the national philosophy, whose activities were associated with this institution. The author also shows that from the perspective of the historiography of philosophy, the general methodological foundations of this encyclopedic research is a matter of special interest. (shrink)

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 smoothly—it 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)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.

Principles of Art History: The Problem of the Development of Style in Early Modern Art Heinrich Wölfflingetty research institute. 2015. pp. 356. £20.00.

[This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that (...) artworks express. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...) attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as presented in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.

The history of the science of the stars (astronomy and astrology) in fourteenth-century Byzantium is significantly intertwined with the implications of theological and philosophical controversies. A less-explored astronomical text authored by the fourteenth-century Byzantine scholar Theorodos Meliteniotes (ca. 1320–1393 CE) provides new historical factors toward a historiography of the differences between scientific and theological discourses, their development in the transition to early modern times, and the different historical developments of science in the worlds of the Eastern and Western Churches.

Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the museum. His (...) performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories. (shrink)

the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a work (...) of art is? In this paper we argue that things are works of art in virtue of what they are like, their intrinsic features, that is, in virtue of the fact that they have the perceptual (auditory, visual, etc.) properties they have. In other words: being a work of art supervenes on perceptual-intrinsic features. Currently, this metaphysical view is extremely unpopular within the philosophy of art. It is unpopular because there allegedly exists a knock-down objection to it, the well-known argument from indiscernible counterparts. our thesis implies, among other things, that every perceptual duplicate of a work of art is also a work of art. according to the argument from indiscernible counterparts, however, there could be (or even: there are) indiscernible counterparts such that one of them is a work of art while the other is not. hence things cannot be works of art solely in virtue of what they are like. Our paper divides into three parts. In the first part we state our views. In the second part we defend it against various versions of the argument from indiscernible counterparts. (In doing so our position will become more plausible, we hope). In the final part we provide some meta-reflections on the matter. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. -/- My apologies: I entered this item twice by mistake. PhilPapers will fix this soon. (shrink)

Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given context (...) iff some person culturally competent in this context have afforded it the status of a candidate for appreciation for reasons considered good in this context. This weakly institutional view is supplemented by auxiliary definitions explaining the notions of cultural contexts, competence, and good reasons for affording the status. The relativisation to contexts brings increased explanatory power and scope, and the ability to account for the diversity of art. (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)

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 accent on scientific and empirical character of alchemy, especially from the field of the history of science, promotes the idea that one can understand the cryptic and metaphorical language of alchemy mainly through the laboratory chemical practice. As a result, the tendency is to interpret the spiritual and esoteric language of alchemy, as metaphors for laboratory work and the most representative research on historiography of alchemy that point the spiritual character as being contaminated by esoteric sciences and Victorian (...) occultism. This paper is paying attention to this dichotomy by attempting to understand the exclusivist position of the position that alchemy is a proto-chemistry and to see the consequences of such an interpretation. It is reviewed one of the most representative voices that interpret alchemy as spiritual by Carl. G. Jung and Mircea Eliade, and their rejection, as it is illustrated by William R. Newman and Lawrence M. Principe, showing the boundaries of both approaches and the hazarded character of understanding alchemy merely as part of the history of chemistry. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

Kendall Walton’s “Categories of Art” (1970) is one of the most important and influential papers in twentieth-century aesthetics. It is almost universally taken to refute traditional aesthetic formalism/empiricism, according to which all that matters aesthetically is what is manifest to perception. Most commentators assume that the argument of “Categories” applies to works of literature. Walton himself notes a word of caution: “The aesthetic properties of works of literature are not happily called ‘perceptual’ … (The notion of perceiving a work in (...) a category … is not straightforwardly applicable to literary works)” (335 n.5). However, he goes on to say that although he focuses “on visual and musical works … the central points I make concerning them hold, with suitable modifications, for novels, plays, and poems as well” (335 n.5). Here I consider what “suitable modifications” are required to extend the account to literature. (shrink)

The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...) result in incorporating an essentially institutional component or making the theory extremely complex and virtually impossible to use. (shrink)

In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...) this essay argues that Lopes is wrong in supposing that theories of arts were developed to deal with the ‘hard cases’ – developments such as Duchamp’s readymades and conceptual art. This is a problem since Lopes holds that the buck passing theory’s capacity to deal with the hard cases is one of its virtues. Second, this essay argues that the buck passing theory has no account of which activities are arts and no account of what makes some activity an art. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...) I would therefore like to return the favour. I will place Puolakka’s remarks under critical examination and in the process hope to rephrase, refine, and defend some of my original claims. First, however, I will briefly restate my reading of Danto’s ideas on the end of art. (shrink)

Benjamin's The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media .

This article considers the implications of inferentialist philosophy of language for debates in the historiography of philosophy. My intention is to mediate and refine the polemics between contextualist historians and ‘analytic’ or presentist historians. I claim that much of Robert Brandom’s nuanced defence of presentism can be accepted and even adopted by contextualists, so that inferentialism turns out to provide an important justification for orthodox history of philosophy. In the concluding sections I argue that the application of Brandom’s theory (...) has important limits, and that some polemics by contextualists against presentists are therefore justified. (shrink)

The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...) transcendent illusion according to which there are more or less fixed characteristics that unify our terms, concepts, and practices in such a way as to guarantee their meaning. Against this substantialist approach, Radical History & the Politics of Art argues for a praxeological account that begins the other way around by analyzing specific cultural practices without presupposing a conceptual unity behind them. Such an orientation is radically historicist in the sense that it recognizes that all of our practices—be they linguistic, theoretical, aesthetic or political—are historically constituted and that they are necessarily part of a temporal dynamic. Hence the contingent nature of the labels used to classify various practices or even identify ‘practice’ as such. Radical history thereby proposes a significant departure from the extant debates on art and politics by maintaining that there is no ‘art’ or ‘politics’ in general, nor a singular relation between them. There are only historically constituted practices in various conjunctures, some of which have been labeled, through practical acts of denomination, as ‘artistic’ or ‘political.’ Instead of proposing one more response to the oft-repeated question ‘what is the relationship between Art and Politics?’ this book seeks to overcome the presuppositions that plague such a question. It thereby changes the very nature of the investigation by asking: ‘how do the diverse aspects of practices identified as ‘aesthetic’ and ‘political’ overlap, intertwine and sometimes merge in precise socio-historical force fields of action? (shrink)

The majority of historians and teachers of history tend to believe that it was the Propaganda of the educated elite that led to the Philippine Revolution of 1896. Reynaldo Ileto already made a powerful critique on such perspective by analyzing the mentalité of the pobres y ignorantes, and showed that they indeed possessed a certain worldview that was far different from that of the Ilustrados of the Propaganda Movement. Ileto, however, remained within the limits of the Catholic ideology and its (...) appropriation by the masses in the 19th century. This paper aims to study ginhawa, a Filipino concept, as both a concept and an ideology. The paper argues that ginhawa was used by the natives in interpreting the workings of colonialism. (shrink)

This paper is a critical assessment of M. W. Rowe's functional definition of art.

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)