Results for 'sexist art'

966 found
Order:
  1. “‘But I Voted for Him for Other Reasons!’: Moral Permissibility and a Doctrine of Double Endorsement.Alida Liberman - 2019 - In Mark Timmons (ed.), Oxford Studies in Normative Ethics Volume 9. Oxford University Press. pp. 138 - 160.
    Many people presume that you can permissibly support the good features of a symbol, person, activity, or work of art while simultaneously denouncing its bad features. This chapter refines and assesses this commonsense (but undertheorized) moral justification for supporting problematic people, projects, and political symbols, and proposes an analogue of the Doctrine of Double Effect called the Doctrine of Double Endorsement (DDN). DDN proposes that when certain conditions are met, it is morally permissible to directly endorse some object in virtue (...)
    Download  
     
    Export citation  
     
    Bookmark  
  2. Aesthetic Derogation: Hate Speech, Pornography, and Aesthetic Contexts,.Lynne Tirrell - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press.
    Derogatory terms (racist, sexist, ethnic epithets) have long played various roles and achieved diverse ends in works of art. Focusing on basic aspects of an aesthetic object or work, this article examines the interpretive relation between point of view and content, asking how aesthetic contextualization shapes the impact of such terms. Can context, particularly aesthetic contexts, detach the derogatory force from powerful epithets and racist and sexist images? What would it be about aesthetic contexts that would make this (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  3. The High Wasteland, Scar, Form, and Monstrosity in the English Landscape: What Is the Function of the Monster in Representations of the English Landscape?Michael Eden - 2023 - Dissertation, Middlesex University
    In this thesis, I explore themes and concerns that have arisen in my art practice, namely the relationship between landscape, monstrosity, and subjectivity. The tropes scar and form refer to features analogous in the subject and in the land which take on different specific meanings throughout the project, but in general terms, I relate them to trauma as a defining force. I suggest that monsters can be understood as embodying attitudes to time (a cause of trauma): those being fixity, which (...)
    Download  
     
    Export citation  
     
    Bookmark  
  4. Philosophical An(n)ales: Laideur Abject Dégoût...comme une allergie à l’Autre (féminin).Marina Christodoulou - 2017 - In Bertrand Naivin & Lars Aagaard-Mogensen (eds.), Sur la laideur. [Actes du symposium On Ugliness, organizé par Lars Aagaard- Mogensen au Wassard Elea (Ascea, Italie) en juin 2016]. pp. 97-109.
    Citation: Christodoulou, Marina. “Philosophical An(n)ales: Laideur Abject Dégoût...comme une allergie à l’Autre (féminin),” (trans. Bertrand Naivin) in Sur la laideur. [Actes du symposium On Ugliness, organizé par Lars Aagaard- Mogensen au Wassard Elea (Ascea, Italie) en juin 2016], edited by d Bertrand Naivin and Lars Aagaard-Mogensen (Paris: Editions Complicités, 20178, 97-109. ISSN: 9782351201435 -/- -------------------- -/- Laideur Abject Dégoût ... comme une allergie à l’Autre (féminin) Sur l’art et l’esthétique sexués. -/- Pourquoi le dégoût est-il (ou peut-il être considéré) comme (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. The Possibility Conditions of an Ethics of Belief.Valentin Arts - 2024 - Dissertation, Vrije Universiteit Amsterdam
    This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...)
    Download  
     
    Export citation  
     
    Bookmark  
  6. Sexism is Exhausting: Nietzsche and the Emotional Dynamics of Sexist Oppression.Kaitlyn Creasy - 2024 - In Rebecca Bamford & Allison Merrick (eds.), Nietzsche and Politicized Identities. Albany: State University of New York Press.
    In this paper, I examine a set of theoretical tools Nietzsche offers for making sense of the emotional dynamics and psychophysiological impacts of sexist oppression. Specifically, I indicate how Nietzsche’s account of the social and cultural production of emotional experience (i.e. his account of the transpersonal nature of emotional experience) can serve as a conceptual resource for understanding the detrimental emotional impacts of social norms, beliefs, and practices that systematically devalue certain of one’s ends and interests.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  7. How sexist is Aristotle's developmantal biology?Devin Henry - 2007 - Phronesis 52 (3):251-69.
    The aim of this paper is to evaluate the level of gender bias in Aristotle’s Generation of Animals while exercising due care in the analysis of its arguments. I argue that while the GA theory is clearly sexist, the traditional interpretation fails to diagnose the problem correctly. The traditional interpretation focuses on three main sources of evidence: (1) Aristotle’s claim that the female is, as it were, a “disabled” (πεπηρωμένον) male; (2) the claim at GA IV.3, 767b6-8 that females (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  8. Egalitarian Sexism: A Framework for Assessing Kant’s Evolutionary Theory of Marriage I.Stephen R. Palmquist - 2017 - Ethics and Bioethics (in Central Europe) 1 (7):35–55.
    This first part of a two-part series exploring implications of the natural differences between the sexes for the cultural evolution of marriage assesses whether Kant should be condemned as a sexist due to his various offensive claims about women. Being antithetical to modern-day assumptions regarding the equality of the sexes, Kant’s views seem to contradict his own egalitarian ethics. A philosophical framework for making cross-cultural ethical assessments requires one to assess those in other cultures by their own ethical standards. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  9. (3 other versions)Derogatory Terms: Racism, Sexism and the Inferential Role Theory of Meaning.Lynne Tirrell - 1999 - In Kelly Oliver & Christina Hendricks (eds.), Language and Liberation: Feminism, Philosophy, and Language. SUNY Press.
    Derogatory terms (racist, sexist, ethnic, and homophobic epithets) are bully words with ontological force: they serve to establish and maintain a corrupt social system fuelled by distinctions designed to justify relations of dominance and subordination. No wonder they have occasioned public outcry and legal response. The inferential role analysis developed here helps move us away from thinking of the harms as being located in connotation (representing mere speaker bias) or denotation (holding that the terms fail to refer due to (...)
    Download  
     
    Export citation  
     
    Bookmark   35 citations  
  10. A Bayesian explanation of the irrationality of sexist and racist beliefs involving generic content.Paul Silva - 2020 - Synthese 197 (6):2465-2487.
    Various sexist and racist beliefs ascribe certain negative qualities to people of a given sex or race. Epistemic allies are people who think that in normal circumstances rationality requires the rejection of such sexist and racist beliefs upon learning of many counter-instances, i.e. members of these groups who lack the target negative quality. Accordingly, epistemic allies think that those who give up their sexist or racist beliefs in such circumstances are rationally responding to their evidence, while those (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  11. Egalitarian Sexism: Kant’s Defense of Monogamy and its Implications for the Future Evolution of Marriage II.Stephen R. Palmquist - 2017 - Ethics and Bioethics (in Central Europe) 3 (7):127-144.
    This second part of a two-part series exploring implications of the natural differences between the sexes for the cultural evolution of marriage considers how the institution of marriage might evolve, if Kant’s reasons for defending monogamy are extended and applied to a future culture. After summarizing the philosophical framework for making cross-cultural ethical assessments that was introduced in Part I and then explaining Kant’s portrayal of marriage as an antidote to the objectifying tendencies of sex, I summarize Kant’s reasons for (...)
    Download  
     
    Export citation  
     
    Bookmark  
  12. Chinese Sexism and the Confucian Virtue of Familial Continuity: A Philosophical Interpretation of the Problem of Gender Disparity Within the Cultural Boundary of Confucian China.Li-Hsiang Lee - 2002 - Dissertation, University of Hawai'i
    The connection between Chinese sexism and Confucianism has been a subject of study on the condition of Chinese women in the West since the rise of feminist consciousness in the 1970s. However Confucianism in feminist scholarship is inescapably construed as a misogynous ideology that is incapable of self-rectification in regards to the issue of gender parity. Hence, conceptually the eradication of Confucianism becomes the necessary condition for the liberation of Chinese women, and the adoption of Western ideology let it be (...)
    Download  
     
    Export citation  
     
    Bookmark  
  13. 'Extremely Racist' and 'Incredibly Sexist': An Empirical Response to the Charge of Conceptual Inflation.Shen-yi Liao & Nat Hansen - 2022 - Journal of the American Philosophical Association 9 (1):72-94.
    Critics across the political spectrum have worried that ordinary uses of words like 'racist', 'sexist', and 'homophobic' are becoming conceptually inflated, meaning that these expressions are getting used so widely that they lose their nuance and, thereby, their moral force. However, the charge of conceptual inflation, as well as responses to it, are standardly made without any systematic investigation of how 'racist' and other expressions condemning oppression are actually used in ordinary language. Once we examine large linguistic corpora to (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  14. Understanding art: a checklist of the three most basic categories of crafted material.Jakob Zaaiman - 2016 - Alldaynight.Info.
    One of the difficulties standing in the way of a straightforward understanding of art is caused by the confusion that arises at a very basic level between the purposes and functions of various types of crafted material. In fact, there are only three major types – covering all eventualities – and being able to differentiate between them very much helps to pinpoint exactly what the special nature of ‘art’ is.
    Download  
     
    Export citation  
     
    Bookmark  
  15. On Dealing with Kant's Sexism and Racism.Pauline Kleingeld - 2019 - SGIR Review 2 (2):3-22.
    Kant is famous for his universalist moral theory, which emphasizes human dignity, equality, and autonomy. Yet he also defended sexist and (until late in his life) racist views. In this essay, I address the question of how current readers of Kant should deal with Kant’s sexism and racism. I first provide a brief description of Kant’s views on sexual and racial hierarchies, and of the way they intersect. I then turn to the question of whether we should set aside (...)
    Download  
     
    Export citation  
     
    Bookmark   15 citations  
  16. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - New York: Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...)
    Download  
     
    Export citation  
     
    Bookmark   21 citations  
  17. Conceptual Art (Taylor’s Version).Sherri Irvin - 2025 - In Brandon Polite (ed.), Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  18. The Original Sexist Sin.Edgar Dahl - 2007 - Journal of the Southern Medical Association 100 (1):110-111.
    Download  
     
    Export citation  
     
    Bookmark  
  19. Art and Cultural Heritage: An ASA Curriculum Diversification Guide.Erich Hatala Matthes - 2017 - American Society for Aesthetics, Curriculum Diversification Guides.
    Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
    Download  
     
    Export citation  
     
    Bookmark   19 citations  
  21. The Art of Work in Kant's Critique of Judgment.Tyler Colby Re - forthcoming - Philosophers' Imprint.
    There is a general impression among Kant scholars that he has no robust theory of work. Most of his references to the topic appear in his historical and anthropological writings, where he tells us that work is burdensome, and valuable only for the sake of whatever we produce. In this paper, I argue that Kant has an under-explored theory of work in the third Critique. This theory bears little resemblance to his depiction of work in the historical and anthropological writings. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  22. Art Concept Pluralism.Christy Mag Uidhir & P. D. Magnus - 2011 - Metaphilosophy 42 (1-2):83-97.
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (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 (...)
    Download  
     
    Export citation  
     
    Bookmark   18 citations  
  23. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  24. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  25. Art: What it Is and Why it Matters.Catharine Abell - 2011 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
    Download  
     
    Export citation  
     
    Bookmark   20 citations  
  26.  34
    L'Arte Crea Spazi Vuoti.Alessio Montagner - unknown
    Articolo divulgativo pubblicato su L'Indiscreto il 13 aprile 2022. Le opere d'arte sono analizzabili semioticamente: sono qualcosa che sta per qualcos'altro, oggetti che comunicano del significato. Analizzando le loro proprietà, concludo che le opere d'arte, per definizione, sono a metà via tra le icone e i simboli, e sono caratterizzate da un doppio rimando: l'oggetto artistico rimanda ad una qualche entità, che a sua volta viene reinterpreata e usata per comunicare qualcosa di universale. Si discute quindi l'aspetto cognitivo dell'opera d'arte: (...)
    Download  
     
    Export citation  
     
    Bookmark  
  27. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  28. Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  29. Malraux, Art, and Modernity.Derek Allan - forthcoming - la Revue des Lettres Modernes 2024.
    For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).
    Download  
     
    Export citation  
     
    Bookmark  
  30. How (not) to be a buck-passer about art.Miguel F. Dos Santos - forthcoming - Thought: A Journal of Philosophy.
    According to buck-passers about art, such as Dominic Lopes, every work of art belongs to some art. I distinguish two versions of the buck-passing theory of art—what I call the double-buck-passers’ (DBP) view and the single-buck-passers’ (SBP) view—and point out that Lopes’s view is an instance of the latter. Then I argue the SBP view faces a dilemma, each horn of which leads to trouble. In doing so, I explore uncharted territory: the implications of vagueness for theories of art. I (...)
    Download  
     
    Export citation  
     
    Bookmark  
  31. Can art become theoretical?Clinton Peter Verdonschot - 2021 - Internationales Jahrbuch für Philosophische Anthropologie 11 (1):109-126.
    Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...)
    Download  
     
    Export citation  
     
    Bookmark  
  32. Attempting art: an essay on intention-dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, Mcgill University
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33. The Art of Fugue by Johann Sebastian Bach as an artistic expression of the juncture of beyng in Martin Heidegger’s philosophy.Andrzej Krawiec - 2022 - Polish Journal of Aesthetics 64 (1):103-118.
    Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  34. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
    The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  35. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  36. AI Art is Theft: Labour, Extraction, and Exploitation, Or, On the Dangers of Stochastic Pollocks.Trystan S. Goetze - 2024 - Proceedings of the 2024 Acm Conference on Fairness, Accountability, and Transparency:186-196.
    Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  37. Street Art and Graffiti.Nick Riggle - 1998 - In M. Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press.
    A brief overview of work on street art and graffiti.
    Download  
     
    Export citation  
     
    Bookmark  
  38. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
    Download  
     
    Export citation  
     
    Bookmark  
  39. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  40. Art and Politics in Roger Scruton's Conservative Philosophy.Ferenc Hörcher - 2022 - Springer Verlag.
    This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  41. Is art worth more than the truth?Leon Surette - 1994 - Journal of Value Inquiry 28 (2):181-192.
    My title is derived from Heidegger's 1936-37 lectures, The Will to Power as Art, and my discussion is keyed to two of the Nietzschean remarks on art which Heidegger discusses. The first is: "The phenomenon 'artist' is still the most perspicuous" (Nietzsche 69), and the second is: "The will to semblance, to illusion, to deception, to becoming and change is deeper, more 'metaphysical,' than the will to truth, to reality, to Being" (Nietzsche 74). Heidegger reformulates them respectively as: "Art is (...)
    Download  
     
    Export citation  
     
    Bookmark  
  42. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: Routledge. pp. 179–191.
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  43. Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
    Download  
     
    Export citation  
     
    Bookmark  
  44. The Arts and the Radical Enlightenment.Arran Gare - 2007/2008 - The Structurist 47:20-27.
    The arts have been almost completely marginalized - at a time when, arguably, they are more important than ever. Whether we understand by “the arts” painting, sculpture and architecture, or more broadly, the whole aesthetic realm and the arts faculties of universities concerned with this realm, over the last half century these fields have lost their cognitive status. This does not mean that there are not people involved in the arts, but they do not have the standing participants in these (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  45. Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    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, (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  46. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro (ed.), The Bloomsbury Companion to Aesthetics. Bloomsbury Academic. pp. 39-54.
    Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  47. The Art of Immoral Artists.Shen-yi Liao - 2024 - In Carl Fox & Joe Saunders (eds.), Routledge Handbook of Philosophy and Media Ethics. Routledge. pp. 193-204.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  48. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  49. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...)
    Download  
     
    Export citation  
     
    Bookmark  
  50. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
    Download  
     
    Export citation  
     
    Bookmark   58 citations  
1 — 50 / 966