Results for 'street art'

999 found
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  1. Street Art and Graffiti.Nick Riggle - 2014 - In Michael Kelly (ed.), Oxford Encyclopedia of Aesthetics (2nd Edition). Oxford University Press.
    A brief overview of work on street art and graffiti.
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  2. Using the Street for Art: A Reply to Baldini.Nick Riggle - 2016 - Journal of Aesthetics and Art Criticism 74 (2):191-195.
    I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it (...)
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  3. “From Museum Walls to Facebook Walls”*. A New Public Space for Art.Gizela Horvath - 2014 - In Gizela Horvath, Rozalia Klara Bako & Eva Biro Kaszas (eds.), Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric. Partium Kiado. pp. 73-88.
    The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...)
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  4.  61
    Einbahnstraße: la filosofía como obra de arte.Alejandro Emilio Wills - 2012 - Logos: Revista de la Facultad de Filosofia y Humanidades 22:123-147.
    The literary genesis of Einbahnstraße by Walter Benjamin represents a very special case of the use of the procedures of surrealism in the philosophical-literary production of the author. The process of evolution of thinking that ended up in the writing of this piece is unveiled throughout the present analysis. This is a sign of both waiver and restart; the opening for a new productive dimension in the career of one of the most important —and misunderstood— philosophers of the 20th century. (...)
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  5. Delmas, Candice. A Duty to Resist: When Disobedience Should Be Uncivil. Oxford: Oxford University Press, 2018. Pp. 312. $29.95. [REVIEW]Ten-Herng Lai - 2019 - Ethics 129 (4):710-715.
    Delmas successfully guides us to reconsider the traditional “wisdom” of civil disobedience. She also makes a strong case for expanding the notion of political obligation, which has been narrowly construed as mere obedience, to encompass a duty to resist. Principled disobedience, either civil or uncivil, includes a wide range of tools to tackle different forms of injustice, such as education campaigns, peaceful protests, graffiti street art, whistleblowing, vigilante self-defense, and political riots. We may question to what extent the violent (...)
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  6. Ingarden Vs. Meinong on the Logic of Fiction.Barry Smith - 1980 - Philosophy and Phenomenological Research 41 (1/2):93-105.
    For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by Ingarden’s (...)
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  7. Museums and Digital Culture: New Perspectives and Research.Tula Giannini & Jonathan P. Bowen - 2019 - London, UK: Springer.
    This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates human (...)
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  8. Street on Evolution and the Normativity of Epistemic Reasons.Daan Evers - 2015 - Synthese 192 (11):3663-3676.
    Sharon Street argues that realism about epistemic normativity is false. Realists believe there are truths about epistemic reasons that hold independently of the agent’s attitudes. Street argues by dilemma. Either the realist accepts a certain account of the nature of belief, or she does not. If she does, then she cannot consistently accept realism. If she does not, then she has no scientifically credible explanation of the fact that our epistemic behaviours or beliefs about epistemic reasons align with (...)
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  9.  60
    Morte e Renascimento das Utopias.Emanuel Isaque Cordeiro da Silva, Alana Thaís da-Silva & Eduarda Carvalho Fontain - manuscript
    Estamos cansados das utopias. Estamos cansados das utopias literárias e dos devaneios sobre a Cidade ideal: as utopias em ação que foram os totalitarismos do século XX nos nausearam. Os horrores reais de uns nos impedem de sonhar com os outros. Nossas antigas utopias De Platão a Thomas More, de Étienne Cabet a Fourier, as utopias falavam da rejeição do presente e do real: “Existe o mal na comunidade dos homens”. Mas não lhe contrapunham o futuro nem o possível; elas (...)
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  10.  77
    Ingarden versus Meinong o logice fikcji.Barry Smith - 1998 - In Z. Muszyński (ed.), Z badań nad prawdą i poznaniem. Lublin: Wydawnictwo UMC-S. pp. 283–296.
    : For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by (...)
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  11. Street Smarts.Devin Sanchez Curry - 2021 - Synthese 199 (1-2):161-180.
    A pluralistic approach to folk psychology must countenance the evaluative, regulatory, predictive, and explanatory roles played by attributions of intelligence in social practices across cultures. Building off of the work of the psychologist Robert Sternberg and the philosophers Gilbert Ryle and Daniel Dennett, I argue that a relativistic interpretivism best accounts for the many varieties of intelligence that emerge from folk discourse. To be intelligent is to be comparatively good at solving intellectual problems that an interpreter deems worth solving.
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  12. Contours of Cairo Revolt: Street Semiology, Values and Political Affordances.Matthew Crippen - 2021 - Topoi 40 (2):451-460.
    This article contemplates symbols and values inscribed on Cairo’s landscape during the 2011 revolution and the period since, focusing on Tahrir Square and the role of the Egyptian flag in street discourses there. I start by briefly pondering how intertwined popular narratives readied the square and flag as emblems of dissent. Next I examine how these appropriations shaped protests in the square, and how military authorities who retook control in 2013 re-coopted the square and flag, with the reabsorption of (...)
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  13. “What Good is Wall Street?” Institutional Contradiction and the Diffusion of the Stigma Over the Finance Industry.Thomas Roulet - 2015 - Journal of Business Ethics 130 (2):389-402.
    The concept of organizational stigma has received significant attention in recent years. The theoretical literature suggests that for a stigma to emerge over a category of organizations, a “critical mass” of actors sharing the same beliefs should be reached. Scholars have yet to empirically examine the techniques used to diffuse this negative judgment. This study is aimed at bridging this gap by investigating Goffman’s notion of “stigma-theory”: how do stigmatizing actors rationalize and emotionalize their beliefs to convince their audience? We (...)
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  14. The Art, Poetics, and Grammar of Technological Innovation as Practice, Process, and Performance.Coeckelbergh Mark - 2018 - AI and Society 33 (4):501-510.
    Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...)
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  15. 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 (...)
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  16. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...)
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  17. 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. (...)
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  18.  19
    Street Children in India: A Study on Their Access to Health and Education.Nilika Dutta - manuscript
    Street life is a challenge for survival, even for adults, and is yet more difficult for children. They live within the city but are unable to take advantage of the comforts of urban life. This study focused primarily on access to health and education in street children from 6 to 18 years old in the Indian metropolises of Mumbai and Kolkata. The study also aimed to assess the role of social work interventions in ensuring the rights of (...) children. A combination of quantitative and qualitative research methodologies was used. Convenience sampling was used to recruit 100 children. Data were collected on a one-to-one basis through semi-structured interview schedules and by non-participant observation. Findings revealed that extreme poverty was the primary cause for the increasing numbers of street children. Lack of awareness among illiterate parents regarding educational opportunities kept most children away from school attendance. Factors such as lack of an educational ambience at home made it difficult for the children to work on their lessons outside the premises of the institution. It was evident that those living with their parents had better access to health care facilities than did those living on their own; however, nongovernmental organizations made significant efforts to redress this imbalance, setting up health check-up camps at regular intervals. Although exposure to harsh reality at an early age had resulted in a premature loss of innocence in most, making them sometimes difficult to work with, the nongovernmental organizations were striving to ensure child participation and the growth of individual identity. The interventionists therefore focused on developing a rights-based approach, rather than a charitable one. (shrink)
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  19. 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 (...)
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  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 (...)
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  21. The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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  22. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. 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 (...)
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  23. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  24. 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 (...)
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  25.  89
    Street Children and its Impacts on Society.Sarfraz Ahmed - 2018 - International Journal of Academic Pedagogical Research (IJAPR) 4 (2):12-22.
    Abstract: The present research was aimed to explore the nature of Children on the Street’s relationship with Society and its impacts such as living conditions, basic needs; behaviour of people and police, education, harassment. Using the purposive and convenience sampling technique, forty children on the street were selected for interviews from the areas, Golra Shareef and Bari Imam of Islamabad. Interview based questionnaire has been used as research tool and based on that questionnaire, analysis is provided in chapter four (...)
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  26. 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 (...)
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  27. 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 (...)
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  28. The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  29. Art or Porn: Clear Division or False Dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  30. The Art of Food.Aaron Meskin - 2013 - The Philosophers' Magazine 61 (61):81-86.
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  31. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. London: Routledge. pp. 179–191.
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art 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 (...)
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  32. Art and Negative Affect.Aaron Smuts - 2009 - Philosophy Compass 4 (1):39-55.
    Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...)
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  33.  70
    Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro (ed.), Bloomsbury Companion to Aesthetics. pp. 39-54.
    Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and 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 (...)
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  34.  20
    Rebelliousness and Street-Level Bureaucrats' Discretion: Evidence From Malaysia.Mohammed Salah Hassan, Raja Noriza Raja Ariffin, Norma Mansor & Hussam Al Halbusi - 2021 - Journal of Administrative Science 18 (1):173-198.
    Street-level bureaucrats are a fundamental part of the implementation process of any policy. This study provides an examination of the factors that shape the behavior of street-level bureaucrats at the frontlines of policy implementation. This study investigates how rebelliousness generates an impact on the discretion of street-level bureaucrats and to what extent client meaningfulness plays a moderating factor. It utilizes a survey questionnaire distributed among inspectors of the Department of Labor in the Ministry of Human Resources of (...)
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  35.  93
    Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - manuscript
    In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...)
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  36. Art and Pornography.Hans Maes - 2009 - Journal of Aesthetic Education 43 (3):pp. 107-116.
    This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.
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  37. Trust and Sincerity in Art.C. Thi Nguyen - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  38. 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 (...)
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  39. Art and Ambiguity: A Gestalt-Shift Approach to Elusive Appearances.John O'Dea - 2018 - In Fabian Dorsch & Fiona Macpherson (eds.), Phenomenal Presence.
    I defend a solution to a long-standing problem with perceptual appearances, brought about by the phenomenon of perceptual constancy. The problem is that in conditions which are non-ideal, yet within the range that perceptual constancy works, we see things veridically despite an “appearance” which is traditionally taken to be non-veridical. For example, a tilted coin is often taken to have an “elliptical appearance”, shadowed surfaces a “darker appearance”. These appearances are puzzling for a number of reasons. I defend and elaborate (...)
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  40. The Law and Ethics of K Street: Lobbying, the First Amendment, and the Duty to Create Just Laws.Daniel T. Ostas - 2007 - Business Ethics Quarterly 17 (1):33-63.
    This article explores the law and ethics of lobbying. The legal discussion examines disclosure regulations, employment restrictions,bribery laws, and anti-fraud provisions as each applies to the lobbying context. The analysis demonstrates that given the social value placed on the First Amendment, federal law generally affords lobbyists wide latitude in determining who, what, when, where, and how to lobby.The article then turns to ethics. Lobbying involves deliberate attempts to effect changes in the law. An argument is advanced that because law implicates (...)
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  41. Dual Character Art Concepts.Shen‐yi Liao, Aaron Meskin & Joshua Knobe - 2020 - Pacific Philosophical Quarterly 101 (1):102-128.
    Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...)
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  42.  66
    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 (...)
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  43. 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 (...)
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  44. Art and Modal Knowledge.Dustin Stokes - 2006 - In Dominic Lopes & Matthew Kieran (eds.), Knowing Art: Essays in Epistemology and Aesthetics. Springer.
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  45. The Art of Learning.Jason Konek - forthcoming - Oxford Studies in Epistemology 7.
    Confirmational holism is at odds with Jeffrey conditioning --- the orthodox Bayesian policy for accommodating uncertain learning experiences. Two of the great insights of holist epistemology are that the effects of experience ought to be mediated by one's background beliefs, and the support provided by one's learning experience can and often is undercut by subsequent learning. Jeffrey conditioning fails to vindicate either of these insights. My aim is to describe and defend a new updating policy that does better. In addition (...)
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  46. 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 (...)
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  47. Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...)
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  48. La Deshumanización Del Arte.José Ortega Y. Gasset - 2007 - Espasa.
    Ligado directamente a la dinámica de los movimientos renovadores del arte que surgieron en la España de los años veinte, el texto de Ortega y Gasset ofrece unas perspectivas más amplias y entronca con la renovación de la estética y la historia del arte que había iniciado la tradición teórica e historiográfica alemana a finales del siglo XIX. Ofrecemos, además otros escritos que, como «¿Una exposición Zuloaga?», «La Gioconda», «Diálogo sobre el arte nuevo», «Ensayo de estética a manera de prólogo» (...)
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  49. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...)
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    Can Food Be Art in Virtue of Its Savour Alone?Mohan Matthen - 2021 - Critica 53 (157).
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...)
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