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  1. Art and Objects: A Manifesto.Said Mikki - manuscript
    We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.
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  2. The achievement of neglect and the ontology of artworks.Matthew Rowe - manuscript
    of (from British Columbia Philosophy Graduate Conference) The paper seeks to reconcile a folk sentiment and a commonplace within aesthetics that may be in tension: The sentiment that our creations can sustain beyond our own lifetimes as a legacy of our lives and the commonplace that some artworks can be made, and exist as artworks within an artist’s mind, without being articulated in a publicly accessible medium. It does this through denying that artworks can exist as the content of thoughts, (...)
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  3. Tool, Collaborator, or Participant: AI and Artistic Agency.Anthony Cross - forthcoming - British Journal of Aesthetics.
    Artificial intelligence is now capable of generating sophisticated and compelling images from simple text prompts. In this paper, I focus specifically on how artists might make use of AI to create art. Most existing discourse analogizes AI to a tool or collaborator; this focuses our attention on AI’s contribution to the production of an artistically significant output. I propose an alternative approach, the exploration paradigm, which suggests that artists instead relate to AI as a participant: artists create a space for (...)
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  4. Heterogeneity and Historicity: On What Makes Art Contemporary.Christopher Earley - forthcoming - Estetika: The European Journal of Aesthetics.
    Contemporary art is a category that can admit art made in any medium, form, genre, and style. However, this unprecedented heterogeneity can make it difficult to understand what makes contemporary art distinct from other kinds of art. In this article, I aim to provide an account of what makes art contemporary. I develop my position by focussing on philosophy of contemporary art emerging from the so-called analytic tradition. I argue that though these philosophers have reckoned with many of the puzzles (...)
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  5. Co-Producing Art's Cognitive Value.Christopher Earley - forthcoming - British Journal of Aesthetics.
    After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the (...)
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  6. The Mess We Make: On the Metaphysics of Artifact Kinds.Nurbay Irmak - forthcoming - Erkenntnis:1-17.
    According to natural kind essentialism, there are certain properties essential to natural kinds. A similar view, artifact kind essentialism, is commonly held for artifactual kinds. According to artifact kind essentialism, artifactual kinds have essential properties that determine their conditions of membership. In this paper, I explore and defend the possibility of a nonessentialist alternative for artifactual kind membership.
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  7. Does the Phineas Gage Effect Extend to Aesthetic Value?Elzė Sigutė Mikalonytė & Clément Canonne - forthcoming - Philosophical Psychology.
    In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...)
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  8. Yale Gallery Talk, Language Perception and Representation.PhD Tanya Kelley - forthcoming - Https://Drive.Google.Com/File/D/1YHzX_YR_wOWC3JUvfBcW7KucWX0Wlr_o/View.
    Yale Gallery Talk, Language Perception and Representation Tanya Kelley and James Prosek Linguist and artist Tanya Kelley, Ph.D., and artist, writer, and naturalist James Prosek, B.A. 1997, discuss color manuals used by artist-naturalists and biologists and lead visitors in close looking and drawing. Presented in conjunction with the exhibition James Prosek: Art, Artifact, Artifice. Space is limited. Open to: General Public .
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  9. Almost Every Work of Art is a Failure.Kenneth Walden - forthcoming - Philosophical Topics.
    It is a constitutive aim of a work of art to express a point of view, but points of view are only had by persons. From this it follows that all works of art aspire to personhood. If a work of art ever succeeded in this aspiration, it would have a profound kind of value, but it cannot, and so its value, at least with respect to this aim, can never be other than that of a noble failure.
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  10. Critical Contextual Aestheticism.Ryan Wittingslow - forthcoming - Debates in Aesthetics.
    Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.
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  11. Imagining Dinosaurs.Michel-Antoine Xhignesse - forthcoming - Journal of Aesthetics and Art Criticism.
    There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...)
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  12. The Disclosure of Concealment. Søren Kierkegaard and the Three Levels of Authorial Performance.Martijn Boven - 2024 - In Stefan Lang, Performativität in der Klassischen Deutschen Philosophie [Performativity in Classical German Philosophy]. Heidelberg: J.B. Metzler. pp. 171-184.
    In 1848, the Danish philosopher Søren Kierkegaard wrote a short yet highly significant theater review, titled “Mr. Phister as Captain Scipio.” This review deals with a seemingly prosaic problem: how can an actor convincingly play the role of a drunk police captain while simultaneously disclosing that this captain is deliberately concealing his intoxicated condition? This article argues that this ‘disclosure of concealment’ underlies Kierkegaard’s oeuvre. It elucidates this argument by illustrating that the three levels of theatrical performance highlighted in “Mr. (...)
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  13. How Abstract Images Have Aboutness.Elisa Caldarola - 2024 - In Chiara Ambrosio & Julia Sánchez-Dorado, Abstraction in science and art: philosophical perspectives. New York, NY: Routledge. pp. 30-50.
    In this chapter, I argue that genuinely abstract images do not depict but have aboutness, nevertheless. All images have aboutness in virtue of the visual configurations on their surfaces: it is through those configurations that they can convey something – they can mean something, represent something, express something, and so on. On the one hand, in depictive images, the visual configurations on the images’ surfaces depict visible objects while abstracting completely from some of their visual proper- ties. In Giovanni Bellini’s (...)
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  14. On Affective Installation Art.Elisa Caldarola & Javier Leñador - 2024 - Topoi 43 (3):699-711.
    In this paper, we look at installation art through the lens provided by the notion of “affective artifact” (Piredda 2019). We argue that affective character is central to some works of installation art and that some of those works can expand our knowledge of our affective lives, while others can contribute to the construction of our identities. Sections (2), (3), and (4) set the stage for our discussion of affective installation artworks by, respectively, situating it within the debate on affective (...)
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  15. Thinking with Images: An Interview with Thomas E. Wartenberg.Sam Heffron - 2024 - Debates in Aesthetics 19 (1):91-102.
    In his most recent book, Thoughtful Images: Illustrating Philosophy Through Art (2023), Thomas E. Wartenberg explores the variety of ways in which visual art has illustrated philosophy. Employing a new framework for thinking about the nature of illustration, Wartenberg surveys a wide variety of cases which, he argues, show not only that philosophical concepts can be illustrated but that such illustrations have the capacity to do philosophy in a substantial way. In this interview, Professor Wartenberg and I discuss the book (...)
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  16. Artifacts Without Authors: Generative Artificial Intelligence and the Question of Authorship.Nurbay Irmak - 2024 - Metaphysics 7 (1):1-15.
    Artifacts are often characterized as intentional products of human activities, suggesting that they must have authors. However, contrary to this common characterization, I argue that there exist novel examples of artifacts that lack authors. This novelty arises directly from the emergence of generative artificial intelligence applications. I provide several examples of such authorless artifacts and address potential objections to their existence.
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  17. Experiencing Atmospheres in Paintings.René Jagnow - 2024 - Journal of Aesthetics and Art Criticism 82 (1):18-35.
    Paintings can exert a strong effect on their viewers by creating atmospheres. But how is it possible for a painting to create an atmosphere? My goal in this paper is to provide a partial answer to this question by focusing on the depiction of light. I argue that paintings can elicit experiences of atmospheres in part because they can depict pictorial space as filled with ambient light that has a distinctive phenomenal character. It is in virtue of this distinctive phenomenal (...)
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  18. The Ontology and Aesthetics of Genre.Evan Malone - 2024 - Philosophy Compass 19 (1):e12958.
    Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...)
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  19. Nuisance de la tragédie. Esthétique de l’émancipation et de la grégarité.Clarisse Michaux & Vivien Giet - 2024 - In Patrick Wotling & Céline Denat, _Nouvelles pistes nietzschéennes. Tendances actuelles de la jeune recherche_. ÉPURE - Éditions et Presses universitaires de Reims. pp. 159-189.
    Cet article part d’un constat retenu par un certain art « politique » : la nécessité de visibiliser les corps minorisés. On y interroge le mot d’ordre suivant, celui d’après lequel l’enjeu principal d’une esthétique de l’émancipation est la représentation. Plus largement, il s’agira de voir comment les discours de libération en art s’empèsent de contraintes rigoristes à l’opposé de l’agenda politique qu’ils annoncent. Méthodologiquement, il est fait recours à une symptomatologie nietzschéenne du langage : une étude des énoncés qui (...)
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  20. Artifacts, Artworks, and Social Objects.Asya Passinsky - 2024 - In Kathrin Koslicki & Michael J. Raven, The Routledge Handbook of Essence in Philosophy. New York, NY: Routledge.
    Artifacts include practical items such as tables, chairs, and screwdrivers, as well as artworks such as paintings, sculptures, and musical works. Social objects include social and institutional things such as dollars, borders, states, corporations, and universities. Although we are all familiar with such entities, it is far from clear what their nature or essence consists in and whether they even have a real nature or essence. The aim of this chapter is to survey and critically examine various positions on these (...)
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  21. Mourning the More-Than-Human: Somatechnics of Environmental Violence, Ethical Imaginaries, and Arts of Eco-Grief.Marietta Radomska - 2024 - Somatechnics 14 (2):199-223.
    Theoretically grounded in queer death studies and environmental humanities, this article has a twofold aim. Firstly, it explores the somatechnics of environmental violence in the context of Northern and Eastern Europe, while paying attention to ongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemical weapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussion on environmental violence and artistic renderings of (...)
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  22. Mapmaking and Cartography as Philosophical Matters. An Introduction.Francesco Ragazzi - 2024 - JOLMA 5 (1):7-18.
    In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. This introduction to the 5th issue of the Journal for the Philosophy of Language, Mind, and the Arts reviews the latest literature and key topics surrounding the relationship between philosophy, cartography (...)
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  23. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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  24. Philosophical Reflection on Beauty in the Late Middle Ages: The Case of Jean Gerson.David Torrijos-Castrillejo - 2024 - Religions 15 (4):434.
    The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s study on Gerson’s (...)
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  25. It's war, let's marry.István Zárdai - 2024 - Philosophy and Photography Lab.
    A short discussion on how photography can capture the sturdiness lent to our personality by our long-term policies structuring our reasoning, even during times of war and other cataclysms.
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  26. The Original in the Digital Age.Doron Avital & Karolina Dolanska - 2023 - Espes. The Slovak Journal of Aesthetics 12 (2):88-107.
    In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo (...)
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  27. How (Not) to Be a Buck-Passer About Art.Miguel F. Dos Santos - 2023 - Thought: A Journal of Philosophy 12 (1):27-34.
    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 (...)
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  28. Crisis and Engagement: A Philosophy of Contemporary Art.Christopher Earley - 2023 - Dissertation, University of Warwick
    Contemporary art is a global success story. It is regularly lauded for its formal experimentation, its diversity, and its interrogation of pressing issues. However, it is also a category of art that creates deep confusion, seemingly floating free of any attempts to clarify its historical determination, conceptual definition, or criteria for critical judgement. The aim of this thesis is to move against this confusion by attempting to answer a central question: what makes art contemporary? In response, I develop three main (...)
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  29. ON THE “NATURALIST” CRITIQUE OF CLEMENT GREENBERG VIDE KANT: A MISTAKEN & HANDED-DOWN CRITIQUE.Ekin Erkan - 2023 - Cosmos and History : The Journal of Natural and Social Philosophy 19 (2):52-72.
    According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...)
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  30. Type Realism Reconsidered.Nurbay Irmak - 2023 - Journal of Aesthetics and Art Criticism:1-11.
    Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...)
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  31. Combination in Duchamp.Andrew Milward - 2023 - Andrewmilward.Net.
    In the life and work of Marcel Duchamp, there is the combination of the visual and the ideational in works such as The Large Glass, the combination of art and chess within his productive activity, the combination of this productive activity and the ways he made money to live, and the combination of the artwork and the viewer in art’s ongoing developmental movements. These combinations provide a content that can be used to create an understanding of the operation of combination (...)
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  32. Performative Images. A Philosophy of Video Art Technology in France.Anaïs Nony - 2023 - Amsterdam: Amsterdam University Press.
    In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video (...)
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  33. Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art.Jake Spinella - 2023 - Journal of Aesthetics and Art Criticism 81 (3):306-316.
    Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...)
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  34. Does a plausible construal of aesthetic value give us reason to emphasize some aesthetic practices over others?Andrew Wynn Owen - 2023 - Proceedings of the European Society for Aesthetics 15:522-532.
    I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...)
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  35. Computer Art, Technology, and the Medium.Christopher Bartel - 2022 - Being and Value in Technology.
    Technological advancements often lead to revolutions in the creation of art; but, what is unclear is whether such advancements always correspond to revolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such endeavors. Moreover, artists do not choose their medium by accident, but presumably do (...)
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  36. “Martin Creed: Conceptual Art and More”.Elisa Caldarola - 2022 - In Davide Dal Sasso & Elisabeth Schellekens, Aesthetics, Philosophy and Martin Creed. Bloomsbury.
    In this paper, I put forward a philosophical analysis of some works by Martin Creed. I suggest that all the works under consideration are works of conceptual art as well as of installation art, and that they display significant expressive properties. The paper is structured as follows: in the first section, I claim that the works are ontologically similar and that they all appear problematic, because it is not very clear how they should be appreciated as artworks; in the second (...)
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  37. Similar but not Identical: Optical Effects and Works of Art.Elisa Caldarola - 2022 - In Guido Bartorelli, Andrea Bobbio, Giovanni Galfano & Massimo Grassi, Trick of the Eye. Cinisello Balsamo (Milano): Silvana Editoriale.
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  38. Immaterial: Rules in Contemporary Art.Sherri Irvin - 2022 - Oxford University Press.
    Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...)
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  39. The Expressive Import of Degradation and Decay in Contemporary Art.Sherri Irvin - 2022 - In Peter Miller & Soon Kai Poh, Conserving Active Matter. Bard Graduate Center - Cultura. pp. 65-79.
    Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...)
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  40. L'auctorialité et la transfiguration de l'expérience esthétique.Clarisse Michaux - 2022 - Revue Philosophique De Louvain 119 (3):489–511.
    Why should one go to see works of art if one can look at faces in clouds and other somewhat more complex forms in tarmac? Does my aesthetic experience discover something unprecedented when it takes products of human Intentionality as substrate rather than “natural objects” supposedly lacking all Intentionality? These questions raise that of the contribution of authorship in the framework of aesthetic experience ; they question the role of the author from one of a number of possible points of (...)
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  41. Seeing Brancusi's First Cry, A First Time, Again.Ellen Miller - 2022 - Janus Head 20 (1):33-40.
    Constantin Brancusi’s sculpture The First Cry asks questions that overlap with the concerns of contemporary existential phenomenology, namely, temporality, the relation between art and truth, the nature of embodiment, and the lived experience of perception. In this paper, I put Heidegger and Merleau- Ponty’s writings into dialogue with one of Brancusi’s many ovoid sculptures. Even though Heidegger is not commonly included by those involved in body studies, his writings—especially the later writings—sketch out a philosophy that is at least open to (...)
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  42. Descriptivism and the Determination Thesis: an Untenable Marriage in the Metaontology of Art.Nemesio G. C. Puy - 2022 - Philosophical Quarterly 72 (3):595-614.
    The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...)
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  43. An Institutional Theory of Art Categories.Kiyohiro Sen - 2022 - Debates in Aesthetics 18 (1):31-43.
    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 (...)
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  44. Art, aesthetics, and the medium: comments for Nguyen on the art-status of games.Christopher Bartel - 2021 - Journal of the Philosophy of Sport 48 (3):321-331.
    Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...
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  45. Erotic Art as Proprioceptive Art.Jiri Benovsky - 2021 - British Journal of Aesthetics 61 (2):247-258.
    The philosophical discussion about erotic art has often been understood in terms of the possibility of erotic art as a form of visual or auditory art. In this article, I focus on erotic experiences qua proprioceptive experiences and I defend the claim that, under the right circumstances, such experiences can bring about proprioceptive artworks.
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  46. "¿Qué son las obras de arte? Las propuestas de los teóricos de la acción".Elisa Caldarola - 2021 - In Leopoldo La Rubia, Nemesio García Carril Puy & Francisco Larubia Y. Prado, Teorías contemporáneas del arte y la literatura. Madrid: Tecnos.
    Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar y (...)
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  47. “Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta, The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
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  48. Architecture and sites: a lesson from the categorization of artworks.Elisa Caldarola - 2021 - Croatian Journal of Philosophy 21 (1):5-24.
    Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture (...)
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  49. Exemplification, Knowledge, and Education of the Emotions through Conceptual Art.Elisa Caldarola - 2021 - Discipline Filosofiche 1.
    In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...)
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  50. On Tags and Conceptual Street Art.Elisa Caldarola - 2021 - Philosophical Inquiries 2:93-114.
    The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...)
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