David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
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Philosophical Psychology (3):1-20 (2012)
A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation
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Citations of this work BETA
Annelies Monseré (2016). Borderline Cases and the Project of Defining Art. Acta Analytica 31 (4):463-479.
Annelies Monseré (2015). The Role of Intuitions in the Philosophy of Art. Inquiry 58 (7-8):806-827.
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