David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
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
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
Joshua Greene & Jonathan Haidt (2002). How Does Moral Judgment Work? Trends in Cognitive Sciences 6 (12):517-523.
Marc Hauser, Fiery Cushman, Liane Young, J. I. N. Kang-Xing & John Mikhail (2007). A Dissociation Between Moral Judgments and Justifications. Mind and Language 22 (1):1–21.
Paul Bloom (1996). Intention, History, and Artifact Concepts. Cognition 60 (1):1-29.
Scott Atran (1998). Folk Biology and the Anthropology of Science: Cognitive Universals and Cultural Particulars. Behavioral and Brain Sciences 21 (4):547-569.
Citations of this work BETA
Annelies Monseré (forthcoming). Borderline Cases and the Project of Defining Art. Acta Analytica:1-17.
Annelies Monseré (2015). The Role of Intuitions in the Philosophy of Art. Inquiry 58 (7-8):806-827.
Similar books and articles
Dustin Stokes (2014). Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize). Dialectica 68 (1):1-34.
Christy Mag Uidhir & P. D. Magnus (2011). Art Concept Pluralism. Metaphilosophy 42 (1-2):83-97.
Dominic McIver Lopes (2007). Conceptual Art is Not What It Seems. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press
James Putnam (2001). Art and Artifact: The Museum as Medium. Thames & Hudson.
Donald Kuspit (1995). Art and Capital: An Ironic Dialectic. Critical Review 9 (4):465-482.
Dominic McIver Lopes (2007). Art Without ‘Art’. British Journal of Aesthetics 47 (1):1-15.
Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
Anne D. R. Sheppard (1987). Aesthetics: An Introduction to the Philosophy of Art. Oxford University Press.
Peter Goldie & Elisabeth Schellekens (eds.) (2007). Philosophy and Conceptual Art. Oxford University Press.
Christy Mag Uidhir (2009). Why Pornography Can't Be Art. Philosophy and Literature 33 (1):pp. 193-203.
Laurie Adams (2006). The Making and Meaning of Art. Pearson/Prentice Hall.
Paulo Vélez León, Notas Sobre la Situación Del Arte Contemporáneo En Ecuador [Notes on the Situation of Contemporary Art in Ecuador].
Cristian Hainic (2011). A Few Uses of Phenomenology Within Art History. Journal for Communication and Culture 1 (1):70-78.
Added to index2012-11-17
Total downloads50 ( #82,374 of 1,793,092 )
Recent downloads (6 months)4 ( #206,240 of 1,793,092 )
How can I increase my downloads?