In defence of extreme formalism about inorganic nature: Reply to Parsons
British Journal of Aesthetics 45 (2):185-191 (2005)
| Abstract | I defend extreme formalism about inorganic nature against arguments put forward by Glenn Parsons. I begin by laying out the general issue over aesthetic formalism, and I describe the position of extreme formalism about inorganic nature. I then reconsider -Ronald Hepburn's beach/seabed example. Next I discuss the notions of function in play in our thinking about inorganic nature. And lastly I consider Parsons's flooding river example. I conclude that extreme formalism about inorganic nature is safe from Parsons's arguments. | |||||||||
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Spyros Papapetros (2012). On the Animation of the Inorganic: Art, Architecture, and the Extension of Life. University of Chicago Press.
Glenn Parsons (2004). Moderate Formalism as a Theory of the Aesthetic. Journal of Aesthetic Education 38 (3).
Nick Zangwill (1999). Feasible Aesthetic Formalism. Noûs 33 (4):610-629.
Malcolm Budd (2006). Objectivity and the Aesthetic Value of Nature: Reply to Parsons. British Journal of Aesthetics 46 (3):267-273.
Peter McBurney & Simon Parsons (2002). Games That Agents Play: A Formal Framework for Dialogues Between Autonomous Agents. Journal of Logic, Language and Information 11 (3):315-334.
Stephen Davies (2010). Functional Beauty Examined. Canadian Journal of Philosophy 40 (2):315-332.
Nick Zangwill (2000). Defusing Anti-Formalist Arguments. British Journal of Aesthetics 40 (3):376-383.
Glenn Parsons & Allen Carlson (2004). New Formalism and the Aesthetic Appreciation of Nature. Journal of Aesthetics and Art Criticism 62 (4):363–376.
Nick Zangwill (2000). In Defence of Moderate Aesthetic Formalism. Philosophical Quarterly 50 (201):476-493.
Glenn Parsons (2004). Natural Functions and the Aesthetic Appreciation of Inorganic Nature. British Journal of Aesthetics 44 (1):44-56.
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