What is the purpose of art? What drives us to make it? Why do we value it? Nick Zangwill argues that the function of art is to have certain aesthetic properties in virtue of its non-aesthetic properties, and this function arises because of the artist's insight into the nature of these dependence relations and her intention to bring them about.

Definitions of art tend to take the phenomenon at face value, with philosophers aspiring to accommodate their theories to the artistic facts no matter how bizarre. The result, as for instance in the work of Dickie, is a definition of art neutral on the questions whether any of it is any good, and why anyone would bother to produce it. Zangwill bucks this trend by insisting that the method of definition-and-counterexample that drives much of the field is out of date, (...) and by contending that any good theory of art should explain why making and appreciating it is worth our while. The result is an account of art that foregrounds aesthetic value while striving to show why art production and appreciation are rational activities.Zangwill sees the tradition he wishes to rebut as guided by the method of ‘extensional adequacy’, that is, ‘ … a theory of art that classifies as art all or most of the things we intuitively call “art”, and that excludes all or most of the things that we intuitively do not call “art” ’. This is jarring, since that tradition aims for intensional adequacy, as shown by the fact that a critic of a given theory is allowed to proffer hypothetical rather than just actual cases in aid of that critique. Zangwill's error does not, however, undermine the gravamen of his challenge, which is this. Insofar as we are after a theory of art rather than a description of the …. (shrink)

Suppose that we want to frame a conception of reasons that isn't relativized to the inclinations of particular agents. That is, we want to identify particular things that count as reasons for acting simpliciter and not merely as reasons for some agents rather than others, depending on their inclinations. One way to frame such a conception is to name some features that an action can have and to say that they count as reasons for someone whether or not he is (...) inclined to care about them. The problem with the resulting conception, as we have seen, is that it entails the normative judgment that one ought to be inclined to care about the specified features, on pain of irrationality, and this normative judgment requires justification. The advantage of internalism is that it avoids these normative commitments. It says that things count as reasons for someone only if he is inclined to care about them, and so it leaves the normative question of whether to care about them entirely open. Yet if we try to leave this question open, by defining things as reasons only for those inclined to care about them, we'll end up with a definition that's relativized to the inclinations of particular agents—won't we? Not necessarily. For suppose that all reasons for acting are features of a single kind, whose influence depends on a single inclination. And suppose that the inclination on which the influence of reasons depends is, not an inclination that distinguishes some agents from others, but rather an inclination that distinguishes agents from nonagents. In that case, to say that these features count as reasons only for those who are inclined to care about them will be to say that they count as reasons only for agents—which will be to say no less than that they are reasons for acting, period, since applying only to agents is already part of the concept of reasons for acting. The restriction on the application of reasons will drop away from our definition, since it restricts their application, not to some proper subset of agents, but rather to the set of all agents, which is simply the universe of application for reasons to act. (shrink)

It is widely held that whenever someone φs, that person tries to do φ. I examine arguments by B. O’Shaughnessy and J. Hornsby, and considerations by P. Grice in support of that thesis. I argue that none of them are convincing. The remainder of the paper defends an analysis of the concept of trying along the lines opposed by Grice et al. By speaking of someone’s trying to φ the speaker leaves the room for failure or the possibility of failure. (...) This account of the function of the word ‘try’ makes it clear what is wrong with the claim that whenever someone φs, that person tries to do φ. For that claim amounts to saying that every action is either a failure or a possible failure – which clearly one can’t say of any action that one has already acknowledged to be successful. Furthermore, whether an action is possibly a failure depends on how much one knows about it. Hence the question whether in itself an action does or does not involve trying is as misguided as the question whether it’s intrinsically unexpected. It may be correct for some to describe it as ‘an attempt to φ’, but incorrect for others. (shrink)

It is widely held that whenever someone φs, that person tries to do φ. I examine arguments by B. O’Shaughnessy and J. Hornsby, and considerations by P. Grice in support of that thesis. I argue that none of them are convincing. The remainder of the paper defends an analysis of the concept of trying along the lines opposed by Grice et al. By speaking of someone’s trying to φ the speaker leaves the room for failure or the possibility of failure. (...) This account of the function of the word ‘try’ makes it clear what is wrong with the claim that whenever someone φs, that person tries to do φ. For that claim amounts to saying that every action is either a failure or a possible failure – which clearly one can’t say of any action that one has already acknowledged to be successful. Furthermore, whether an action is possibly a failure depends on how much one knows about it. Hence the question whether in itself an action does or does not involve trying is as misguided as the question whether it’s intrinsically unexpected. It may be correct for some to describe it as ‘an attempt to φ’, but incorrect for others. (shrink)

In this paper, I explore the implications of recent empirical research on concept representation for the philosophical enterprise of conceptual analysis. I argue that conceptual analysis, as it is commonly practiced, is committed to certain assumptions about the nature of our intuitive categorization judgments. I then try to show how these assumptions clash with contemporary accounts of concept representation in cognitive psychology. After entertaining an objection to my argument, I close by considering ways in which conceptual analysis might be altered (...) to accord better with the empirical work. (shrink)

Counterexamples are constructed for the theory of rational choice that results from a direct application of classical decision theory to ordinary actions. These counterexamples turn on the fact that an agent may be unable to perform an action, and may even be unable to try to perform an action. An alternative theory of rational choice is proposed that evaluates actions using a more complex measure, and then it is shown that this is equivalent to applying classical decision theory to "conditional (...) policies" rather than ordinary actions. (shrink)

Berys Gaut has recently articulated and defended a putatively anti-definitional ‘cluster’ theory of art. In the first part of this paper, I argue that Gaut's version of the cluster account is flawed. The key notion of ‘counting toward the application of a concept’ is formulated in such a way that a range of apparently irrelevant properties will count as criterial for the concept of art. Moreover, there does not appear to be any quick fix to this problem. I then turn (...) to an exploration of the relationship between the cluster theory and the possibility of defining art. Gaut has claimed that the truth of the cluster account would provide an independent basis for rejecting the possibility of an adequate definition of art. I argue that this is not the case. But while the truth of the cluster account is consistent with definition, I also argue that it would not entail the definability of art in any ordinary sense. (shrink)

In everyday life people frequently recognize that a person at a time may be more or less strongly motivated to carry out an intentional action and that “trying harder” frequently affects the successful completion of an intentional action. In “Rational Choice and Action Omnipotence,” John Pollock provides an original account of rational choice in which “trying to do an action” is a basic factor. This paper argues that Pollock’s “expected-utility optimality prescription” is deficient because it lacks a parameter for intensity (...) of trying. The paper also indicates specific ways in which this deficiency could be corrected. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

Risto Hilpinen; X*—Authors and Artifacts, Proceedings of the Aristotelian Society, Volume 93, Issue 1, 1 June 1993, Pages 155–178, https://doi.org/10.1093/arist.

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

There is a well-known argument from Leibniz's Law for the view that coincident material things may be distinct. For given that they differ in their properties, then how can they be the same? However, many philosophers have suggested that this apparent difference in properties is the product of a linguistic illusion; there is just one thing out there, but different sorts or guises under which it may be described. I attempt to show that this ‘opacity’ defence has intolerable consequences for (...) the functioning of our language and that the original argument should therefore be allowed to stand. (shrink)

Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

What happens to our conception of mind and rational agency when we take seriously future-directed intentions and plans and their roles as inputs into further practical reasoning? The author's initial efforts in responding to this question resulted in a series of papers that he wrote during the early 1980s. In this book, Bratman develops further some of the main themes of these essays and also explores a variety of related ideas and issues. He develops a planning theory of intention. Intentions (...) are treated as elements of partial plans of action. These plans play basic roles in practical reasoning, roles that support the organization of our activities over time and socially. Bratman explores the impact of this approach on a wide range of issues, including the relation between intention and intentional action, and the distinction between intended and expected effects of what one intends. (shrink)

It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype (...) theory is as a psychological theory not the sort of view that can support philosophical theories like anti-definitionism and historical narrativism. Second, well-known objections and theoretical alternatives to prototype theory theory raise serious questions about that theory’s own credentials. (shrink)

The latest offering in the highly successful Oxford Readings in Philosophy series, The Philosophy of Action features contributions from twelve leading figures in the field, including: Robert Audi, Michael Bratman, Donald Davidson, Wayne Davis, Harry Frankfurt, Carl Ginet, Gilbert Harman, Jennifer Hornsby, Jaegwon Kim, Hugh McCann, Paul Moser, and Brian O'Shaughnessy. Alfred Mele provides an introductory essay on the topics chosen and the questions they deal with. Topics addressed include intention, reasons for action, and the nature and explanation of internal (...) action. A selective bibliography is included as a guide to further reading. Comprehensive and up-to-date, this collection provides an accessible and stimulating introduction for readers interested in the philosophy of action, the philosophy of mind, and moral philosophy. (shrink)

Ancients and moderns alike have constructed arguments and assessed theories on the basis of common sense and intuitive judgments. Yet, despite the important role intuitions play in philosophy, there has been little reflection on fundamental questions concerning the sort of data intuitions provide, how they are supposed to lead us to the truth, and why we should treat them as important. In addition, recent psychological research seems to pose serious challenges to traditional intuition-driven philosophical inquiry. Rethinking Intuition brings together a (...) distinguished group of philosophers and psychologists to discuss these important issues. Students and scholars in both fields will find this book to be of great value. (shrink)

This book deals with foundational issues in the theory of the nature of action, the intentionality of action, the compatibility of freedom of action with determinism, and the explantion of action. Ginet's is a volitional view: that every action has as its core a 'simple' mental action. He develops a sophisticated account of the individuation of actions and also propounds a challenging version of the view that freedom of action is incompatible with determinism.

Ernie Lepore and Jerry Fodor have published a series of original and controversial essays on issues relating to compositionality in language and mind; they have...

PREFACE PART I METAPHYSICS Review of John McDowell’s Mind and World Special Sciences: Still Autonomous after All These Years Conclusion Acknowledgment Notes PART II CONCEPTS Review of Christopher Peacocke’s A Study of Concepts Notes There Are No Recognitional Concepts--Not Even RED Introduction Compositionality Why Premise P is Plausible Objections Conclusion Afterword Acknowledgment Notes There Are No Recognitional Concepts--Not Even RED, Part 2: The Plot Thickens Introduction: The Story ’til Now Compositonality and Learnability Notes Do We Think in Mentalese? Remarks on (...) Some Arguments of Peter Carruthers Appendix: Higher-Order Thoughts Notes Review of A. W. Moore’s Points of View PART III COGNITIVE ARCHITECTURE Review of Paul Churchland’s The Engine of Reason, The Seat of the Soul Connectionism and the Problem of Systematicity: Why Smolensky’s Solution Doesn’t Work Introduction I The Systematicity Problem and Its Classical Solution II Weak Compositionality III Strong Compositional Structure Conclusion Notes Connectionism and the Problem of Systematicity : Why Smolensky’s Solution Still Doesn’t Work Stage 1: Classical Theories The Connection with The Connection with Stage 2: Smolenksy Architectures Stage 3: Why Smolensky’s Solution Still Doesn’t Work Digression on singing and sailing Acknowledgment Notes There and Back Again: A Review of Annette Karmiloff-Smith’s Beyond Modularity 1. Encapsulation 2. Inaccessibility 3. Domain specificity 4. Innateness Conclusion Notes Review of Jeff Elman et al., Rethinking Innateness Brainlikeness Interactions Representational Nativism Empiricism Review of Steven Mithen’s The Prehistory of the Mind PART IV PHILOSOPHICAL DARWINISM Review of Richard Dawkins’s Climbing Mount Improbable Deconstructing Dennett’s Darwin Introduction Adaptation Adaptation and Teleology Deconstruction Notes Is Science Biologically Possible? Comments on Some Arguments of Patricia Churchland and of Alvin Plantinga Acknowledgment Notes Review of Steven Pinker’s How the Mind Works and Henry Plotkin’s Evolution in Mind Computation Massive modularity Innateness Psychological Darwinism. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

My goal is to define intending. I defend the view that believing and desiring something are necessary for intending it. They are not sufficient, however, for some things we both expect and want (e.g., the sun to rise tomorrow) are unintendable. Restricting the objects of intention to our own future actions is unwarranted and unhelpful. Rather, the belief involved in intending must be based on the desire in a certain way. En route, I argue that expected but unwanted consequences are (...) not intended, examine the two senses of "desire," distinguish intending from being willing, and relate intending to a variety of other propositional at? titudes. (shrink)

This paper explores the sense in which belief "aims at the truth". In this course of this exploration, it discusses the difference between belief and make-believe, the nature of psychoanalytic explanation, the supposed "normativity of meaning", and related topics.