71 found
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  1.  9
    David Davies (2004). Art as Performance. Blackwell Pub..
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  2.  94
    David Davies (2007). Thought Experiments and Fictional Narratives. Croatian Journal of Philosophy 7 (1):29-45.
    I explore the possibility that there are interesting and illuminating paralleIs to be drawn between issues central to the philosophical literature on scientific thought experiments (TE’s) and issues central to the phlilosophical literature on standard fictional narratives. I examine three related questions: (a) To what extent are TE’s (like) standard fictional narratives? (b) Is the understanding of TE’s like the understanding of standard fictional narratives? (c) Most significantly, are there illuminating paralIeIs to be drawn between the ‘epistemological problem’ of TE’s (...)
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  3.  60
    David Davies (1998). How Sceptical is Kripke's 'Sceptical Solution'? Philosophia 26 (1):119-140.
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  4.  23
    David Davies (2015). Fictive Utterance and the Fictionality of Narratives and Works. British Journal of Aesthetics 55 (1):39-55.
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  5.  90
    David Davies (1987). How Not to Outsmart the Anti-Realist. Analysis 47 (1):1 - 8.
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  6.  9
    David Davies (2015). Sibley and the Limits of Everyday Aesthetics. Journal of Aesthetic Education 49 (3):50-65.
    In “The Pervasiveness of the Aesthetic in Ordinary Experience,” Sherri Irvin claims that “our everyday lives have an aesthetic character that is thoroughgoing and available at every moment, should we choose to attend to it.”1 While distancing her paper from terminological debates about the scope of the term “aesthetic,” she nonetheless claims to have established, at least to the satisfaction of a sympathetic “Deweyan” skeptic, that this term is properly applicable to the character of a range of everyday experiences. Furthermore, (...)
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  7. David Davies (1997). Why One Shouldn’T Make an Example of a Brain in a Vat. Analysis 57 (1):51–59.
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  8.  48
    David Davies (2011). Philosophy of the Performing Arts. Wiley-Blackwell.
    This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.
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  9. David Davies (1999). Artistic Intentions and the Ontology of Art. British Journal of Aesthetics 39 (2):148-162.
  10.  85
    David Davies (1996). Fictional Truth and Fictional Authors. British Journal of Aesthetics 36 (1):43-55.
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  11.  59
    David Davies (2009). The Primacy of Practice in the Ontology of Art. Journal of Aesthetics and Art Criticism 67 (2):159-171.
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  12. David Davies (ed.) (2008). The Thin Red Line. Routledge.
    The Thin Red Line is the third feature-length film from acclaimed director Terrence Malick, set during the struggle between American and Japanese forces for Guadalcanal in the South Pacific during World War Two. It is a powerful, enigmatic and complex film that raises important philosophical questions, ranging from the existential and phenomenological to the artistic and technical. This is the first collection dedicated to exploring the philosophical aspects of Malick’s film. Opening with a helpful introduction that places the film in (...)
     
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  13.  74
    David Davies (2008). Collingwood's ‘Performance’ Theory of Art. British Journal of Aesthetics 48 (2):162-174.
    Even if we reject the Wollheimian reading of Collingwood as an Idealist in the ontology of art, it remains puzzling how his non-Idealist ontology fits with his idea of art as expression. In trying to clarifying these matters, I argue that (i) the work of art, for Collingwood, is an activity, not the product of an activity; (ii) puzzling features of the Principles arise from attempts to reconcile this claim with the idea of art as expression while preserving the art/craft (...)
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  14.  53
    David Davies (1995). Dennett's Stance on Intentional Realism. Southern Journal of Philosophy 33 (3):299-312.
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  15. David Davies (2008). Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography. In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell Pub.
     
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  16.  27
    David Davies (1996). Explanatory Disunities and the Unity of Science. International Studies in the Philosophy of Science 10 (1):5 – 21.
    Abstract According to John Dupré, the metaphysics underpinning modern science posits a deterministic, fully law?governed and potentially fully intelligible structure that pervades the entire universe. To reject such a metaphysical framework for science is to subscribe to ?the disorder of things?, and the latter, according to Dupré, entails the impossibility of a unified science. Dupré's argument rests crucially upon purported disunities evident in the explanatory practices of science. I critically examine the implied project of drawing metaphysical conclusions from epistemological premisses (...)
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  17.  25
    David Davies (2011). Assessing Robinson's “Revised Causal Argument” for Sense-Data. Croatian Journal of Philosophy 11 (2):209-224.
    Howard Robinson’s “revised causal argument” for the sense-datum theory of perception combines elements from two other arguments, the “original” causal argument and the argument from hallucination. Mark Johnston, however, has argued that, once the nature of the object of hallucinatory experience is properly addressed, the errors in hallucination-based arguments for conjunctivist views of perception like the sense-datum theory become apparent. I outline Robinson’s views and then consider the implications of Johnston’s challenge for the revised causal argument.
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  18.  31
    David Davies (1998). McAllister's Aesthetics in Science: A Critical Notice. International Studies in the Philosophy of Science 12 (1):25 – 32.
    In Beauty and Revolution in Science, James McAllister argues that a sophisticated rationalist image of science can accommodate two prominent features of actual scientific practice, namely, appeals to “aesthetic” criteria in theory choice, and the occurrence of scientific “revolutions”. The aesthetic criteria to which scientists appeal are, he maintains, inductively grounded in the empirical record of competing theories, and scientific revolutions involve changes in aestheic criteria bu continuity in empirical criteria of theory choice. I raise difficulties for McAllister's account concerning: (...)
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  19.  45
    David Davies (1987). Horwich on 'Semantic' and 'Metaphysical' Realism. Philosophy of Science 54 (4):539-557.
    Horwich argues that we should reject metaphysical realism, but that we can preserve semantic realism by adhering to a redundancy theory of truth and a confirmationist account of linguistic understanding. But the latter will give us semantic realism only if it allows that the truth-values of sentences may transcend our recognitional capacities, and this is possible only insofar as we covertly reintroduce metaphysical realism. In spite of its intuitive appeal, we should not endorse semantic realism, but this need not bear (...)
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  20.  24
    David Davies (1995). Putnam's Brain-Teaser. Canadian Journal of Philosophy 25 (2):203--27.
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  21.  56
    David Davies (2009). Works and Performances in the Performing Arts. Philosophy Compass 4 (5):744-755.
    The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...)
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  22.  6
    James W. McAllister, Lars Bergström, James Robert Brown, Martin Carrier, Nancy Cartwright, Jiwei Ci, David Davies, Catherine Elgin, Márta Fehér & Michel Ghins (2010). First Page Preview. International Studies in the Philosophy of Science 24 (4).
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  23.  46
    David Davies (2010). Eluding Wilson's “Elusive Narrators”. Philosophical Studies 147 (3):387 - 394.
    George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives—thought experiments—to which Wilson’s model fails to apply, and that this reveals more general problems (...)
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  24.  9
    David Davies (2003). Medium in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 181.
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  25.  19
    David Davies (2009). Rehearsal and Hamilton's “Ingredients Model” of Theatrical Performance. Journal of Aesthetic Education 43 (3):pp. 23-36.
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  26.  46
    David Davies (2009). Creations of the Mind: Theories of Artifacts and Their Representation • by Eric Margolis and Stephen Laurence. Analysis 69 (1):171-172.
    This collection of 16 original articles by prominent theorists from a variety of disciplines provides an excellent insight into current thinking about artifacts. The four sections address issues concerning the metaphysics of artifacts, the nature and cognitive development of artifact concepts, and the place of artifacts in evolutionary history. The most overtly philosophical contributions are in the first two sections. Metaphysical issues addressed include the ‘mind-dependence’ of artifacts and the bearing of this on their ‘real’ existence, and the distinction between (...)
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  27.  17
    David Davies (2012). Enigmatic Variations. The Monist 95 (4):643-662.
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  28.  41
    David Davies (2009). Dodd on the 'Audibility' of Musical Works. British Journal of Aesthetics 49 (2):99-108.
    Julian Dodd has argued that the type–token theory in musical ontology has a ‘default’ status because it can explain the repeatability and audibility of musical works without the need for philosophical reinterpretation. I present two challenges to Dodd's claims about audibility. First, I argue (a) that a type–token theorist who, like Dodd, adheres to Wolterstorff's doctrine of analogical predication must grant that musical works themselves are hearable only in an ‘analogical’ sense; and (b) that alternative musical ontologies are able to (...)
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  29.  37
    David Davies (2008). The Performance of Reading: An Essay in the Philosophy of Literature by Kivy, Peter. Journal of Aesthetics and Art Criticism 66 (1):89–91.
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  30.  38
    David Davies (2005). Précis of Art as Performance. Acta Analytica 20 (4):3-9.
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  31.  38
    David Davies (2009). On the Very Idea of ‘Outsider Art’. British Journal of Aesthetics 49 (1):25-41.
    There has been little serious philosophical reflection on whether, and in virtue of satisfying what conditions, ‘Outsider Art’ is art, as is standardly assumed. I critically examine a number of responses to this question implicit in curatorial practice and the critical literature. I argue that none of these responses carries conviction, and propose, on the basis of broader considerations in the philosophy of art, that the arthood of ‘Outsider’ pieces must be settled by reference to their individual provenance. This supports (...)
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  32.  18
    David Davies (1991). Works, Texts, and Contexts: Goodman on the Literary Artwork. Canadian Journal of Philosophy 21 (3):331 - 345.
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  33.  15
    David Davies (2013). The Dialogue Between Words and Music in the Composition and Comprehension of Song. Journal of Aesthetics and Art Criticism 71 (1):13-22.
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  34.  29
    David Davies (2005). Reperforming and Reforming Art as Performance: Responses. [REVIEW] Acta Analytica 20 (4):64-90.
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  35. David Davies (1995). James O. Young, Global Anti-Realism Reviewed By. Philosophy in Review 15 (5):372-374.
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  36.  5
    David Davies (2015). Varying Impressions. Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...)
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  37.  30
    David Davies (1998). On Gauging Attitudes. Philosophical Studies 90 (2):129-54.
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  38.  14
    David Davies (1992). Perspectives on Intentional Realism. Mind and Language 7 (3):264-285.
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  39.  21
    David Davies (1999). Living in the “Space of Reasons”: The “Rationality Debate” Revisited. International Studies in the Philosophy of Science 13 (3):231 – 244.
    Two questions are central to the “rationality debate” in the philosophy of social science. First, should we acknowledge differences in basic norms of epistemic and agential rationality, or in the content of perceptual experience, as the “best explanation” of radical differences in belief and practice? Second, can genuine understanding be achieved between cultures and research traditions that so differ in their beliefs and practices? I survey a number of responses to these questions, and suggest that one of these, “dialogical optimism”, (...)
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  40. David Davies (2000). Robert K. Shope, The Nature of Meaningfulness Reviewed By. Philosophy in Review 20 (6):442-444.
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  41. David Davies (2007). Telling Pictures : The Place of Narrative in Late Modern 'Visual Art'. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press 138--156.
     
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  42.  16
    David Davies (2010). Aesthetics and Painting by Gaiger, Jason. Journal of Aesthetics and Art Criticism 68 (3):320-323.
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  43.  6
    David Davies (2013). Dancing Around the Issues: Prospects for an Empirically Grounded Philosophy of Dance. Journal of Aesthetics and Art Criticism 71 (2):195-202.
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  44.  5
    David Davies (2011). Agency, Dance, and Neuroscience. In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press 346.
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  45.  14
    David Davies (2001). Book Review. Artworks Robert Stecker. [REVIEW] Mind 110 (438):565-569.
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  46.  13
    David Davies (2006). Critical Study: Arts and Intentions: Reflections on Currie's Interdisciplinary Turn. British Journal of Aesthetics 46 (2):192-203.
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  47.  10
    David Davies (1990). Book Review:Relativism Refuted Harvey Siegel. [REVIEW] Philosophy of Science 57 (3):537-.
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  48.  7
    David Davies (2005). Atran's Unnatural Kinds. Croatian Journal of Philosophy 5 (2):345-357.
    Scott Atran has argued that scientific thinking about living things necessarily emerges out of a common-sense structure of ideas which reflects the ways in which humans are constitutionally disposed to think about ‘manifestly perceivable empirical fact’. He maintains that the uniformity in folk-biological taxonomy under diverse socio-cultural learning conditions established by recent ethnobiological research undermines the predominant view that folk classifications of living things are a function of local interests and culture, and he further maintains that such uniformity must be (...)
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  49.  3
    David Davies (1992). Curbing the Realist's Flights of Fancy. Dialogue 31 (02):243-.
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  50. David Davies (2011). Digital Technology, Indexicality, and Cinema. Rivista di Estetica 46 (1):45-60.
     
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