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  1. Diarmuid Costello (2012). Automat, Automatic, Automatism: Rosalind Krauss and Stanley Cavell on Photography and the Photographically Dependent Arts. Critical Inquiry 38 (4):819-854.
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  2. Diarmuid Costello (2012). The Media of Photography. Wiley-Blackwell.
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  3. Diarmuid Costello (2012). The Question Concerning Photography. Journal of Aesthetics and Art Criticism 70 (1):101-113.
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  4. Diarmuid Costello & Margaret Iversen (2012). Introduction: Photography Between Art History and Philosophy. Critical Inquiry 38 (4):679-693.
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  5. Diarmuid Costello & Dominic Mciver Lopes (2012). Introduction. Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  6. Diarmuid Costello & Dominic McIver Lopes (2012). Introduction. Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  7. Diarmuid Costello (2009). Retrieving Kant's Aesthetics for Art Theory After Greenberg. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
  8. Diarmuid Costello & Margaret Iversen, Introduction : Photography After Conceptual Art.
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  9. Diarmuid Costello & Dawn M. Phillips (2009). Automatism, Causality and Realism: Foundational Problems in the Philosophy of Photography. Philosophy Compass 4 (1):1-21.
    This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...)
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  10. Diarmuid Costello, Danto and Kant, Together at Last?
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  11. Diarmuid Costello (2008). On the Very Idea of a 'Specific'medium: Michael Fried and Stanley Cavell on Painting and Photography as Arts. Critical Inquiry 34 (2):274-312.
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  12. Diarmuid Costello, Pictures, Again.
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  13. Diarmuid Costello & Dominic Willsdon (eds.) (2008). The Life and Death of Images: Ethics and Aesthetics. Cornell University Press.
    From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been given (...)
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  14. Diarmuid Costello (2007). Cosa mai è successo all'incorporazione? L'eclisse della materialità nell'ontologia dell'arte di Danto. Rivista di Estetica 47 (35):113-128.
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  15. Diarmuid Costello (2007). Greenberg's Kant and the Fate of Aesthetics in Contemporary Art Theory. Journal of Aesthetics and Art Criticism 65 (2):217–228.
  16. Diarmuid Costello (2007). Kant After Lewitt: Towards an Aesthetics of Conceptual Art. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. 92.
     
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  17. Diarmuid Costello (2007). Whatever Happened to "Embodiment"? The Eclipse of Materiality in Danto's Ontology of Art. Angelaki 12 (2):83 – 94.
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  18. Diarmuid Costello & Jonathan Vickery (eds.) (2007). Art: Key Contemporary Thinkers. Berg.
    The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been more popular, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of leading thinkers (including artists) who are having a major impact on making, criticizing and interpreting art. Each entry, written by a leading international expert, presents a concise, critical appraisal of a thinker and their contribution to thought about art and its place in the (...)
     
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  19. Diarmuid Costello (2004). On Late Style: Arthur Danto’s the Abuse of Beauty. British Journal of Aesthetics 44 (4):424-439.
    cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...)
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