52 found
Sort by:
See also:
Profile: Dominic McIver Lopes (University of British Columbia)
  1. Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.
    Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  2. Dominic McIver Lopes (2014). Beyond Art. Oup Oxford.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
    No categories
    Direct download  
     
    My bibliography  
     
    Export citation  
  3. Berys Gaut & Dominic Lopes (eds.) (2013). The Routledge Companion to Aesthetics Third Edition. Routledge.
    The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
     
    My bibliography  
     
    Export citation  
  4. Dominic McIver Lopes (2013). Ahora todos somos artistas. Enrahonar: Quaderns de Filosofía 50:45-57.
    No categories
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  5. Vincent Bergeron & Dominic McIver Lopes (2012). Aesthetic Theory and Aesthetic Science: Prospects for Integration. In Steven Palmer & Arthur Shimamura (eds.), , with Vincent Bergeron, Aesthetic Science: Connecting Minds, Brains, and Experience. Oxford University Press.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  6. Diarmuid Costello & Dominic Mciver Lopes (2012). Introduction. Journal of Aesthetics and Art Criticism 70 (1):1-8.
    Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  7. Dominic McIver Lopes (2012). Afterword: Photography and the “Picturesque Agent”. Critical Inquiry 38 (4):855-869.
    Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  8. Dominic McIver Lopes (2012). Photography and the "Picturesque Agent&Quot;. Critical Inquiry 38 (4):55-69.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  9. Dominic McIver Lopes (2011). An Empathic Eye. In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and psychological perspectives. Oxford Univerity Press.
    Dominic McIver Lopes is asking for an account of empathy that brings out how emotions are involved in different empathic phenomena.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  10. Dominic McIver Lopes (2011). Picture This: Image-Based Demonstratives. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  11. Dominic McIver Lopes (2011). The Myth of (Non-Aesthetic) Artistic Value. Philosophical Quarterly 61 (244):518-536.
    Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  12. Michael Boylan, Denise Inge, Frederic Jameson, Scott Barry Kaufman, James C. Kaufman, Dominic Mciver Lopes, Jean-Francois Lyotard, Adrian Pabst, Angus Paddison & Fiona Price (2010). BENTON, MICHAEL. Literary Biography An Introduction.(London: Wiley-Blackwell). 2009. Pp. 280.£ 60.00 (Hbk). BERGMANN, SIGURD. In the Beginning is the Icon: A Liberative Theology of Images, Visual Arts and Culture.(London: Equinox Publishing Limited). 2009. Pp. 256.£ 50.00 (Hbk). [REVIEW] British Journal of Aesthetics 50 (1):119.
    Direct download  
     
    My bibliography  
     
    Export citation  
  13. Dominic Mciver Lopes (2010). 1. Pictures, Perception, and Demonstrative Reference. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction.
     
    My bibliography  
     
    Export citation  
  14. Dominic McIver Lopes (2010). Picture This: Demonstrative Reference Through Pictures. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oup Oxford.
     
    My bibliography  
     
    Export citation  
  15. Vincent Bergeron & Dominic Mciver Lopes (2009). Hearing and Seeing Musical Expression. Philosophy and Phenomenological Research 78 (1):1-16.
    Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...)
    Direct download (9 more)  
     
    My bibliography  
     
    Export citation  
  16. Dominic Lopes (2009). A Philosophy of Computer Art. Routledge.
    The machine in the ghost -- A computer art form -- Live wires: computing interaction -- Work to rule -- Artist to audience -- Computer art poetics -- Atari to art -- Envoi.
    Direct download  
     
    My bibliography  
     
    Export citation  
  17. Dominic McIver Lopes (2009). Drawing in a Social Science: Lithic Illustration. Perspectives on Science 17 (1):pp. 5-25.
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  18. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  19. Brian Laetz & Dominic McIver Lopes (2008). Genre. In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. 152-161.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  20. Dominic McIver Lopes (2008). Virtues of Art: Good Taste. Aristotelian Society Supplementary Volume 82 (1):197-211.
    If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  21. Dominic McIver Lopes (2008). Nobody Needs a Theory of Art. Journal of Philosophy 105 (3):109-127.
    The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...)
    Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  22. Dominic Mciver Lopes (2008). Reference, Ontology, and Architecture: Response to Rafael de Clercq. Journal of Aesthetics and Art Criticism 66 (2):194–196.
  23. Dominic McIver Lopes (2007). Art Without ‘Art’. British Journal of Aesthetics 47 (1):1-15.
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  24. Dominic McIver Lopes (2007). Conceptual Art is Not What It Seems. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
    Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure to which conceptual art (...)
     
    My bibliography  
     
    Export citation  
  25. Dominic Mciver Lopes (2007). Shikinen Sengu and the Ontology of Architecture in Japan. Journal of Aesthetics and Art Criticism 65 (1):77–84.
    Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...)
    Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  26. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
  27. Dominic McIver Lopes (2006). The Special and General Theory of Realism: Reply to Abell, Armstrong, and McMahon. Contemporary Aesthetics 4:40.
    Direct download  
     
    My bibliography  
     
    Export citation  
  28. Dominic Lopes & Matthew Kieran (eds.) (2006). Knowing Art: Essays in Epistemology and Aesthetics. Springer.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  29. Dominic Lopes (2005). Sight and Sensibility. Oxford University Press.
    Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect ...
    Direct download  
     
    My bibliography  
     
    Export citation  
  30. Dominic McIver Lopes (2005). Sight and Sensibility: Evaluating Pictures. Clarendon Press.
    Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures is (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  31. Dominic McIver Lopes (2005). The Domain of Depiction. In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and Philosophy of Art. Blackwell.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  32. Eileen John & Dominic Lopes (eds.) (2004). Philosophy of Literature: Contemporary and Classic Readings: An Anthology. Blackwell Pub..
    This authoritative volume offers a handy compilation of contributions to the field by its leading figures.
    Direct download  
     
    My bibliography  
     
    Export citation  
  33. Dominic Mciver Lopes (2004). Directive Pictures. Journal of Aesthetics and Art Criticism 62 (2):189–196.
    Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...)
    Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  34. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.
    Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  35. Dominic McIver Lopes (2003). Digital Art. In Luciano Floridi (ed.), Blackwell Guide to the Philosophy of Computing and Information. Blackwell.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  36. Dominic McIver Lopes (2003). Out of Sight, Out of Mind. In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  37. Dominic McIver Lopes (2003). Pictures and the Representational Mind. The Monist 86 (4):632-652.
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  38. Dominic McIver Lopes (2003). The Aesthetics of Photographic Transparency. Mind 112 (447):434--48.
    When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...)
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  39. Dominic M. McIver Lopes (2002). Vision, Touch, and the Value of Pictures. British Journal of Aesthetics 42 (2):191-201.
    Since blind people can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Neither is the art of pictures an essentially visual art form. The reasons given for evaluating a picture aesthetically may advert to its tactile qualities insteadof its visual qualities.In particular, a raised-line picture canbe valued for the tactile experience it elicits of the scene it depicts, just as a visual picture is sometimes valuedfor eliciting a visual experience of its subject. The argument for this (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  40. Berys Nigel Gaut & Dominic Lopes (eds.) (2001). The Routledge Companion to Aesthetics. Routledge.
    The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
    Direct download  
     
    My bibliography  
     
    Export citation  
  41. Dominic McIver Lopes (2001). Painting. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
    My bibliography  
     
    Export citation  
  42. Dominic McIver Lopes (2001). The Ontology of Interactive Art. Journal of Aesthetic Education 35 (4):65-81.
    Direct download  
     
    My bibliography  
     
    Export citation  
  43. Dominic M. M. Lopes (2000). What is It Like to See with Your Ears? The Representational Theory of Mind. Philosophy and Phenomenological Research 60 (2):439-453.
    Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...)
    Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  44. Dominic M. McIver Lopes (2000). A Philosophy of Mass Art. Philosophical Review 109 (4):614-617.
    No categories
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  45. Dominic M. Mciver Lopes (2000). What Is It Like to See with Your Ears? Philosophy and Phenomenological Research 60 (2):439-453.
    Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...)
    No categories
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  46. Dominic McIver Lopes (2000). From Languages of Art to Art in Mind. Journal of Aesthetics and Art Criticism 58 (3):227-231.
    Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  47. Dominic M. McIver Lopes (1999). Pictorial Color: Aesthetics and Cognitive Science. Philosophical Psychology 12 (4):415 – 428.
    The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...)
    Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  48. Dominic M. Mciver Lopes (1998). Imagination, Illusion and Experience in Film. Philosophical Studies 89 (2-3):343-353.
    Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  49. Dominic M. M. Lopes (1997). Art Media and the Sense Modalities: Tactile Pictures. Philosophical Quarterly 47 (189):425-440.
    It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...)
    Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  50. Dominic Lopes (1996). Understanding Pictures. Oxford University Press.
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
1 — 50 / 52