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Profile: Dominic McIver Lopes (University of British Columbia)
  1. 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.
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  2. Dominic McIver Lopes (2013). Ahora todos somos artistas. Enrahonar: Quaderns de Filosofía 50:45-57.
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  3. Diarmuid Costello & Dominic Mciver Lopes (2012). Introduction. Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  4. Dominic McIver Lopes (2012). Afterword: Photography and the “Picturesque Agent”. Critical Inquiry 38 (4):855-869.
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  5. Dominic McIver Lopes (2012). Photography and the "Picturesque Agent&Quot;. Critical Inquiry 38 (4):55-69.
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  6. Vincent Bergeron & Dominic McIver Lopes (2011). 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.
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  7. 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.
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  8. Dominic McIver Lopes (2011). Picture This: Image-Based Demonstratives. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
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  9. 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.
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  10. 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.
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  11. Dominic Mciver Lopes (2010). 1. Pictures, Perception, and Demonstrative Reference. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction.
     
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  12. Dominic McIver Lopes (2010). Picture This: Demonstrative Reference Through Pictures. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oup Oxford.
     
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  13. 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 (...)
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  14. 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.
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  15. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  16. Brian Laetz & Dominic McIver Lopes (2008). Genre. In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. 152-161.
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  17. 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.
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  18. 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 (...)
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  19. Dominic Mciver Lopes (2008). Reference, Ontology, and Architecture: Response to Rafael de Clercq. Journal of Aesthetics and Art Criticism 66 (2):194–196.
  20. 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 (...)
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  21. 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 (...)
     
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  22. 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 (...)
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  23. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
  24. Dominic McIver Lopes (2006). The Special and General Theory of Realism: Reply to Abell, Armstrong, and McMahon. Contemporary Aesthetics 4:40.
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  25. 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 (...)
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  26. Dominic McIver Lopes (2005). The Domain of Depiction. In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and Philosophy of Art. Blackwell.
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  27. 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 (...)
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  28. Dominic McIver Lopes (2003). Digital Art. In Luciano Floridi (ed.), Blackwell Guide to the Philosophy of Computing and Information. Blackwell.
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  29. Dominic McIver Lopes (2003). Out of Sight, Out of Mind. In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts.
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  30. Dominic McIver Lopes (2003). Pictures and the Representational Mind. The Monist 86 (4):632-652.
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  31. 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 (...)
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  32. Dominic McIver Lopes (2001). Painting. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  33. Dominic McIver Lopes (2001). The Ontology of Interactive Art. Journal of Aesthetic Education 35 (4):65-81.
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  34. Dominic McIver Lopes (2000). From Languages of Art to Art in Mind. Journal of Aesthetics and Art Criticism 58 (3):227-231.
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