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Profile: Rob van Gerwen (Utrecht University)
  1. Rob van Gerwen, Evaluating Art.
    – The property of the car – The appropriateness of your response: you are overreacting • We can discuss the value of art works.
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  2. Rob van Gerwen, Human Inertia and Cell Phone Conversations.
    Cellular, or mobile phones are great: they allow people to communicate over long distances whenever and wherever they are, and instantaneously at that when the one called is wearing one too. Having said that, though, it must immediately be added that they, also, have a complex disadvantage, and it is one we are hard pushed to understand. In fact, due to its complexity people simply tend to neglect it, even though everyone in his right mind has had experience with it. (...)
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  3. Rob van Gerwen, Inertie Hoort Bij Kunst Als de Dood Bij Het Leven.
    In this article I propose to understand inertia in art as a “disposition to meaning”. I compare inertia in art with that of a face of a person recently deceased. To acquaintances, i.e. to family and friends, it holds a promise of memories (of the deceased); to all the others the corpse offers the possibility of a projection of meanings. Art is made of plain, or extra-ordinary stuff, which is turned into artistic material. The artist is to bring the inert (...)
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  4. Rob van Gerwen, Roger Scruton on “Why Beauty is Not a Luxury but a Necessity for a Life Worth Living” Soeterbeeck Instituut, June 12, 2009.
    My pleasure in being here, at the Studiecentrum Soeterbeeck, to discuss the book Roger Scruton wrote on beauty, is twofold. It so happens that I am finishing a book on facial expression and facial beauty, and the chapter I sent to Roger to request his comments, resurfaced unopened in my own mail box, last week. Apparently something went wrong in the mail. Today I might get some of those comments. Secondly, reading Roger’s book, an impression of a kindred spirit has (...)
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  5. Rob van Gerwen (2013). Wachten op beeld.: De tragische retorica van Iconische foto's. Algemeen Nederlands Tijdschrift Voor Wijsbegeerte 105 (1):40-54.
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  6. Rob van Gerwen (2012). Hearing Musicians Making Music: A Critique of Roger Scruton on Acousmatic Experience. Journal of Aesthetics and Art Criticism 70 (2):223-230.
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  7. Rob van Gerwen (2012). Wat is er mis met de verschijnselen? Algemeen Nederlands Tijdschrift Voor Wijsbegeerte 104 (1):62-64.
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  8. Rob van Gerwen (2011). Esthetische normativiteit. Tegen empirische en evolutionaire verklaringen. Algemeen Nederlands Tijdschrift Voor Wijsbegeerte 103 (2).
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  9. Rob van Gerwen (2011). Mathematical Beauty and Perceptual Presence. Philosophical Investigations 34 (3):249-267.
    This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...)
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  10. Rob van Gerwen (2008). Expression as Success. The Psychological Reality of Musical Performance. Estetika 45 (1):24-40.
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...)
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  11. Rob van Gerwen (2008). Kuipers Over Comparatief Realisme. Algemeen Nederlands Tijdschrift Voor Wijsbegeerte 100 (3):203-205.
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  12. Rob van Gerwen (2004). Ethical Autonomism. Contemporary Aesthetics 2.
    The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how (...)
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  13. Rob van Gerwen (2004). Ethical Autonomism. The Work of Art as a Moral Agent. Contemporary Aesthetics 2.
    Much contemporary art seems morally out of control. Yet, philosophers seem to have trouble finding the right way to morally evaluate works of art. The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical (...)
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  14. Rob van Gerwen (2002). De ontologische drogreden in de analytische esthetica. Algemeen Nederlands Tijdschrift Voor Wijsbegeerte 94 (2):109-123.
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  15. Rob van Gerwen (2001). Richard Wollheim on the Art of Painting. Cambridge University Press.
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  16. Rob van Gerwen (1998). Book Reviews. [REVIEW] British Journal of Aesthetics 38 (1):93-95.
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  17. Rob van Gerwen (1995). Kant's Regulative Principle of Aesthetic Excellence: The Ideal Aesthetic Experience. Kant-Studien 86 (3):331-345.
    It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative conceptions (...)
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