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  1. The Shadow of the Object. Melancholia, Real Abstraction and the Suffering of Practice in Albrecht Dürer, Alfred Sohn-Rethel and Sigmund Freud.Florian Endres - 2024 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 69 (1):32-46.
    The paper proposes a parallel reading of Albrecht Dürer’s engraving ›Melencolia I‹ (1514) and Alfred Sohn-Rethel’s notion of real abstraction. It argues for a constitutive link between the abstractions operative in ›Melencolia I‹, in commodity exchange, and in certain formations of psychological suffering, most notably described in the psychoanalytic conception of melancholia theorized by Sigmund Freud and the subsequent Lacanian tradition. With and against the iconographic analysis put forward by Raymond Klibansky, Erwin Panofsky, and Fritz Saxl in ›Saturn and Melancholy‹ (...)
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  2. Tarot: A Table-Top Art Gallery of the Soul.Georgi Gardiner - 2024 - ASA Newsletter 44 (2):2-6.
    Tarot cards are a rich and fascinating art form. They are also an excellent tool for inquiry. I show why tarot has value, regardless of the user’s beliefs about magic. And I explain how novice or skeptical tarot users can appreciate (and create) that value by focusing on the card’s images, rather than consulting texts or expert guides. This is because, on a naturalistic conception, tarot’s zetetic value—that is, its value to inquiry—stems from its artistic properties.
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  3. On the Formal Cause of Diagrams: Mimesis and Phenomenology.Noah Greenstein - 2024 - In Jens Lemanski, Mikkel Willum Johansen, Emmanuel Manalo, Petrucio Viana, Reetu Bhattacharjee & Richard Burns (eds.), Diagrammatic Representation and Inference 14th International Conference, Diagrams 2024, Münster, Germany, September 27 – October 1, 2024, Proceedings. Cham: Springer. pp. 472-475.
    We investigate the formal cause of diagrams, initially realizing that diagrams have no obvious form. It is argued their form is to mimic expert perspectives. This perspective provides a organizational structure that represents the relations important in understanding the worldly situation. We then shift to a study of how we are to understand an expert perspective. Using the distinction between intuitive and formal logic, logica utens versus logica docens, we identify games of habituation: games of focus and distraction. The skills (...)
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  4. A twist on the historically authentic musical performance.Nemesio G. C. Puy - 2024 - Philosophical Studies 181 (10).
    According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible (...)
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  5. Order and Change in Art: Towards an Active Inference Account of Aesthetic Experience.Sander Van de Cruys, Jacopo Frascaroli & Karl Friston - 2024 - Philosophical Transactions of the Royal Society B 379 (20220411).
    How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...)
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  6. Schopenhauerian Musical Formalism: Meaningfulness without Meaning.Chenyu Bu - 2023 - Journal of Comparative Literature and Aesthetics 46 (4):70-79.
    I develop Schopenhauerian musical formalism. First, I present a Schopenhauerian account of music with a background of his metaphysical framework. Then, I define meaningfulness as an analog to a Kantian notion of purposiveness and argue that, in light of Schopenhauer, music is meaningful as a direct manifestation of the universal will. Given the ineffable nature of what music points to, its form lacks any representation of meaning. Music is therefore the mere form of meaningfulness, and it is precisely this mere (...)
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  7. The Status of Video Games as Self-Involving Interactive Fictions: Fuzzy Intervals and Hard Identifications.Kristina Šekrst - 2023 - Sic: Journal of Literature, Culture and Literary Translation 3.
    The goal of this paper is to see how mental and language representations are unique from a video-game perspective, using two main criteria. First, I will posit that the level of being both an interactive work of fiction and a self-involving interactive fiction belongs to a fuzzy interval and that some works – and, therefore, some video games – are more immersive than others. Second, I will observe how propositions tie the player’s representations of the real world and the game (...)
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  8. Imagining in Oppressive Contexts, or What’s Wrong with Blackface?Robin Zheng & Nils-Hennes Stear - 2023 - Ethics 133 (3):381-414.
    What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...)
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  9. The Substance of Capital: Appearance qua Expression.Alya Ansari - 2022 - Décalages 2 (4):194-231.
    Despite the centrality of ideology critique in the works of Louis Althusser and his students, the Marxian concept of “appearance” as constitutive of the necessary obfuscation of social modes of exchange has not been sufficiently explicated. Furthermore, perceived incompatibility between ideology and commodity fetishism by this group of philosophers has amounted to a critical lacuna in the shape of a materialist theory of the valueform. This essay articulates the concept of appearance as framed by Gilles Deleuze’s concept of expression in (...)
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  10. Deepfakes, shallow epistemic graves: On the epistemic robustness of photography and videos in the era of deepfakes.Paloma Atencia-Linares & Marc Artiga - 2022 - Synthese 200 (6):1–22.
    The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that (...)
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  11. Painterly Aspirations in Poety.John Gibson - 2022 - In Noël Carroll & Jonathan Gilmore (eds.), The Routledge Companion to the Philosophies of Painting and Sculpture. Routledge. pp. 247-56.
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  12. A Lesser Being. From Louis Marin to Simondon and Back.Emmanuel Alloa - 2021 - Nordic Journal of Aesthetics 30 (61-62):8-13.
    Contribution for the Nordic Journal of Aesthetics' Special Issue no. 30 on "The Changing Ontology of the Image". The image’s power is a power of appearing without fully being what it allows to appear. In its strange relationship to what is lacking, the image also and simultaneously displays a remarkable excess—a phenomenal excess.
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  13. The Artistic Metaphor.Daisy Dixon - 2021 - Philosophy 96 (1):1-25.
    Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...)
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  14. On the Individuation of Pictorial Systems in Neo-Naturalism.Jun Young Kim - 2021 - Cheolhak-Korean Journal of Philosophy 148:139-158.
    How are pictures to be individuated from other kinds of representations, such as linguistic representations? The traditional view is that a picture represents what it represents because it resembles it. Thus, the so-called “resemblance” theory has been the dominant view in understanding pictorial representation. More recently, however, the basis of this view has been brought into question; several philosophers have tried to provide the right theory of pictorial (or iconic) representations. Flint Schier is one of them. He tries to explain (...)
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  15. Artspeak. The Bullshit Language of Art.Pascal Unbehaun - 2021 - Polish Journal of Aesthetics 4 (63):15-31.
    Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of bullshit (...)
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  16. A Taxonomy of Disgust in Art.Noël Carroll & Filippo Contesi - 2019 - In Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.), Art, Excess, and Education. Palgrave Macmillan. pp. 21–38.
    Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.
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  17. On the Nature of Fiction-Making: Austin or Grice?Manuel García-Carpintero - 2019 - British Journal of Aesthetics 59 (2):203-210.
    Only Imagine is a wonderful book. Clear and tersely written, it provides a compelling defence of a rather unpopular view : namely, extreme intentionalism about the determination of fictional content and the nature of fictionality. It thus unquestionably advances the philosophical debate. It is also a pleasure to read for those of us who like fictions and not just the philosophy thereof: Stock discusses for her arguments many examples from real fictions, systematically making perceptive remarks. Here I will respond to (...)
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  18. Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
    The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...)
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  19. On Being Moved by Portraits of Unknown People.Hans Maes - 2019 - In Portraits and Philosophy. New York, NY: Routledge.
    In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...)
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  20. Aparatos, imágenes y modo de pensar-las: la pantalla cíborg.Dr Guillermo Yáñez Tapia - 2019 - Revista Barda 5 (8):253-272.
    Desde una respuesta tentativa a la pregunta qué es una imagen se busca establecer el modo en que pensamos en, con y contra las imágenes. Se concentra la indagación en dos tipos particulares de imágenes, las generadas por el aparato digital, con el fin de articular conceptualmente el modo en que las imágenes cobran sentido y cómo dicho sentido surge desde el estatuto ontológico que encierra dicho aparato en particular. Desde una respuesta operativa y desde el concepto de modo de (...)
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  21. La necesidad de lo inútil. El arte como reivindicador antropológico.Raquel Cascales - 2017 - Metafísica y Persona 18:81-100.
    Durante los últimos decenios la utilidad se ha convertido en uno de los elementos más importantes de nuestra sociedad, hasta el punto de medir no sólo las cosas, sino a los seres humanos por su utilidad. No se trata de demostrar la utilidad de la cosas “inútiles”, sino de reivindicar que hay cosas que son valiosas por sí mismas. Esta es la perspectiva que me gustaría tratar en este artículo. Para ello, en primer lugar me detendré en explicar brevemente el (...)
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  22. (1 other version)Las normas Y su puesta en vigor: Respuesta a Josep Corbí.Manuel García-Carpintero - 2017 - Crítica. Revista Hispanoamericana de Filosofía 49 (145):113-132.
    In his paper “Obras de ficción, formas de conciencia y literatura”, Josep Corbí raises a few sharp objections to my distinction between fiction and non-fiction, as I formulate it in my recently published Relatar lo ocurrido como invención. In this response, I present first in a compact form such ideas, and then I try to answer to Corbí’s criticisms.
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  23. (1 other version)Las normas y su puesta en vigor: respuesta a Josep Corbí.Manuel Garcia-Carpintero - 2017 - Critica 49 (145):113-132.
    En su discusión “Obras de ficción, formas de conciencia y literatura”, Josep Corbí formula una serie de críticas certeras a mis ideas sobre la distinción que he hecho entre ficción y no ficción en Relatar lo ocurrido como invención. En esta nota de respuesta expongo primero de forma sucinta el núcleo de esas ideas y después proporciono las que considero las razones más decisivas para adoptarlas, a pesar de las dificultades que señala Corbí.
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  24. Prelude to a Theory of Musical Representation.Brandon Polite - 2017 - Revista Música 17 (1):89-108.
    In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...)
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  25. Media Parergon, Media Ergon: An Analytical Overview of the Grammar and Pragmatics of the Media Language.Rafael Duarte Oliveira Venancio - 2017 - SSRN Electronic Journal 2017:1-8.
    The present work has a central question: how a certain media distinguishes itself from the other communicational and linguistic apparatuses of the world. And with that, he turns on the big question of what each media practice would be. The hypothesis defended here is that each type of media, in its definition, is a language and not an apparatus. Using the concepts of Ludwig Wittgenstein, Jacques Derrida, Jean-François Lyotard and John R. Searle, the concepts of parergon and ergon are discussed. (...)
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  26. Why do we need a theory of art?Jochen Briesen - 2016 - Aesthetics Today –– Contemporary Approaches to the Aesthetics of Nature and Art. Contributions to the 39th International Wittgenstein Symposium.
    This paper argues that within the class of aesthetic judgments, interesting variations occur depending on whether the judgment refers to an artwork or not. Additionally, it is suggested that in order to understand and satisfactorily explain these variations, one needs a convincing specification of the notion of “art”. Thus, the main thesis of this paper is that a general theory of aesthetic judgments needs to be supplemented by a convincing and theoretically fruitful theory of art.
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  27. Good Looking.Jennifer Matey - 2016 - Philosophical Issues 26 (1):297-313.
    Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute aesthetic qualities like (...)
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  28. Fiction, Depiction, and the Complementarity Thesis in Art and Science.Elay Shech - 2016 - The Monist 99 (3):311-332.
    In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...)
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  29. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  30. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  31. (1 other version)Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015.Grüne Niels & Oberhauser Claus (eds.) - 2015 - V&R unipress.
  32. Kierkegaard's Phenomenology of Spirit.Ulrika Carlsson - 2014 - European Journal of Philosophy 24 (3):629-650.
    Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...)
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  33. Schema und Bild: Kant, Heidegger und das Verhältnis von Repräsentation und Abstraktion.Thomas Khurana - 2013 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 58 (2):203-224.
    The way in which a schema represents something is precisely by abstracting from some of its features; in a schema, representation and abstraction are thus not opposed to each other but rather internally related. The first part of this paper investigates this internal relation by delineating Kant’s concept of schema as the term mediating concept and intuition. Due to its pivotal position, however, the schema tends to collapse either into the conceptual or into the intuitive. The second part of the (...)
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  34. Nihilismus der Transparenz. Grenzen der Medienphilosophie Jean Baudrillards.Gregor Schiemann - 2013 - In Jan-Hendrik Möller, Jörg Sternagel & Hipper Lenore (eds.), Paradoxalität des Medialen. München: Fink Verlag. pp. 237-254.
    Jean Baudrillards Kulturphilosophie läßt sich durch die Behauptung charakterisieren, daß die Medien in der modernen Kultur vorherrschend geworden sind. Seine These, die Medien hätten jeden Bezug zu einer von ihnen unabhängigen Realität verloren, haben zahlreiche Autorinnen und Autoren nihilistisch genannt. Das Zutreffende dieser Kennzeichnung verdankt sich im Wesentlichen einem eingeschränkten, auf das 19. Jahrhundert zurückweisenden Begriff des Nihilismus. Allerdings nimmt Baudrillard auf Phänomene Bezug, die er historisch später verortet und die sich ihrer Struktur nach kategorial von den Funktionen der Medien (...)
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  35. ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...)
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  36. Wittgenstein and Surrealism.Chrysoula Gitsoulis - 2012 - Essays in Philosophy 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
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  37. Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”.Gaetano Iaia - 2011 - Capys 2 (2):255-267.
  38. Beauty as Pride: A Function of Agency.Peg Zeglin Brand Weiser - 2011 - APA Newsletter on Philosophy and Medicine 10 (2):5-9.
    This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...)
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  39. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford, GB: Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
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  40. Ornamentality in the New Media.Eran Guter - 2010 - In Anat Biletzki (ed.), Hues of Philosophy. Essays in Memory of Ruth Manor. College Publications. pp. 83-96.
    Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...)
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  41. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Newcastle upon Tyne: Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...)
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  42. A correspondence theory of musical representation.Brandon E. Polite - 2010 - Dissertation, University of Illinois Urbana-Champaign
    This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...)
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  43. La superficie-referente en la retórica radical del objeto fascista representacional: la readecuación del índex en la estetización digital.Guillermo Yáñez Tapia - 2010 - Revista la Puerta FBA (3).
    Será tarea del pensamiento crítico recuperar la imagen para un discurso de la resistencia como un discurso efectivo frente a la inoperancia del objeto artístico difuso. A esto debe convocar al análisis crítico de la imagen hegemonizada por la superficie-referente. La radicalidad de dicha tarea debe buscar sus fuentes en el desplazamiento constante hacia la descripción de lo opaco en la estrategia representacional de una superficie-referente para la instalación del objeto fascista estetizante. Dicha radicalidad debe recuperar conceptualmente el desmantelamiento crítico (...)
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  44. Voltolini's ficta.Manuel García-Carpintero - 2009 - Dialectica 63 (1):57-66.
    As the subtitle “A Syncretistic Account of Fictional Entities” makes clear, Alberto Voltolini intends in this book to argue for a syncretic view of the ontology and the semantics of fiction. In the process, he offers sympathetic and clear presentations of the main contenders in the field, discussing first ontological matters (chapters 1–4) and then semantic questions (chapters 5–6), and concluding with an ‘ontological’ argument for the allegedly syncretic brand of realism about fictional entities he has by then endorsed. The (...)
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  45. Review of The Meaning of the Body: Aesthetics of Human Understanding. [REVIEW]Jennifer Mcmahon - 2009 - Mind 118 (471):843-846.
    In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of meaning (...)
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  46. Space, Time, Being, and Estrangement.Raymond Aaron Younis - 2009 - Literature & Aesthetics 19 (2):41-49.
  47. Sculpture and Touch: Herder's Aesthetics of Sculpture.Rachel Zuckert - 2009 - Journal of Aesthetics and Art Criticism 67 (3):285-299.
    I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
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  48. How Croce Became a Philosopher.Brian P. Copenhaver & Rebecca Copenhaver - 2008 - History of Philosophy Quarterly 25 (1):75 - 94.
  49. Samples as symbols.Mark Textor - 2008 - Ratio 21 (3):344-359.
    Nelson Goodman and, following him, Catherine Z. Elgin and Keith Lehrer have claimed that sometimes a sample is a symbol that stands for the property it is a sample of. The relation between the sample and the property it stands for is called 'exemplification' (Goodman, Elgin) or 'exemplarisation' (Lehrer). Goodman and Lehrer argue that the notion of exemplification sheds light on central problems in aesthetics and the philosophy of mind. However, while there seems to be a phenomenon to be captured, (...)
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  50. Imagen digital: la “suspensión” de la distancia categorial moderna [o cómo operar desde los Estudios Visuales en la postmodernidad].Guillermo Yáñez Tapia - 2008 - Revista Estudios Visuales (5).
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