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  1. added 2018-12-04
    Cézanne - Van Gogh - Monet. Genese der Abstraktion, second editon of PhD thesis from 1999/2000.Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  2. added 2018-11-28
    The Nature of Art. [REVIEW]James Shelley - 2003 - American Society for Aesthetics Newsletter 23.
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  3. added 2018-11-28
    The Problem of Non-Perceptual Art.James Shelley - 2003 - British Journal of Aesthetics 43 (4):363-378.
    Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...)
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  4. added 2018-11-28
    Aesthetics: The Big Questions. [REVIEW]James Shelley - 1999 - American Society for Aesthetics Newsletter 19.
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  5. added 2018-11-28
    Philosophies of Arts: An Essay in Differences. [REVIEW]James Shelley - 1999 - Philosophy in Review 18.
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  6. added 2018-09-26
    Beauty and The End of Art, Wittgenstein, Plurality and Perception.Sonia Sedivy - 2016 - Bloomsbury Academic.
    Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make (...)
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  7. added 2018-07-27
    Thierry de Duve, Kant after Duchamp. [REVIEW]Tomas Hribek - 1999 - Umění/Art 47:238-241.
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  8. added 2018-05-17
    Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  9. added 2018-05-07
    Goodman’s Semiotic Theory of Art.Markus Lammenranta - 1992 - Canadian Journal of Philosophy 22 (3):339-351.
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  10. added 2018-04-10
    A New Conception of 'Art'.Jakob Zaaiman - 2018
    The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.
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  11. added 2018-03-23
    Heidegger, Art, and the Overcoming of Metaphysics.Matt Dill - 2017 - European Journal of Philosophy 25 (2):294-311.
    In this paper, I advance a new interpretation of Heidegger's reflections on art as we find them in his essay, ‘The Origin of the Work of Art’. I begin, in Section 1, by uncovering the fundamental concern that motivates Heidegger's essay. I show that Heidegger's reflections on art are part of his attempt to uncover a path beyond the history of metaphysics. I then suggest, in Section 2, that while Heidegger does think that art may allow for the overcoming of (...)
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  12. added 2018-03-05
    Joseph Margolis, What, After All, Is a Work of Art? Reviewed By.John Dilworth - 2000 - Philosophy in Review 20 (2):129-131.
    This book is the outcome of a series of lectures on art-related topics which Margolis gave in various places, including Finland, Russia, Japan and the USA, from 1995 through 1997. Mainly these lectures vividly distill views which Margolis has developed more fully elsewhere. Also, as his readers know, Margolis has an unusually allencompassing and closely integrated series of views on almost all of the main issues concerning both art and philosophy generally. Thus the task of a reviewer of this book (...)
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  13. added 2018-02-17
    We Do Not Have an Adequate Conception of Art Until We Have One That Accommodates Gardens.John Powell - 1988 - Dissertation, Lincoln University
    The thesis explores the adequacy of five well-known conceptions of art to the case of gardens. It concludes that, of those conceptions, the cluster theory is best suited to the case of gardens.
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  14. added 2018-02-10
    Assessing Socially Engaged Art.Vid Simoniti - 2018 - Journal of Aesthetics and Art Criticism 76 (1):71-82.
    The last twenty-five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often-dismissed position, namely, the pragmatic view of (...)
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  15. added 2018-01-10
    Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual.Carlos Vanegas - 2016 - In ¿Arte sin estética? Medellín, Colombia: Universidad de Antioquia. pp. 131-166.
    Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al (...)
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  16. added 2017-12-07
    The Cultural Definition of Art.Simon Fokt - 2017 - Metaphilosophy 48 (4):404-429.
    Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given context (...)
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  17. added 2017-12-07
    Defining Art Culturally : Modern Theories of Art - a Synthesis.Simon Fokt - unknown
    Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, (...)
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  18. added 2017-11-28
    Doing Without the Ideology of Art.Ellen Dissanayake - 2011 - New Literary History 42:71-79.
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  19. added 2017-11-18
    Feeling, Emotion and Imagination: In Defence of Collingwood's Expression Theory of Art.Nick Wiltsher - 2018 - British Journal for the History of Philosophy 26 (4):759-781.
    ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...)
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  20. added 2017-09-22
    The Art Type Theory of Art.Robert S. Fudge - 2015 - Philosophical Papers 44 (3):321-343.
    The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say (...)
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  21. added 2017-08-10
    Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...)
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  22. added 2017-08-09
    Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  23. added 2017-08-08
    Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.
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  24. added 2017-08-06
    Surface and Deep Interpretation.Peg Brand & Myles Brand - 2012 - In Mark Rollins (ed.), Danto and His Critics, 2nd Edition. Wiley-Blackwell. pp. 69-83.
    Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.
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  25. added 2017-06-28
    Na temat estetycznej teorii sztuki Nicka Zangwilla.Daniel Nathan - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:7-16.
    This essay is a discussion and critical analysis of Nick Zangwill's theory of art. Zangwill's theory makes aesthetic intention (or "aesthetic insight") central to the status of art in various articles and in his book, Aesthetic Creation (OUP, 2007). The present essay focuses on the analysis found in his book and in particular whether Zangwill's theory adequately addresses the nature of avant-garde works of art. In the end, I argue that Zangwill's theory is both too narrow and too broad to (...)
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  26. added 2017-06-22
    Errors in ‘The History of an Error’.Simon Fokt & Aaron Meskin - 2016 - British Journal of Aesthetics 56 (2):179-185.
    In a recent article in this journal, Alex Neill and Aaron Ridley argue that relational theories of art are rooted in a misunderstanding of what it would take to falsify the family resemblance theories they are meant to supplant, and are incapable of meeting all the requirements a successful theory of art must meet. Hence, they are doomed to failure. We show that the arguments Neill and Ridley offer are rooted in misunderstandings about relational theories and the requirements for a (...)
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  27. added 2017-06-02
    Why Do We Need to Define ‘Art’ ? Because It Greatly Enhances the Encounter with Art Itself.Jakob Zaaiman - 2017 - Alldaynight.Info.
    Modern art has yet to be properly explained and given its own distinctive and authentic philosophy. It is almost always portrayed – openly or subliminally – as if it were somehow striving for much the same objectives as classical art, though perhaps by very different means. This has the effect of making modern artworks look slightly ridiculous in comparison with the grandeur of their classical counterparts, at the same time as making it an uphill struggle to try to argue the (...)
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  28. added 2017-03-20
    Art as Anti-Destiny: Foundations of Andre Malraux's THeory of Art.Derek Allan - 2003 - Literature & Aesthetics 13 (2):7-16.
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  29. added 2017-03-07
    Conceptual Art is Not What It Seems.Dominic McIver Lopes - 2007 - 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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  30. added 2017-03-06
    Beyond Art.Dominic McIver Lopes - 2014 - Oxford University Press.
    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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  31. added 2017-03-06
    The Aesthetic Function of Art. [REVIEW]Dominic Mciver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484-487.
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  32. added 2017-02-15
    Some Institutional Theories of Art.John Hoaglund - 1986 - Journal of Aesthetic Education 20 (1):19-26.
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  33. added 2017-02-14
    This Is Art: A Defence of R. G. Collingwood's Philosophy of Art.James Camien McGuiggan - 2017 - Dissertation, University of Southampton
    R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- After (...)
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  34. added 2017-02-13
    Definition of Videogames.Grant Tavinor - 2008 - Contemporary Aesthetics 6.
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  35. added 2017-02-12
    Inequalities and Fairness in Cluster Trials.Erin Conrad & Sarah Jl Edwards - 2011 - Research Ethics 7 (2):58-65.
    Cluster randomized controlled trials (cluster RCTs) randomize whole clusters of individuals in testing two or more competing interventions. Here we will present the ethical problems raised by cluster RCTs concerning their effect on inequality. We argue that some inequalities generated by cluster RCTs are larger in scope than those generated from individual RCTs. We also argue that any cluster RCT-generated inequalities, which divide groups rather than individuals, are more problematic in type than the inequalities created in individual RCTs. These concerns (...)
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  36. added 2017-02-12
    Definitions of "Art" and Their Intended Import.Anders Pettersson - 2001 - Nordic Journal of Aesthetics 13 (23).
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  37. added 2017-02-08
    The Soul Cluster: Reconsideration of a Millennia Old Concept.Hank Wesselman, Levente Móró & Ede Frecska - 2011 - World Futures 67 (2):132-153.
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  38. added 2017-02-08
    Against a Defence of Cluster Theories.Michael McKinsey - 1980 - Analysis 40 (1):1 - 5.
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  39. added 2017-02-08
    The Definition Of Art.Wladislaw Tatarkiewicz - 1974 - Russian Studies in Philosophy 12 (4):64-79.
    The ancients regarded art as the ability to create things, and knowing that ability is guided by rules, they defined art as the ability to create things in accordance with those rules.
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  40. added 2017-02-02
    What Does It Mean to Know Art? : An Institutional Account.Ted Bracey - 2001 - In Paul Duncum & Ted Bracey (eds.), On Knowing: Art and Visual Culture. Canterbury University Press.
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  41. added 2017-02-02
    Art, Beauty, and Pornography: A Journey Through American Culture.Jon Huer - 1987 - Prometheus Books.
  42. added 2017-02-01
    Alien Objections to Historical Definitions of Art.Robert Stecker - 1996 - British Journal of Aesthetics 36 (3):305-308.
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  43. added 2017-02-01
    Problems in the Definition of Criticism.Philip Smallwood - 1996 - British Journal of Aesthetics 36 (3):252-264.
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  44. added 2017-02-01
    The End of an Institutional Definition of Art.Robert Stecker - 1986 - British Journal of Aesthetics 26 (2):124-132.
    In "the art circle", dickie presents a revised institutional account of art. i argue: 1) if we consider the letter of the new account, it fails to distinguish works of art from many other artifacts; 2) if we consider its spirit, it is closer to the approach of those who claim art cannot be defined than to dickie's own earlier approach; 3) dickie fails to show that an institutional framework is a necessary condition for being a work of art.
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  45. added 2017-02-01
    Can There Be an Institutional Theory of Art?Jeffrey Wieand - 1981 - Journal of Aesthetics and Art Criticism 39 (4):409-417.
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  46. added 2017-01-27
    Blocker on the Definition of Primitive Art.Richard Garner - 1995 - Journal of Aesthetic Education 29 (3):27.
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  47. added 2017-01-26
    Art, Value, and Function.Severin Schroeder - 2013 - Nordic Journal of Aesthetics 23 (46).
    Is the concept of a work of art an evaluative concept: does its application imply a positive evaluation? I shall discuss this question by considering two opposing attempts at defining art, namely the Institutional Theory and the view that art is a functional concept. I shall argue that the concept of art does not imply an unconditionally positive evaluation, but that art is a prestige concept. Moreover, it will be shown that functional definitions of art are flawed.
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  48. added 2017-01-20
    The Disjunctive Theory of Art: The Cluster Account Reformulated.Francis Longworth & Andrea Scarantino - 2010 - British Journal of Aesthetics 50 (2):151-167.
    This paper suggests that art cannot be defined in terms of individually necessary and jointly sufficient conditions. Instead, we propose that there are several sufficient conditions for something's being art, and that a successful definition will consist of a disjunction of minimally sufficient conditions. Our proposal owes much to the insights of Berys Gaut's ‘"Art" as a Cluster Concept’ but offers a much simpler logical formulation, which, in addition, is immune to the objections that have been raised to Gaut's account. (...)
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  49. added 2017-01-19
    Free Action, Social Institutions, and the Definition of 'Art'.Edward Sankowski - 1980 - Philosophical Studies 37 (1):67 - 79.
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  50. added 2017-01-19
    What is Art? The Problem of Definition Today.Wladyslaw Tatarkiewicz - 1971 - British Journal of Aesthetics 11 (2):134-153.
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