I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...) came to be described in the early twentieth century. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable experiences, while (...) the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

Panagiotis Kanellopoulos explores children's talk about musical thinking through the study of their reflections on their own improvised music. He accepts the possibility that children's discourse on music is the beginning of their philosophizing about music, an idea that is related to the larger issue of how to develop a music education perspective that gives voice to the learners and welcomes experimentation, constantly questioning the assumptions we bring as music educators. Based on particular examples of discussions with eight-year old children (...) he explores the development of their discourse, interpreting the meaning of their thinking, and illustrating how they put forward issues that although they begin from concrete particulars point to issues usually confined to abstract philosophical concerns. Children's reflective potential as well as their particular views has important educational implications. Discussions with the children about their work highlight interpretation and meaning-formation at the center of their experience as artists. And musical improvisation emerges as a source of genuine musical experiences and a core means for the creation of communities of practice, dialogue, and reflection. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

Theoria , the international Swedish philosophy journal, was founded in 1935. Its contributors in the first 75 years include the major Swedish philosophers from this period and in addition a long list of international philosophers, including A. J. Ayer, C. D. Broad, Ernst Cassirer, Hector Neri Castañeda, Arthur C. Danto, Donald Davidson, Nelson Goodman, R. M. Hare, Carl G. Hempel, Jaakko Hintikka, Saul Kripke, Henry E. Kyburg, Keith Lehrer, Isaac Levi, David Lewis, Gerald MacCallum, Richard Montague, Otto Neurath, Arthur N. (...) Prior, W. V. Quine, Nicholas Rescher, Ernest Sosa, Robert C. Stalnaker, P. F. Strawson, Patrick Suppes, Johan van Benthem, Georg Henrik von Wright and many others. Hempel's confirmation paradoxes, Ross's deontic paradox, Montague's universal grammar and Lindström's theorem are among the contributions to philosophy that were first published in Theoria. (shrink)

Arthur Danto is one of the best Anglophone philosophers of art of the second half of the 20th century. His unique methodology of indiscernibility and provocative claim about the end of art have bee...

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be (...) high art. This hypothetical form of art is called ‘edible art’. (shrink)

Seeing art is not as easy as it looks, because there is more to seeing art than meets the eye. This essay examines some of the presuppositions involved in seeing something as art. In opposition to the view of A.C. Danto that to see something as art is merely to identify it as art, I shall suggest that to see something as art is to appreciate it in a specifiable way. In addition, I shall argue that considerations sometimes deemed adventitious (...) are in fact inescapably involved in the appreciation of all works of art, and in particular, that it is impossible to entirely eliminate intentional and genetic considerations from our critical Judgments. (shrink)

La distinción entre arte culto y arte popular, como un caso particular de la distinción entre alta cultura y cultura popular, forma parte de los principios de la teoría estética. En este artículo tratamos de ver cuál es el fundamento de la misma, así como de analizar el trasfondo estético de las críticas al arte popular, para, desde ahí, emprender una defensa del mismo en el ámbito de la teoría del arte, con la intención de situarla en paridad con el (...) arte culto, es decir, como un producto que puede no sólo satisfacer los criterios de la tradición estética, sino que, además, puede enriquecer el concepto tradicional de lo estético y aspirar al mismo valor que el arte consagrado. (shrink)