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  1. How to Understand the Completion of Art.Patrick Grafton‐Cardwell - 2020 - Journal of Aesthetics and Art Criticism 78 (2):197-208.
    There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...)
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  • A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
    In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.
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  • Psychologism and Completeness in the Arts.Guy Rohrbaugh - 2017 - Journal of Aesthetics and Art Criticism 75 (2):131-141.
    When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...)
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  • Psychologism About Artistic Plans: A Response to Rohrbaugh.Wesley D. Cray - 2018 - Journal of Aesthetics and Art Criticism 76 (1):101-104.