El presente artículo se basa en la teoría de la creatividad artística de Jon Elster para tratar de ofrecer un esbozo de definición del concepto de arte, así como las bases para una teoría del valor artístico. Se sostiene que una obra de arte es una creación humana realizada con la intención de provocar una experiencia estética, así como que el principal valor de una obra de arte radica en su capacidad para producir emociones estéticas y no estéticas. Dicha concepción (...) pone en dificultades a algunas importantes formas de arte contemporáneo, como el arte conceptual. (shrink)

Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

Vagueness has gotten some attention in aesthetics, but deserves more. Vagueness is universally acknowledged to be ubiquitous. It has played a substantive role in some recent writing on the definition of art. It has figured importantly in analyses of the concept of literature, and (in connection with a thought experiment of Arthur Danto’s), of the ontology of art. Vagueness was a locus of contention in a debate between Alan Goldman and Eddy Zemach about the reality of aesthetic properties. This paper’s (...) aim is to advance that debate, by focusing on the relevance of vagueness to the familiar argument that moves from premises about aesthetic disagreement to the conclusion that aesthetic properties are not real. In what follows, it is argued that, vis-á-vis aesthetic disagreement, the vagueness of aesthetic properties can do important theoretical work for aesthetic realism. (shrink)

I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...) taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization with the proposed (...) model. Our aim is to provide a further theoretical understanding with respect to the perception of aesthetics and to enrich our models regarding the functionality of aesthetic interpretation, using the theoretical interpretive richness provided by the semiotic perspective. (shrink)

This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...) there are different kinds of aesthetic experiences . By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires. (shrink)