As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art (...) or art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

It is popularly believed that British anarchism underwent a ‘renaissance’ in the 1960s, as conventional revolutionary tactics were replaced by an ethos of permanent protest. Often associated with Colin Ward and his journal Anarchy, this tactical shift is said to have occurred due to growing awareness of Gustav Landauer's work. This article challenges these readings by focusing on Herbert Read's book Education through Art, a work motivated by Read's dissatisfaction with anarchism's association with political violence. Arguing that aesthetic education (...) could remodel social relationships in a non-hierarchical fashion, Read pioneered the reassessment of revolutionary tactics in the 1940s that is associated with the 1960s generation. His role in these debates has been ignored, but the broader political context of Read's contribution to anarchist theory has also been neglected. The reading of Read's work advanced here recovers his importance to these debates, and highlights the presence of an indigenous strand of radical thought that sought novel solutions for the problems of the age. (shrink)

Amajor shift in critical attitudes toward the arts took place in the eighteenth century. The fine arts were now looked upon as a group, divorced from the sciences and governed by their own rules. The century abounded with treatises that sought to establish the overriding principles that differentiate art from other walks of life as well as the principles that differentiate them from each other. This burst of scholarly activity resulted in the incorporation of aesthetics among the classic branches of (...) philosophy, heralding the cognitive turn in epistemology. Among the writings that initiated this turn, none were more important than the British contribution. The Arts in Mind brings together an annotated selection of these key texts. A companion volume to the editors' Tuning the Mind, which analyzed this major shift in world view and its historical context, The Arts in Mind is the first representative sampling of what constitutes an important school of British thought. The texts are neither obscure nor forgotten, although most histories of eighteenth-century thought treat them in a partial or incomplete way. Here they are made available complete or through representative extracts together with an editor's introduction to each selection providing essential biographical and intellectual background. The treatises included are representative of the changed climate of opinion which entailed new issues such as those of perception, symbolic function, and the role of history and culture in shaping the world. Contents include: Anthony Ashley Cooper, Third Earl of Shaftesbury, "Characteristics"; Francis Hutcheson, "Inquiry Concerning Beauty, Harmony and Design"; Hildebrand Jacob, "Of the Sister Arts: An Essay"; James Harris, "On Music, Painting and Poetry"; Charles Avison, "An Essay on Musical Expression"; James Beattie, "Essay on Poetry and Music as They Affect the Mind"; Daniel Webb, "Observations on the Correspondence between Poetry and Music"; Thomas Twining, "On Poetry Considered as an Imitative Art," "On the Different Senses of the Word Imitative as Applied to Music by the Ancients and by the Moderns"; Adam Smith, "Of the Nature of that Imitation which Takes Place in What are Called the Imaginative Arts." Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

This volume addresses how spatialized identities, belongingness and hospitality are interrogated in British and Irish contemporary art (painting, installation, video, photography, new public art) at a time when economic and political crises tend to encourage individual or exclusive usages of space. It sketches a cartography of encounters encompassing the home, the neighbourhood, the village or city, and the nation. Artists interrogate how intimacy is both facilitated and threatened by spatial devices, how space fashions our perception of gender, social or (...) ethnic identity and activates power relations. They explore the need for a home or a homeland and the various forms exile or placelessness can take. They may also take part in the restoration of the Commons and the constitution of alternative communities. Whether the analyses focus on the private sphere (in urban, suburban or rural contexts), or on shared communal spaces, they ponder the mechanisms of inclusion and exclusion at work in human encounters and shed light on how artistic apparatuses make the tensions between openness to the other and rejection or withdrawal perceptible. The approach, borrowing from art history as well as anthropology lays emphasis on context, situationality and field work; it proposes to repoliticize relational art and concludes on the dialogical positionality which lies at the core of art. (shrink)

Phenomenal Difference' grants new attention to contemporary black British art, exploring its critical and social significance through attention to embodied experience, affectivity, the senses and perception. Much before scholars in the arts and humanities took their recent 'ontological turn' toward the new materialism, black British art had begun to expose cultural criticism's overreliance on the concepts of textuality, representation, identity and difference. Illuminating that original field of aesthetics and creativity, this book shows how black British artworks themselves (...) can become the basis for an engaged and widely-reaching philosophy. (shrink)

The paper uses two historical examples, public health (1840-1880) and town planning (1945-1975) in Britain, to analyse the challenges faced by goal-driven research, an increasingly important trend in science policy, as exemplified by the prominence of calls for addressing Grand Challenges. Two key points are argued. (1) Given that the aim of research addressing social or global problems is to contribute to improving things, this research should include all the steps necessary to bring science and technology to fruition. This need (...) is captured by the idea of practical integration, which brings this type of research under the umbrella of collective practical reason rather than under the aegis of science. Achieving practical integration is difficult for many reasons: the complexity of social needs, the plurality of values at stake, the limitation of our knowledge, the elusive nature of the skills needed to deal with uncertainty, incomplete information and asymmetries of power. Nevertheless, drawing from the lessons of the case studies, it is argued that (2) practical integration needs a proper balance between values, institutions and knowledge: i.e. a combination of mutual support and mutual limitation. Pursuing such a balance provides a flexible strategy for approximating practical integration. (shrink)

This introduction to the special issue of the British Journal of Aesthetics, ‘Remote Art: Engaging with Art from Remote Times and Places’, presents the notion of art’s remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship.

The fundamentals of Kahn's architectural philosophy begin with his personal history: his inherent talent; his family background and childhood experiences; his education, from elementary school through architectural school; the influences of Paul Philippe Cret and Beaux Arts architecture; and his travels, especially those to study the antique monuments of Egypt, Greece, and Rome. Because the causal aspects of these experiences were absorbed by him, rather than being the products of Kahn's own thinking, he rarely acknowledged them. His conclusions led to (...) a philosophy that echoed some of the thoughts of earlier philosophers, like Spinoza and Heidegger, but were arrived at independently.1 Kahn expressed his philosophy in lectures, seminars, writings, interviews, conversation, and often through sketches. However, he habitually expressed himself elliptically-his phrasing poetic, his metaphors original and apt. Therefore, his meaning was often felt rather than understood. Extensive studies of Louis Kahn's architecture exist, but few focus on his fully developed architectural philosophy.2 This text addresses that subject, incorporating his own words (in italics) and relating them where relevant to his final work, the Yale Center of British Art (hereafter, "the Center"). Kahn died during the construction of the building, the last material expression of his architectural philosophy. I was the first director of the Center, a participant in the selection of the architect and throughout the building's planning and creation. Coincidental with the early years of Kahn's planning for the Center, two young architectural historians-John Cook and Heinrich Klotz-interviewed several leading architects, including Kahn. Working with a verbatim transcript of the Kahn interviews, made by Karen Denavit, I produced an edited version of the interviews in book format. Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz (hereafter, "Kahn in Conversation") is the source for many of the Kahn quotations included here. A researcher can consult the full, verbatim transcript of the interviews in the Center's Institutional Archives, in the Manuscripts and Archives collections in Sterling Memorial Library at Yale University, and in the Architectural Archives of the University of Pennsylvania. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. (...) class='Hi'>British Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art practice which (...) have taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover. (shrink)

We critically survey prominent recent scholarship on the question of whether fiction can be a source of epistemic value for those who engage with it fully and appropriately. Such epistemic value might take the form of knowledge (for ‘cognitivists’) or understanding (for ‘neo-cognitivists’). Both camps may be sorted according to a further distinction between views explaining fiction’s epistemic value either in terms of the author’s engaging in a form of telling, or instead via their showing some state of affairs to (...) obtain, a special case of which is the provision of self-knowledge. Fictional works that show rather than tell often employ thought experiments. The epistemic value of some fictional works is indicated by their enabling of empathy, itself illuminated via the psychological process of experience-taking. Whether a fictional work offers epistemic value by telling or showing, there is, in principle, no bar to its being able to deliver on what it offers, and consumers of fiction who exercise epistemic vigilance may gain either knowledge or some degree of understanding from their engagement with it. (shrink)

_Art and Authority: Moral Rights and Meaning in Contemporary Art_GOVERK. E.Oup. 2018. pp. 208. £40.00.

"Under Magee's sensitive guidance a remarkably coherent interpretation of this period emerges."--Marshall Cohen, Listener. "The whole book has a marvellous air of casualness and clarity that makes it a delight to read."--Colin Wilson. Contemporary British philosophy is experiencing unprecedented openness to influences from abroad. New growth is evident in many areas of traditional philosophy which had been neglected by the logical positivists and the linguistic analysts. This sense of freedom permeates Magee's volume of conversations with leading British philosophers. (...) Under Magee's direction, the philosophers discuss other influential thinkers, such as Wittgenstein, Russell, Moore, and Austin, as well as ideas of universal interest, such as morality, art, religion, and social theory. As an introduction to contemporary British philosophy, a unique collection of candid commentaries by important thinkers, and study of fresh ideas, Modern British Philosophy is consistently lively and authoritative. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

Roelofs’ Arts of Address recalls familiar terrain to students of phenomenology. In particular, her conception of address might remind us of intentionality, our.

most famous and, arguably, most important papers in modern aesthetics. Despite this, and the various references to it and discussions of it within the literature, there are no general commentaries on this essay. In addition to outlining a general framework for approaching the article, I identify and explicate the two main exegetical issues regarding it. The first concerns how to understand Walton's main thesis that the aesthetic character of artworks is determined, in part, by their ‘correct category’. I suggest that (...) the traditional interpretation of Walton's proposal is mistaken, and defend an alternative view at length. The second issue concerns the relationship between Walton's view and competing accounts of the aesthetics of artworks. Here I suggest that Walton's position is unique, contrasting the views of both typical formalists, on the one hand, and ordinary contextualists, on the other, in philosophically significant ways. Careful reflection on this particular issue helps reveal some very important distinctions among aesthetic theories, which have not been previously drawn or emphasized. CiteULike Connotea Del.icio.us What's this? (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Collaborative Art in the Twenty-First CenturyBacharachSondra, BoothJeremy Neil and FjærestadSiv B. routledge. 2016. pp. 210. £88.00.

_ _ _Art and Value_ focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context – at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological (...) intervention: it is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams’s ‘relativism of distance’, that there are some cases in which the moral outlooks of a work’s generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated – if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we’re advocating might inform our moral judgments of art – more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian and the music composed for and sung by the castrati. (shrink)