61 found
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  1.  16
    Aesthetics and Music. [REVIEW]Andy Hamilton - 2009 - Analysis 69 (2):397-398.
    Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative. He interleaves chapters on the history of philosophical thought about music with more theoretical discussions of music, sound, rhythm and improvisation, but does not cover the work–performance relation, depiction or expression. He draws on an atypically broad range of examples, including avant-garde, medieval, non-Western and jazz. The assumptions are humanist: ‘I wish to argue for an aesthetic conception of music as an art … according to which music (...)
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  2. Memory and Self-Consciousness: Immunity to Error Through Misidentification.Andy Hamilton - 2009 - Synthese 171 (3):409-417.
    In The Blue Book, Wittgenstein defined a category of uses of “I” which he termed “I”-as-subject, contrasting them with “I”-as-object uses. The hallmark of this category is immunity to error through misidentification (IEM). This article extends Wittgenstein’s characterisation to the case of memory-judgments, discusses the significance of IEM for self-consciousness—developing the idea that having a first-person thought involves thinking about oneself in a distinctive way in which one cannot think of anyone or anything else—and refutes a common objection to the (...)
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  3.  9
    An Ontology of Art.Andy Hamilton - 1990 - Philosophical Quarterly 40 (161):538-541.
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  4.  10
    The Aesthetics of Imperfection Reconceived: Improvisations, Compositions, and Mistakes.Andy Hamilton - 2020 - Journal of Aesthetics and Art Criticism 78 (3):289-302.
    ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...)
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  5. The Sound of Music.Andy Hamilton - 2009 - In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oxford University Press.
     
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  6.  11
    Wittgentein: A Life. Young Ludvig 1889-1921.Andy Hamilton & Brian McGuinness - 1990 - Philosophical Quarterly 40 (158):106.
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  7.  79
    False Memory Syndrome and the Authority of Personal Memory-Claims: A Philosophical Perspective.Andy Hamilton - 1998 - Philosophy, Psychiatry, and Psychology 5 (4):283-297.
  8.  39
    II—Rhythm and Stasis: A Major and Almost Entirely Neglected Philosophical Problem.Andy Hamilton - 2011 - Proceedings of the Aristotelian Society 111 (1pt1):25-42.
    This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against Scruton, (...)
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  9.  59
    The Authority of Avowals and the Concept of Belief.Andy Hamilton - 2000 - European Journal of Philosophy 8 (1):20-39.
    The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their non‐cognitive status. (...)
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  10.  33
    Anscombian and Cartesian Scepticism.Andy Hamilton - 1991 - Philosophical Quarterly 41 (162):39-54.
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  11. Music and the Aural Arts.Andy Hamilton - 2007 - British Journal of Aesthetics 47 (1):46-63.
    The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contrasting acoustic, (...)
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  12.  81
    'Scottish Commonsense' About Memory: A Defence of Thomas Reid's Direct Knowledge Account.Andy Hamilton - 2003 - Australasian Journal of Philosophy 81 (2):229-245.
    Reid rejects the image theory --the representative or indirect realist position--that memory-judgements are inferred from or otherwise justified by a present image or introspectible state. He also rejects the trace theory , which regards memories as essentially traces in the brain. In contrast he argues for a direct knowledge account in which personal memory yields unmediated knowledge of the past. He asserts the reliability of memory, not in currently fashionable terms as a reliable belief-forming process, but more elusively as a (...)
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  13.  53
    The Art of Recording and the Aesthetics of Perfection.Andy Hamilton - 2003 - British Journal of Aesthetics 43 (4):345-362.
    Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the (...)
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  14. Routledge Philosophy Guidebook to Wittgenstein and on Certainty.Andy Hamilton - 2008 - Routledge.
    Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In On Certainty he discusses central issues in epistemology, including the nature of knowledge and scepticism. The Routledge Philosophy Guidebook to Wittgenstein and On Certainty introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of On Certainty , including its responses to G.E. Moore and discussion of fundamental issues in the theory of knowledge Wittgenstein's continuing importance in contemporary philosophy. This (...)
     
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  15.  45
    Scruton's Philosophy of Culture: Elitism, Populism, and Classic Art.Andy Hamilton - 2009 - British Journal of Aesthetics 49 (4):389-404.
    Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but with communal (...)
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  16.  59
    The Aesthetics of Imperfection.Andy Hamilton - 1990 - Philosophy 65 (253):323 - 340.
    Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes: Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model… …What the composer's inspiration necessarily loses through notation, his interpreter should restore (...)
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  17.  43
    Ernst Mach and the Elimination of Subjectivity.Andy Hamilton - 1990 - Ratio 3 (2):117-135.
  18.  13
    The Aesthetics of Design.Andy Hamilton - 2011 - In Jessica Wolfendale & Jeanette Kennett (eds.), Fashion - Philosophy for Everyone: Thinking with Style. Blackwell. pp. 51--69.
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  19.  5
    The Authority of Avowals and the Concept of Belief.Andy Hamilton - 2000 - European Journal of Philosophy 8 (1):20-39.
    The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their non‐cognitive status. (...)
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  20.  41
    Proprioception as Basic Knowledge of the Body.Andy Hamilton - 2005 - In Rene van Woudenberg, Sabine Roeser & Ron Rood (eds.), Basic Belief and Basic Knowledge. Ontos-Verlag.
  21.  26
    Elucidating the Tractatus: Wittgenstein's Early Philosophy of Language and Logic - by Marie McGinn.Andy Hamilton - 2008 - Philosophical Books 49 (3):266-269.
  22.  5
    Scruton's Philosophy of Culture: Elitism, Populism, and Classic Art: Articles.Andy Hamilton - 2009 - British Journal of Aesthetics 49 (4):389-404.
    Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but with communal (...)
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  23.  29
    The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.Andy Hamilton - 1993 - Philosophical Books 34 (3):186-188.
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  24.  14
    An Analytic Retrospect.Andy Hamilton - 2006 - Philosophical Books 47 (4):342-351.
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  25.  7
    Mild Cognitive Impairment: Which Kind Is It?Andy Hamilton - 2006 - Philosophy, Psychiatry, and Psychology 13 (1):51-52.
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  26.  56
    The Aesthetics of Western Art Music.Andy Hamilton & Roger Scruton - 1999 - Philosophical Books 40 (3):145-159.
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  27. The Philosophy of Rhythm: Aesthetic, Music, Poetics.Peter Cheyne, Andy Hamilton & Max Paddison (eds.) - 2019
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  28.  36
    Aesthetics and the Environmen: The Appreciation of Nature, Art and Architecture.Andy Hamilton - 2001 - British Journal of Aesthetics 41 (4):444-446.
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  29. Adorno and the Autonomy of Art.Andy Hamilton - 2009 - In Stefano Giacchetti Ludovisi & G. Agostini Saavedra (eds.), Nostalgia for a Redeemed Future: Critical Theory. University of Delaware.
     
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  30.  36
    Art Rethought: The Social Practices of Art By Nicholas Wolterstorff.Andy Hamilton - 2018 - Analysis 78 (1):186-188.
    © The Author 2017. Published by Oxford University Press on behalf of The Analysis Trust. All rights reserved. For Permissions, please email: journals.permissions@oup.comIn this very wide-ranging and absorbing monograph, Nicholas Wolterstorff argues that modern aestheticians ignore the varieties of engagement with art, in an exclusive focus on disinterested attention. This, he argues, is because they assume the ‘grand narrative concerning art in the modern world’. According to Wolterstorff, this narrative holds that in the Early Modern period in the West, members (...)
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  31.  24
    Artistic Truth.Andy Hamilton - 2012 - Royal Institute of Philosophy Supplement 71:229-261.
    According to Wittgenstein, in the remarks collected as Culture and Value , ‘People nowadays think, scientists are there to instruct them, poets, musicians etc. to entertain them. That the latter have something to teach them; that never occurs to them.’ 18th and early 19th century art-lovers would have taken a very different view. Dr. Johnson assumed that the poets had truths to impart, while Hegel insisted that ‘In art we have to do not with any agreeable or useful child's play, (...)
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  32. Against the Belief Model of Delusion.Andy Hamilton - 2006 - In Man Cheung Chung, Bill Fulford & George Graham (eds.), Reconceiving Schizophrenia. Oxford University Press.
     
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  33.  4
    Book-Reviews. [REVIEW]Andy Hamilton - 1999 - British Journal of Aesthetics 39 (4):429-432.
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  34. Brian McGuinness, "Wittgenstein: A Life". [REVIEW]Andy Hamilton - 1990 - Philosophical Quarterly 40 (58):106.
     
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  35. Books Received. [REVIEW]Andy Hamilton - 1990 - Philosophical Quarterly 40 (161).
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  36.  41
    Book Reviews. [REVIEW]Andy Hamilton - 1996 - British Journal of Aesthetics 36 (4):429-432.
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  37.  5
    Book Reviews. [REVIEW]Andy Hamilton - 1997 - British Journal of Aesthetics 37 (4):429-432.
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  38.  14
    Book Reviews. [REVIEW]Andy Hamilton - 1998 - British Journal of Aesthetics 38 (3):429-432.
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  39.  12
    Experience and Expression: Wittgenstein's Philosophy of Psychology.Andy Hamilton - 1994 - Philosophical Books 35 (2):108-110.
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  40.  6
    Gregory Currie, "An Ontology of Art". [REVIEW]Andy Hamilton - 1990 - Philosophical Quarterly 40 (61):538.
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  41.  56
    Intention and the Authority of Avowals.Andy Hamilton - 2008 - Philosophical Explorations 11 (1):23 – 37.
    There is a common assumption that intention is a complex behavioural disposition, or a motivational state underlying such a disposition. Associated with this position is the apparently commonsense view that an avowal of intention is a direct report of an inner motivational state, and indirectly an expression of a belief that it is likely that one will A. A central claim of this article is that the dispositional or motivational model is mistaken since it cannot acknowledge either the future-direction of (...)
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  42.  36
    Knowledge, Reason and Taste: Kant's Response to Hume.Andy Hamilton - 2010 - Australasian Journal of Philosophy 88 (4):737-739.
  43.  24
    Kant's Theory of Self-Consciousness.Andy Hamilton - 1993 - Philosophical Books 34 (1):19-21.
  44.  7
    Listening to Music.Andy Hamilton - 1991 - Philosophical Books 32 (4):253-256.
  45.  6
    Mémoire, Conscience de Soi Et Identification de Soi.Andy Hamilton & Sébastien Motta - 2010 - Philosophie 106 (3):104.
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  46. Mill, Phenomenalism, and the Self.Andy Hamilton - 1998 - In John Skorupski (ed.), The Cambridge Companion to Mill. Cambridge University Press. pp. 139--75.
     
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  47.  8
    Philosophy at 331/3 R.P.M.: Themes in Classic Rock Music.Andy Hamilton - 1996 - Philosophical Books 37 (1):77-78.
  48.  6
    Rhythm and Movement: The Conceptual Interdependence of Music, Dance, and Poetry.Andy Hamilton - 2019 - Midwest Studies in Philosophy 44 (1):161-182.
    Midwest Studies In Philosophy, EarlyView.
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  49.  8
    Russell, Idealism and the Emergence of Analytic Philosophy.Andy Hamilton - 1991 - Philosophical Books 32 (2):88-89.
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  50. Routledge Philosophy Guidebook to Wittgenstein and on Certainty.Andy Hamilton - 2008 - Routledge.
    Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In _On Certainty_ he discusses central issues in epistemology, including the nature of knowledge and scepticism. _The Routledge Philosophy Guidebook to Wittgenstein and On Certainty_ introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of _On Certainty_, including its responses to G.E. Moore and discussion of fundamental issues in the theory of knowledge Wittgenstein's continuing importance in contemporary philosophy. This _GuideBook_ (...)
     
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