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Christopher Bartel
Appalachian State University
  1. Resolving the Gamers Dilemma.Christopher Bartel - 2012 - Ethics and Information Technology 14 (1):11-16.
    Morgan Luck raises a potentially troubling problem for gamers who enjoy video games that allow the player to commit acts of virtual murder. The problem simply is that the arguments typically advanced to defend virtual murder in video games would appear to also support video games that allowed gamers to commit acts of virtual paedophilia. Luck’s arguments are persuasive, however, there is one line of argument that he does not consider, which may provide the relevant distinction: as virtual paedophilia involves (...)
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  2. The 'Fine Art' of Pornography?Christopher Bartel - 2010 - In Dave Monroe (ed.), Porn: Philosophy for Everyone. Wiley-Blackwell. pp. 153--65.
    Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.
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  3. Free Will and Moral Responsibility in Video Games.Christopher Bartel - 2015 - Ethics and Information Technology 17 (4):285-293.
    Can a player be held morally responsible for the choices that she makes within a videogame? Do the moral choices that the player makes reflect in any way on the player’s actual moral sensibilities? Many videogames offer players the options to make numerous choices within the game, including moral choices. But the scope of these choices is quite limited. I attempt to analyze these issues by drawing on philosophical debates about the nature of free will. Many philosophers worry that, if (...)
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  4.  26
    ‘It’s Just a Story’: Pornography, Desire, and the Ethics of Fictive Imagining.Christopher Bartel & Anna Cremaldi - 2018 - British Journal of Aesthetics 58 (1):37-50.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comIn the popular media, morally problematic content is often defended on the grounds that ‘it’s just a story’—that is, imaginative engagement with morally problematic content amounts merely to entertaining a story, and there is nothing morally wrong with entertaining a story. Against this, some aestheticians have argued that, in fact, there can be something intrinsically (...)
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  5. Music Without Metaphysics?Christopher Bartel - 2011 - British Journal of Aesthetics 51 (4):383-398.
    In a recent pair of articles, Aaron Ridley and Andrew Kania have debated the merits of the study of musical ontology. Ridley contends that the study of musical ontology is orthogonal to more pressing concerns over the value of music. Kania rejects this, arguing that a theory of the value of music must begin with an understanding of the ontology of music. In this essay, I will argue that, despite Kania's rejections, Ridley's criticism exposes a false methodological assumption that needs (...)
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  6.  67
    The Puzzle of Historical Criticism.Christopher Bartel - 2012 - Journal of Aesthetics and Art Criticism 70 (2):213-222.
    Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...)
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  7.  36
    The Ontology of Musical Works and the Role of Intuitions: An Experimental Study.Christopher Bartel - 2018 - European Journal of Philosophy 26 (1):348-367.
    Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...)
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  8.  51
    Originality and Value.Christopher Bartel - 2010 - Hermeneia:66-77.
    What does it mean to describe a work of art as being ‘original’? Frank Sibley believed that works of art are not valued for their originality independently of their aesthetic value. He argued that a work may be described as being ‘original’ if it is innovative and also exhibits some further aesthetic value. In this essay, I argue against this conjunctive account of originality as some kind of innovation-plus-value. I claim that a work may be valued for and described as (...)
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  9. Is Art Good for Us? Beliefs About High Culture in American Life. [REVIEW]Christopher Bartel - 2004 - British Journal of Aesthetics 44 (1):93-96.
  10.  64
    Art and Pornography. [REVIEW]Christopher Bartel - 2014 - British Journal of Aesthetics 54 (4):510-512.
  11.  15
    Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  12.  25
    Nick Zangwill, Music and Aesthetic Reality: Formalism and the Limits of Description. Reviewed By. [REVIEW]Christopher Bartel - 2016 - Philosophy in Review 36 (1):42-43.
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  13.  28
    The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...)
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  14.  65
    Art and Value. [REVIEW]Christopher Bartel - 2005 - British Journal of Aesthetics 45 (1):94-96.
  15.  53
    Works of Music – Julian Dodd. [REVIEW]Christopher Bartel - 2009 - Philosophical Quarterly 59 (237):760-762.
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  16.  46
    Why Music Moves Us - Jeanette Bicknell. [REVIEW]Christopher Bartel - 2010 - Journal of Aesthetics and Art Criticism 68 (3):317-319.
  17.  47
    The Performance of Reading. [REVIEW]Christopher Bartel - 2010 - Philosophical Quarterly 60 (238):220-222.
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  18.  39
    Listening to Popular Music. [REVIEW]Christopher Bartel - 2008 - British Journal of Aesthetics 48 (3):357-359.
  19.  6
    Musical Understandings, by Stephen Davies. [REVIEW]Christopher Bartel - 2014 - Mind 123 (492):1184-1187.
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  20. Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW]Christopher Bartel - 2008 - Philosophy in Review 28 (3):212-214.
     
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  21. Review: Art and Value. [REVIEW]Christopher Bartel - 2005 - British Journal of Aesthetics 45 (1):94-96.
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