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David Davies [81]David G. Davies [2]David Davies Davies [1]David Oliver Davies [1]
David Alan Davies [1]
  1. Thought Experiments and Fictional Narratives.David Davies - 2007 - Croatian Journal of Philosophy 7 (1):29-45.
    I explore the possibility that there are interesting and illuminating paralleIs to be drawn between issues central to the philosophical literature on scientific thought experiments (TE’s) and issues central to the phlilosophical literature on standard fictional narratives. I examine three related questions: (a) To what extent are TE’s (like) standard fictional narratives? (b) Is the understanding of TE’s like the understanding of standard fictional narratives? (c) Most significantly, are there illuminating paralIeIs to be drawn between the ‘epistemological problem’ of TE’s (...)
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  2.  1
    Aesthetics and Literature.David Davies - 2008 - Journal of Aesthetics and Art Criticism 66 (4):406-407.
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  3.  2
    Art as Performance.David Davies - 2005 - Mind 114 (453):137-141.
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  4. Art as Performance.David Davies - 2005 - Philosophical Quarterly 55 (221):694-696.
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  5.  15
    Descriptivism and Its Discontents.David Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (2):117-129.
    Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...)
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  6.  75
    The Primacy of Practice in the Ontology of Art.David Davies - 2009 - Journal of Aesthetics and Art Criticism 67 (2):159-171.
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  7. The Thin Red Line.David Davies (ed.) - 2008 - Routledge.
    The Thin Red Line is the third feature-length film from acclaimed director Terrence Malick, set during the struggle between American and Japanese forces for Guadalcanal in the South Pacific during World War Two. It is a powerful, enigmatic and complex film that raises important philosophical questions, ranging from the existential and phenomenological to the artistic and technical. This is the first collection dedicated to exploring the philosophical aspects of Malick’s film. Opening with a helpful introduction that places the film in (...)
     
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  8.  78
    Philosophy of the Performing Arts.David Davies - 2011 - Wiley-Blackwell.
    This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.
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  9. Collingwood's ‘Performance’ Theory of Art.David Davies - 2008 - British Journal of Aesthetics 48 (2):162-174.
    Even if we reject the Wollheimian reading of Collingwood as an Idealist in the ontology of art, it remains puzzling how his non-Idealist ontology fits with his idea of art as expression. In trying to clarifying these matters, I argue that (i) the work of art, for Collingwood, is an activity, not the product of an activity; (ii) puzzling features of the Principles arise from attempts to reconcile this claim with the idea of art as expression while preserving the art/craft (...)
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  10.  3
    Art as Performance.David Davies - 2005 - Journal of Aesthetics and Art Criticism 63 (1):77-80.
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  11.  15
    Dancing Around the Issues: Prospects for an Empirically Grounded Philosophy of Dance.David Davies - 2013 - Journal of Aesthetics and Art Criticism 71 (2):195-202.
  12.  43
    Enigmatic Variations.David Davies - 2012 - The Monist 95 (4):643-662.
  13.  51
    Dodd on the 'Audibility' of Musical Works.David Davies - 2009 - British Journal of Aesthetics 49 (2):99-108.
    Julian Dodd has argued that the type–token theory in musical ontology has a ‘default’ status because it can explain the repeatability and audibility of musical works without the need for philosophical reinterpretation. I present two challenges to Dodd's claims about audibility. First, I argue (a) that a type–token theorist who, like Dodd, adheres to Wolterstorff's doctrine of analogical predication must grant that musical works themselves are hearable only in an ‘analogical’ sense; and (b) that alternative musical ontologies are able to (...)
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  14.  40
    Fictive Utterance and the Fictionality of Narratives and Works.David Davies - 2015 - British Journal of Aesthetics 55 (1):39-55.
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  15.  45
    Putnam's Brain-Teaser.David Davies - 1995 - Canadian Journal of Philosophy 25 (2):203--27.
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  16.  16
    Varying Impressions.David Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...)
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  17. Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography.David Davies - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
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  18. Fictional Truth and Fictional Authors.David Davies - 1996 - British Journal of Aesthetics 36 (1):43-55.
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  19. Telling Pictures : The Place of Narrative in Late Modern 'Visual Art'.David Davies - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. pp. 138--156.
     
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  20.  55
    McAllister's Aesthetics in Science: A Critical Notice.David Davies - 1998 - International Studies in the Philosophy of Science 12 (1):25 – 32.
    In Beauty and Revolution in Science, James McAllister argues that a sophisticated rationalist image of science can accommodate two prominent features of actual scientific practice, namely, appeals to “aesthetic” criteria in theory choice, and the occurrence of scientific “revolutions”. The aesthetic criteria to which scientists appeal are, he maintains, inductively grounded in the empirical record of competing theories, and scientific revolutions involve changes in aestheic criteria bu continuity in empirical criteria of theory choice. I raise difficulties for McAllister's account concerning: (...)
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  21.  69
    How Sceptical is Kripke's 'Sceptical Solution'?David Davies - 1998 - Philosophia 26 (1-2):119-140.
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  22.  35
    Explanatory Disunities and the Unity of Science.David Davies - 1996 - International Studies in the Philosophy of Science 10 (1):5 – 21.
    Abstract According to John Dupré, the metaphysics underpinning modern science posits a deterministic, fully law?governed and potentially fully intelligible structure that pervades the entire universe. To reject such a metaphysical framework for science is to subscribe to ?the disorder of things?, and the latter, according to Dupré, entails the impossibility of a unified science. Dupré's argument rests crucially upon purported disunities evident in the explanatory practices of science. I critically examine the implied project of drawing metaphysical conclusions from epistemological premisses (...)
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  23. Artistic Intentions and the Ontology of Art.David Davies - 1999 - British Journal of Aesthetics 39 (2):148-162.
  24. Why One Shouldn’T Make an Example of a Brain in a Vat.David Davies - 1997 - Analysis 57 (1):51–59.
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  25.  93
    How Not to Outsmart the Anti-Realist.David Davies - 1987 - Analysis 47 (1):1 - 8.
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  26.  19
    First Page Preview.James W. McAllister, Lars Bergström, James Robert Brown, Martin Carrier, Nancy Cartwright, Jiwei Ci, David Davies, Catherine Elgin, Márta Fehér & Michel Ghins - 2010 - International Studies in the Philosophy of Science 24 (4).
  27.  74
    Horwich on 'Semantic' and 'Metaphysical' Realism.David Davies - 1987 - Philosophy of Science 54 (4):539-557.
    Horwich argues that we should reject metaphysical realism, but that we can preserve semantic realism by adhering to a redundancy theory of truth and a confirmationist account of linguistic understanding. But the latter will give us semantic realism only if it allows that the truth-values of sentences may transcend our recognitional capacities, and this is possible only insofar as we covertly reintroduce metaphysical realism. In spite of its intuitive appeal, we should not endorse semantic realism, but this need not bear (...)
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  28.  25
    Rehearsal and Hamilton’s “Ingredients Model” of Theatrical Performance.David Davies - 2009 - Journal of Aesthetic Education 43 (3):pp. 23-36.
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  29.  75
    Dennett's Stance on Intentional Realism.David Davies - 1995 - Southern Journal of Philosophy 33 (3):299-312.
  30.  41
    Reperforming and Reforming Art as Performance: Responses. [REVIEW]David Davies - 2005 - Acta Analytica 20 (4):64-90.
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  31.  25
    Medium in Art.David Davies - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 181.
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  32.  29
    Works, Texts, and Contexts: Goodman on the Literary Artwork.David Davies - 1991 - Canadian Journal of Philosophy 21 (3):331 - 345.
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  33.  21
    Perspectives on Intentional Realism.David Davies - 1992 - Mind and Language 7 (3):264-285.
  34.  6
    Mag Uidhir on What Is “Minimally Viable” in “Art-Theoretic Space”.David Davies - 2018 - Journal of Aesthetic Education 52 (2):8.
    One of the most striking features of Christy Mag Uidhir’s rich and challenging book is the contrast between the modesty of its professed aim and the controversial nature of its professed conclusions. The aim is to investigate “what follows from taking intention-dependence seriously as a substantive necessary condition for being art.”1 The concern is not to give a theory of art but to clarify “the nature of the art-theoretic space that any art theory must occupy so as to be minimally (...)
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  35.  98
    Works and Performances in the Performing Arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.
    The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...)
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  36.  1
    Putnam’s Brain-Teaser.David Davies - 1995 - Canadian Journal of Philosophy 25 (2):203-227.
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  37.  5
    Curbing the Realist's Flights of Fancy.David Davies - 1992 - Dialogue 31 (2):243-.
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  38. James O. Young, Global Anti-Realism Reviewed By.David Davies - 1995 - Philosophy in Review 15 (5):372-374.
     
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  39.  40
    Assessing Robinson's “Revised Causal Argument” for Sense-Data.David Davies - 2011 - Croatian Journal of Philosophy 11 (2):209-224.
    Howard Robinson’s “revised causal argument” for the sense-datum theory of perception combines elements from two other arguments, the “original” causal argument and the argument from hallucination. Mark Johnston, however, has argued that, once the nature of the object of hallucinatory experience is properly addressed, the errors in hallucination-based arguments for conjunctivist views of perception like the sense-datum theory become apparent. I outline Robinson’s views and then consider the implications of Johnston’s challenge for the revised causal argument.
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  40.  60
    Creations of the Mind: Theories of Artifacts and Their Representation • by Eric Margolis and Stephen Laurence.David Davies - 2009 - Analysis 69 (1):171-172.
    This collection of 16 original articles by prominent theorists from a variety of disciplines provides an excellent insight into current thinking about artifacts. The four sections address issues concerning the metaphysics of artifacts, the nature and cognitive development of artifact concepts, and the place of artifacts in evolutionary history. The most overtly philosophical contributions are in the first two sections. Metaphysical issues addressed include the ‘mind-dependence’ of artifacts and the bearing of this on their ‘real’ existence, and the distinction between (...)
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  41.  58
    Eluding Wilson’s “Elusive Narrators”.David Davies - 2010 - Philosophical Studies 147 (3):387 - 394.
    George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives—thought experiments—to which Wilson’s model fails to apply, and that this reveals more general problems (...)
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  42.  49
    The Performance of Reading: An Essay in the Philosophy of Literature by Kivy, Peter.David Davies - 2008 - Journal of Aesthetics and Art Criticism 66 (1):89–91.
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  43.  18
    Intentions et signification de l'énonciation.David Davies - 2005 - Philosophiques 32 (1):83-99.
    J’évalue de manière critique un certain nombre de thèses concernant la façon dont l’intention peut compléter ou supplanter la convention dans une théorie de l’interprétation. Je soutiens que la signification de l’énonciation ne peut être identifiée aux intentions du locuteur, qu’elles soient réelles ou attribuées. Ou bien l’identification de la signification de l’énonciation aux intentions réelles ne réussit pas à attribuer un rôle déterminant véritable à ces intentions, ou bien elle échoue à rendre compte de la manière dont ces intentions (...)
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  44.  51
    On the Very Idea of ‘Outsider Art’.David Davies - 2009 - British Journal of Aesthetics 49 (1):25-41.
    There has been little serious philosophical reflection on whether, and in virtue of satisfying what conditions, ‘Outsider Art’ is art, as is standardly assumed. I critically examine a number of responses to this question implicit in curatorial practice and the critical literature. I argue that none of these responses carries conviction, and propose, on the basis of broader considerations in the philosophy of art, that the arthood of ‘Outsider’ pieces must be settled by reference to their individual provenance. This supports (...)
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  45.  42
    Précis of Art as Performance.David Davies - 2005 - Acta Analytica 20 (4):3-9.
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  46.  41
    On Gauging Attitudes.David Davies - 1998 - Philosophical Studies 90 (2):129-54.
  47.  32
    Book Review:Relativism Refuted Harvey Siegel. [REVIEW]David Davies - 1990 - Philosophy of Science 57 (3):537-.
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  48.  17
    L'« empirisme transcendantal » de McDowell.David Davies - 2009 - Philosophiques 36 (1):195-204.
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  49.  21
    The Dialogue Between Words and Music in the Composition and Comprehension of Song.David Davies - 2013 - Journal of Aesthetics and Art Criticism 71 (1):13-22.
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  50.  6
    Digital Technology, Indexicality, and Cinema.David Davies - 2011 - Rivista di Estetica 46:45-60.
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