89 found
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  1.  96
    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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  2.  32
    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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  3. 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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  4.  16
    “Categories of Art” for Contextualists.David Davies - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):75-79.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 75-79, Winter 2020.
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  5.  91
    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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  6.  8
    Puy on ‘Nested Types’.David Davies - forthcoming - Journal of Aesthetics and Art Criticism.
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  7.  72
    Fictive Utterance and the Fictionality of Narratives and Works.David Davies - 2015 - British Journal of Aesthetics 55 (1):39-55.
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  8.  3
    “Categories of Art” for Contextualists.David Davies - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):75-79.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 75-79, Winter 2020.
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  9.  8
    Aesthetics and Literature.David Davies - 2008 - Journal of Aesthetics and Art Criticism 66 (4):406-407.
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  10.  93
    The Performance of Reading: An Essay in the Philosophy of Literature.David Davies - 2006 - Journal of Aesthetics and Art Criticism 66 (1):89-91.
  11.  76
    Enigmatic Variations.David Davies - 2012 - The Monist 95 (4):643-662.
  12.  11
    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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  13.  62
    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.  15
    Philosophical Dimensions of Cinematic Experience.David Davies - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 135-156.
    This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must occur in the course (...)
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  15.  30
    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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  16. 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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  17.  62
    Putnam’s Brain-Teaser.David Davies - 1995 - Canadian Journal of Philosophy 25 (2):203--27.
    1. Metaphysical Realists have traditionally relied upon the skeptic to give substance to the idea that truth is, in the words of Hilary Putnam, 'radically non-episternic,’ forever outstripping, in principle at least, the reach of justification. What better model of truth so conceived, after all, than the skeptic's contention that even our firmest convictions might be mistaken in that we might be the victims of demonic deception or the machinations of an evil scientist? But the availability of this favorite model (...)
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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.  30
    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.
  20.  39
    Medium in Art.David Davies - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 181.
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  21.  45
    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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  22. 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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  23. 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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  24.  45
    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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  25. 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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  26.  65
    Reperforming and Reforming Art as Performance: Responses. [REVIEW]David Davies - 2005 - Acta Analytica 20 (4):64-90.
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  27.  3
    Fictional Truth And Fictional Authors.David Davies - 1996 - British Journal of Aesthetics 36 (1):43-55.
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  28.  60
    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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  29.  6
    Putnam’s Brain-Teaser.David Davies - 1995 - Canadian Journal of Philosophy 25 (2):203-227.
    1. Metaphysical Realists have traditionally relied upon the skeptic to give substance to the idea that truth is, in the words of Hilary Putnam, 'radically non-episternic,’ forever outstripping, in principle at least, the reach of justification. What better model of truth so conceived, after all, than the skeptic's contention that even our firmest convictions might be mistaken in that we might be the victims of demonic deception or the machinations of an evil scientist? But the availability of this favorite model (...)
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  30.  97
    How Sceptical is Kripke's 'Sceptical Solution'?David Davies - 1998 - Philosophia 26 (1-2):119-140.
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  31.  68
    Précis of Art as Performance.David Davies - 2005 - Acta Analytica 20 (4):3-9.
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  32. 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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  33. How Not to Outsmart the Anti-Realist.David Davies - 1987 - Analysis 47 (1):1 - 8.
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  34.  97
    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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  35.  35
    Works, Texts, and Contexts: Goodman on the Literary Artwork.David Davies - 1991 - Canadian Journal of Philosophy 21 (3):331 - 345.
    We have seen that a musical score is in a notation and defines a work; that a sketch or picture is not in a notation but is itself a work; and that a literary script is both in a notation and is itself a work. Thus in the individual arts a work is differently localized. In painting, the work is an individual object; and in etching, a class of objects. In music, the work is the class of performances compliant with (...)
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  36.  33
    Perspectives on Intentional Realism.David Davies - 1992 - Mind and Language 7 (3):264-285.
  37.  27
    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).
  38.  61
    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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  39.  33
    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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  40.  14
    Curbing the Realist's Flights of Fancy.David Davies - 1992 - Dialogue 31 (2):243-.
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  41.  37
    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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  42. Artistic Intentions and the Ontology of Art.David Davies - 1999 - British Journal of Aesthetics 39 (2):148-162.
  43.  92
    Dennett’s Stance on Intentional Realism.David Davies - 1995 - Southern Journal of Philosophy 33 (3):299-312.
  44.  29
    A Traveller's Guide To Putnam's “Narrow Path”. [REVIEW]David Davies - 1996 - Dialogue 35 (1):117-146.
    It is now over 15 years since Hilary Putnam first urged that we take the “narrow path” of internal realism as a way of navigating between “the swamps of metaphysics and the quicksands of cultural relativism and historicism”. In the opening lines of the Preface to Realism with a Human Face, a collection of Putnam's recent papers edited by James Conant, Putnam reaffirms his allegiance to this narrow path, unmoved by Realist murmurings from the swamps and laconic Rortian suggestions that (...)
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  45.  13
    Précis de Art as Performance.David Davies - 2005 - Philosophiques 32 (1):207.
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  46.  15
    Réponses À Mes Critiques.David Davies - 2005 - Philosophiques 32 (1):229-245.
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  47.  7
    Interpretation and Construction: Art, Speech, and the Law.David Davies - 2004 - Journal of Aesthetics and Art Criticism 62 (3):293-296.
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  48. Blade Runner.Amy Coplan & David Davies (eds.) - 2015 - Routledge.
    Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with (...)
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  49.  3
    Animation.David Davies - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 165-187.
    I begin by asking what it is for a moving image to be animated, and thus, what it is for something to be an instance of animated cinema. I next distinguish different kinds of cinematic animation, and explore why, traditionally, so little philosophical attention has been paid to animated cinema per se, and why recent developments in cinematic technology have begun to remedy this deficiency. I comment here on the exchange between Stanley Cavell and Alexander Sesonske over the status of (...)
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  50. Art as Performance.David Davies - 2005 - Philosophical Quarterly 55 (221):694-696.
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