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Dominic McIver Lopes
University of British Columbia
  1.  69
    Précis of Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - forthcoming - Philosophy and Phenomenological Research.
    One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation to pleasure. Contemporary (...)
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  2.  73
    Spontaneity and Materiality: What Photography Is in the Photography of James Welling.Dominic McIver Lopes & Diarmuid Costello - 2019 - Art History 42 (1):154-76.
    Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...)
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  3.  98
    Understanding Pictures.Dominic Lopes - 1996 - Oxford University Press.
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...)
  4.  65
    Sight and Sensibility: Evaluating Pictures.Dominic McIver Lopes - 2005 - Clarendon Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...)
  5.  30
    Beyond Art.Dominic McIver Lopes - 2014 - Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  6. What Is It Like to See with Your Ears? The Representational Theory of Mind.Dominic M. McIver Lopes - 2000 - Philosophy and Phenomenological Research 60 (2):439-453.
    Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...)
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  7. Understanding Pictures.Dominic Lopes - 1999 - Philosophical Quarterly 49 (196):398-400.
  8. Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - 2018 - Oxford University Press.
    For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.
     
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  9. The Myth of (Non-Aesthetic) Artistic Value.Dominic McIver Lopes - 2011 - Philosophical Quarterly 61 (244):518-536.
    Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.
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  10. Nobody Needs a Theory of Art.Dominic McIver Lopes - 2008 - Journal of Philosophy 105 (3):109-127.
    The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...)
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  11.  57
    A Philosophy of Computer Art.Dominic Lopes - 2009 - Routledge.
    What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...)
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  12.  8
    Understanding Pictures.Dominic Lopes - 1999 - Journal of Aesthetics and Art Criticism 57 (3):385-388.
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  13. The Aesthetics of Photographic Transparency.Dominic McIver Lopes - 2003 - Mind 112 (447):434--48.
    When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...)
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  14. Sight and Sensibility. Evaluating Pictures.Dominic M. Mciver Lopes - 2006 - Tijdschrift Voor Filosofie 68 (2):434-434.
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  15.  99
    Virtues of Art: Good Taste.Dominic McIver Lopes - 2008 - Aristotelian Society Supplementary Volume 82 (1):197-211.
    If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.
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  16.  55
    Aesthetic Experts, Guides to Value.Dominic Mciver Lopes - 2015 - Journal of Aesthetics and Art Criticism 73 (3):235-246.
    A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...)
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  17. Hearing and Seeing Musical Expression.Vincent Bergeron & Dominic McIver Lopes - 2009 - Philosophy and Phenomenological Research 78 (1):1-16.
    Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...)
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  18.  17
    Feeling for Freedom: K. C. Bhattacharyya on Rasa.Dominic McIver Lopes - forthcoming - British Journal of Aesthetics:ayz022.
    Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...)
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  19.  32
    A Philosophy of Mass Art. [REVIEW]Dominic M. McIver Lopes & Noel Carroll - 2000 - Philosophical Review 109 (4):614.
    The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room for mass art (...)
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  20. Genre.Brian Laetz & Dominic McIver Lopes - 2008 - In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 152-161.
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  21.  10
    II—V Irtues of A Rt: G Ood T Aste.Dominicmciver Lopes - 2008 - Aristotelian Society Supplementary Volume 82 (1):197-211.
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  22. Imagination, Philosophy, and the Arts.Matthew Kieran & Dominic McIver Lopes (eds.) - 2003 - Routledge.
    _Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination (...)
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  23.  78
    Pictures and the Representational Mind.Dominic McIver Lopes - 2003 - The Monist 86 (4):632-652.
    Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...)
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  24. Imagination, Philosophy, and the Arts.Matthew Kieran & Dominic Mciver Lopes - 2005 - Journal of Aesthetics and Art Criticism 63 (1):86-89.
     
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  25.  55
    The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
  26. Directive Pictures.Dominic McIver Lopes - 2004 - Journal of Aesthetics and Art Criticism 62 (2):189–196.
    Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...)
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  27. Art Media and the Sense Modalities: Tactile Pictures.Dominic M. M. Lopes - 1997 - Philosophical Quarterly 47 (189):425-440.
    It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...)
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  28. A Layered, Bounded, Integrated Approach to Research on the Arts Across Disciplines.Dominic McIver Lopes - 2019 - Leonardo:1-8.
    Cooperation among arts scholars is thought to be hampered by the division of research on the arts into two cultures, one scientific, one humanistic. This paper proposes an alternative model for research into the arts wherein multiple levels of explanation focussed on well-bounded phenomena integrate research across academic disciplines. Two case studies of research that fits the model are presented.
     
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  29. Feckless Reason.Dominic McIver Lopes - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & John Robinson (eds.), Aesthetics and the Sciences of Mind. Oxford: pp. 21-36.
    Empirical research on aesthetic response poses two challenges to philosophy. The more familiar challenge is that scientific explanations of aesthetic responses debunk what we take to be our reasons for those responses. One reaction to this challenge is an accommodation strategy that seeks to reconcile the scientific findings with an improved understanding of our normative reasons. This paper presents a more fundamental challenge: a well-established body of research in social psychology indicates that we routinely confabulate the reasons we give for (...)
     
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  30.  8
    An Argument for the New Theory of Photography: Reply to Costello.Dominic Mciver Lopes - 2019 - Journal of Aesthetics and Art Criticism 77 (3):311-313.
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  31.  7
    Neo-Picturesque.Dominic McIver Lopes & Susan Herrington - 2019 - In Jeanette Bicknell, Carolyn Korsmeyer & Jennifer Judkins (eds.), Philosophical Perspectives on Ruins, Monuments, and Memorials. London, UK: pp. 133-146.
    Neo-picturesque landscapes are former industrial sites redeveloped as parks in a way that preserves, maintains, and shapes memory of the materials, mechanics, and scale of the industrial age. This paper presents case studies of Duisburg Nord, the High Line, and Evergreen Brick Works. It distinguishes neo-picturesque ruins from archaeological ruins on the one hand and mere redevelopment projects on the other hand; traces a continuity between the eighteenth-century picturesque and the neo-picturesque; pinpoints the distinctive form of memory that the neo-picturesque (...)
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  32. Aesthetic Acquaintance.Dominic Mciver Lopes - 2009 - Modern Schoolman 86 (3/4):267-281.
  33. Conceptual Art Is Not What It Seems.Dominic McIver Lopes - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
    Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure to which conceptual art (...)
     
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  34.  54
    Pictorial Realism.Dominic Lopes - 1995 - Journal of Aesthetics and Art Criticism 53 (3):277-285.
    This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...)
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  35.  60
    Drawing in a Social Science: Lithic Illustration.Dominic McIver Lopes - 2009 - Perspectives on Science 17 (1):pp. 5-25.
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
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  36.  77
    Pictorial Colour: Aesthetics and Cognitive Science.Dominic McIver Lopes - 1999 - Philosophical Psychology 12 (4):415-428.
    The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...)
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  37. Four Arts of Photography.Dominic McIver Lopes - 2015 - Wiley.
    Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.
     
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  38. The Aesthetic Function of Art. [REVIEW]Dominic McIver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484-487.
  39.  12
    Nicholas Wolterstorff, Art Rethought: The Social Practices of Art. Reviewed By. [REVIEW]Dominic McIver Lopes - 2016 - Philosophy in Review 36 (5):232-234.
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  40.  20
    Go Social! Replies to Abell and Atencia-Linares.Catharine Abell, Paloma Atencia-Linares, Dominic McIver Lopes & Diarmuid Costello - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):207-234.
    Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in the (...)
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  41.  29
    Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  42.  84
    The Routledge Companion to Aesthetics.Berys Nigel Gaut & Dominic Lopes (eds.) - 2000 - Routledge.
    The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
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  43. In the Eye of the Beholder.Dominic McIver Lopes - 2016 - In Julian Dodd (ed.), Art, Mind, and Narrative: Themes from the Work of Peter Goldie. Oxford: pp. 223-340.
    According to a core tenet of contemporary philosophy, aesthetic properties are primarily represented in experiences. Obviously, however, the tenet does not apply in any straightforward manner to many items that nevertheless seem to have aesthetic properties. Examples include literary works, mathematical objects, scientific ideas, and works of conceptual art. Aesthetic properties need not be represented in perceptual experiences, but what is an experience if not a perceptual state? This paper adapts Fred Dretske’s distinction between analogue and digital representation to develop (...)
     
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  44.  72
    Art Without ‘Art’.Dominic McIver Lopes - 2007 - British Journal of Aesthetics 47 (1):1-15.
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
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  45. An Empathic Eye.Dominic McIver Lopes - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and Psychological Perspectives. Oxford: Oxford Univerity Press. pp. 118-133.
    What you see can shape how you feel, and the route from seeing to feeling sometimes involves empathy – as you might empathize with a woman you see grieving the death of her child. But empathy also comes from what you see in pictures. Bellini's Pieta? is one among many paintings, drawings, prints, and photographs that evoke empathy – and are designed to do so. Going further, it seems that episodes of empathy triggered by pictures can help build up a (...)
     
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  46.  3
    Imagination, Philosophy, and the Arts.Matthew Kieran & Dominic Mciver Lopes - 2004 - Mind 113 (451):559-562.
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  47. The Domain of Depiction.Dominic McIver Lopes - 2005 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and Philosophy of Art. Blackwell.
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  48. Disputing Taste.Dominic McIver Lopes - 2017 - In James O. Young (ed.), The Semantics of Aesthetic Judgement. Oxford: pp. 61-81.
    Philosophers have championed contextualist and relativist semantics for aesthetic discourse that attempt to explain faultless disagreement. However, both types of semantics do a good job explaining faultless disagreement. As a rule, more explananda assist in theory choice. This chapter proposes that three more facts need explaining. Aesthetic disputes revolve around objects, even as they express attitudes. They also extend into lengthy exchanges wherein reasons are offered and withdrawn. Finally, they play a role in the formation and regulation of aesthetic practices. (...)
     
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  49.  45
    Philosophy of Literature: Contemporary and Classic Readings: An Anthology.Eileen John & Dominic Lopes (eds.) - 2004 - Blackwell.
    This authoritative volume offers a handy compilation of contributions to the field by its leading figures.
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  50.  55
    Beauty, The Social Network.Dominic McIver Lopes - 2017 - Canadian Journal of Philosophy 47 (4):437-453.
    Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...)
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