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Dominic McIver Lopes
University of British Columbia
  1.  82
    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 (...)
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  2.  34
    Sight and Sensibility.Dominic Lopes - 2005 - Oxford University Press.
    Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect ...
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  3. 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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  4. 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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  5. 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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  6.  19
    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 (...)
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  7.  82
    II—Dominic McIver Lopes: 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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  8.  40
    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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  9. 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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  10. Imagination, Philosophy, and the Arts.Matthew Kieran & Dominic 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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  11. 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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  12. 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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  13.  49
    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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  14. 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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  15.  67
    Pictures and the Representational Mind.Dominic McIver Lopes - 2003 - The Monist 86 (4):632-652.
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  16.  56
    Aesthetic Acquaintance.Dominic Mciver Lopes - 2009 - Modern Schoolman 86 (3/4):267-281.
  17.  50
    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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  18.  38
    The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
  19.  20
    A Philosophy of Mass Art.Dominic M. McIver Lopes & Noel Carroll - 2000 - Philosophical Review 109 (4):614.
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  20.  22
    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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  21. 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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  22.  66
    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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  23.  61
    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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  24. 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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  25.  51
    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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  26.  39
    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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  27. Understanding Pictures.Dominic Lopes - 1999 - Philosophical Quarterly 49 (196):398-400.
  28. 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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  29.  2
    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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  30. 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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  31. Sight and Sensibility. Evaluating Pictures.Dominic M. Mciver Lopes - 2006 - Tijdschrift Voor Filosofie 68 (2):434-434.
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  32.  1
    Understanding Pictures.Dominic Lopes - 1999 - Journal of Aesthetics and Art Criticism 57 (3):385-388.
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  33.  52
    Imagination, Illusion and Experience in Film.Dominic M. Mciver Lopes - 1998 - Philosophical Studies 89 (2-3):343-353.
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  34.  87
    Pictures, Styles and Purposes.Dominic Lopes - 1992 - British Journal of Aesthetics 32 (4):330-341.
    Pictures belong to stylistic systems that vary historically and culturally. This variation suggests that styles are conventional. However, styles are not conventional. Styles have perceptual functions that make them apt for use in some contexts and not others.
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  35. The Routledge Companion to Aesthetics.Berys Gaut & Dominic Mciver Lopes - 2003 - Journal of Aesthetics and Art Criticism 61 (2):195-196.
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  36.  83
    The Aesthetic Function of Art.Dominic Mciver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484–487.
  37. Picture This: Demonstrative Reference Through Pictures.Dominic McIver Lopes - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
     
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  38. 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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  39.  36
    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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  40.  29
    Vision, Touch, and the Value of Pictures.Dominic M. McIver Lopes - 2002 - British Journal of Aesthetics 42 (2):191-201.
    Since blind people can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Neither is the art of pictures an essentially visual art form. The reasons given for evaluating a picture aesthetically may advert to its tactile qualities insteadof its visual qualities.In particular, a raised-line picture canbe valued for the tactile experience it elicits of the scene it depicts, just as a visual picture is sometimes valuedfor eliciting a visual experience of its subject. The argument for this (...)
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  41.  24
    From Languages of Art to Art in Mind.Dominic McIver Lopes - 2000 - Journal of Aesthetics and Art Criticism 58 (3):227-231.
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  42.  43
    Introduction.Costello Diarmuid & Lopes Dominic Mciver - 2012 - Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  43. An Empathic Eye.Dominic McIver Lopes - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and psychological perspectives. Oxford Univerity Press.
    Dominic McIver Lopes is asking for an account of empathy that brings out how emotions are involved in different empathic phenomena.
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  44. Digital Art.Dominic McIver Lopes - 2003 - In Luciano Floridi (ed.), The Blackwell Guide to the Philosophy of Computing and Information. Blackwell.
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  45. Out of Sight, Out of Mind.Dominic McIver Lopes - 2003 - In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts.
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  46.  52
    Shikinen Sengu and the Ontology of Architecture in Japan.Dominic Mciver Lopes - 2007 - Journal of Aesthetics and Art Criticism 65 (1):77–84.
    Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...)
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  47.  21
    Aesthetics of Interaction in Digital Art.Dominic McIver Lopes - 2015 - British Journal of Aesthetics 55 (2):261-263.
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  48.  22
    Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  49.  7
    A Philosophy of Mass Art.Dominic M. Mciver Lopes - 2000 - Philosophical Review 109 (4):614-617.
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  50.  7
    Nicholas Wolterstorff, Art Rethought: The Social Practices of Art. Reviewed By.Dominic McIver Lopes - 2016 - Philosophy in Review 36 (5):232-234.
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