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Profile: Dominic McIver Lopes (University of British Columbia)
  1. 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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  2.  17
    Sight and Sensibility: Evaluating Pictures.Lopes Dominic McIver - 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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  3.  68
    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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  4.  96
    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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  5.  38
    Aesthetic Acquaintance.Dominic Mciver Lopes - 2009 - Modern Schoolman 86 (3/4):267-281.
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  6. 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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  7.  25
    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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  8.  59
    Pictures and the Representational Mind.Dominic McIver Lopes - 2003 - The Monist 86 (4):632-652.
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  9.  12
    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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  10.  44
    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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  11. The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
     
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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. 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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  14.  95
    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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  15.  13
    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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  16. 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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  17.  83
    The Aesthetic Function of Art.Dominic Mciver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484–487.
  18. 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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  19.  41
    Introduction.Costello Diarmuid & Lopes Dominic Mciver - 2012 - Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  20. 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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  21.  52
    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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  22. Digital Art.Dominic McIver Lopes - 2003 - In Luciano Floridi (ed.), Blackwell Guide to the Philosophy of Computing and Information. Blackwell.
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  23. 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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  24.  46
    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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  25.  18
    Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  26.  15
    Aesthetics of Interaction in Digital Art.Dominic McIver Lopes - 2015 - British Journal of Aesthetics 55 (2):261-263.
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  27.  3
    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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  28.  26
    Reference, Ontology, and Architecture: Response to Rafael de Clercq.Dominic Mciver Lopes - 2008 - Journal of Aesthetics and Art Criticism 66 (2):194–196.
  29.  23
    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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  30.  9
    BENTON, MICHAEL. Literary Biography An Introduction.(London: Wiley-Blackwell). 2009. Pp. 280.£ 60.00 (Hbk). BERGMANN, SIGURD. In the Beginning is the Icon: A Liberative Theology of Images, Visual Arts and Culture.(London: Equinox Publishing Limited). 2009. Pp. 256.£ 50.00 (Hbk). [REVIEW]Michael Boylan, Denise Inge, Frederic Jameson, Scott Barry Kaufman, James C. Kaufman, Dominic Mciver Lopes, Jean-Francois Lyotard, Adrian Pabst, Angus Paddison & Fiona Price - 2010 - British Journal of Aesthetics 50 (1):119.
  31.  1
    The Aesthetic Function of Art. [REVIEW]Dominic Mciver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484-487.
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  32.  4
    Afterword: Photography and the “Picturesque Agent”.Dominic McIver Lopes - 2012 - Critical Inquiry 38 (4):855-869.
    Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady Eastlake's colorful (...)
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  33.  2
    The Special and General Theory of Realism: Reply to Abell, Armstrong, and McMahon.Dominic McIver Lopes - 2006 - Contemporary Aesthetics 4:40.
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  34. Aesthetic Theory and Aesthetic Science: Prospects for Integration.Vincent Bergeron & Dominic McIver Lopes - 2012 - In Steven Palmer & Arthur Shimamura (eds.), , with Vincent Bergeron, Aesthetic Science: Connecting Minds, Brains, and Experience. Oxford University Press.
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  35. The Routledge Companion to Aesthetics.Berys Gaut & Dominic Mciver Lopes - 2002 - Philosophical Quarterly 52 (207):280-282.
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  36. 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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  37. 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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  38. Ahora todos somos artistas.Dominic McIver Lopes - 2013 - Enrahonar: Quaderns de Filosofía 50:45-57.
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  39. Four Arts of Photography.Dominic McIver Lopes - 2015 - Wiley.
     
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  40. Painting.Dominic McIver Lopes - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  41. Philosophy of Literature, and Philosophy of Film and Motion Pictures, 2 Book Pack.Dominic Mciver Lopes, No?L. Carroll & Jinhee Choi - 2008 - Wiley.
     
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  42. 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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  43. Picture This: Image-Based Demonstratives.Dominic McIver Lopes - 2011 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
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  44. Richard Woodfield, Ed., Gombrich on Art and Psychology. [REVIEW]Dominic Mciver Lopes - 1997 - Philosophy in Review 17:380-382.
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  45. The Philosophy of Literature.Dominic Mciver Lopes - 2004 - Wiley.
     
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