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Dominic McIver Lopes
University of British Columbia
  1.  68
    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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  2. 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
    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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  4. 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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  5.  13
    Sherlock Is Law Abiding.Dominic McIver Lopes - 2020 - Journal of Applied Logics 7 (2):171-176.
    An approach to the semantics of fiction that uses the tools of truth relativism provides an alternative to Meinongian and pretence-based approaches. The approach is consistent with the deep motivations of John Wood's Truth in Fiction.
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  6.  35
    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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  7.  60
    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. 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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  9.  32
    Feeling for Freedom: K. C. Bhattacharyya on Rasa.Dominic McIver Lopes - 2019 - British Journal of Aesthetics 59 (4):465-477.
    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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  10. 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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  11. 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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  12. 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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  13. 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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  14. 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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  15. 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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  16. 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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  17.  66
    The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
  18. 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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  19. 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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  20.  85
    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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  21. Aesthetic Acquaintance.Dominic Mciver Lopes - 2009 - Modern Schoolman 86 (3/4):267-281.
  22. 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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  23.  79
    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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  24. 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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  25. 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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  26.  79
    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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  27. 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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  28. The Aesthetic Function of Art. [REVIEW]Dominic McIver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484-487.
  29.  33
    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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  30.  35
    Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  31.  87
    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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  32. 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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  33. True Appreciation.Dominic McIver Lopes - 2008 - In Scott Walden (ed.), Photography and Philosophy: New Essays on the Pencil of Nature. Oxford: pp. 210–231.
    Aesthetic appreciation involves background belief. While some appreciations are adequate when these beliefs are false, there is an important class of beliefs -- beliefs about the nature art work kinds -- whose truth is required for adequate appreciation. Photography is an interesting case, since many of our beliefs about it are false.
     
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  34.  12
    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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  35.  13
    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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  36. 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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  37. Aesthetics and Philosophy of Art.Dominic McIver Lopes - 2016 - In John Hawthorne, Herman Cappelen & Tamar Szabó Gendler (eds.), Oxford Handbook of Philosophical Methodology. New York: pp. 657-670.
    This chapter begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and artistic phenomena, and between first-order and second-order methods. It also examines how aesthetics and the philosophy of art are (...)
     
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  38.  10
    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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  39.  72
    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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  40.  59
    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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  41.  7
    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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  42. Picture This: Image-Based Demonstratives.Dominic McIver Lopes - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford: Oxford University Press. pp. 52-80.
    Settling down after the big meal at the family reunion brings on a little nostalgia. Out come the photo albums. As the pages turn, you see familiar faces as they looked long ago. One photo shows a surprisingly sexy young woman, and you exclaim, "That's Aunt Jane!" What you say is true. The explanation is this: what you say is true in part because the picture puts you in the same kind of position with respect to Aunt Jane as the (...)
     
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  43. 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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  44.  10
    Making, Meaning, and Meaning by Making.Dominic McIver Lopes - 2016 - Nonsite:np.
    True to his plan to take photographs to find out what things look like photographed, Garry Winogrand liked to delay processing his exposed rolls in order to scrub the memory of what he had in mind when he tripped the shutter. In a rich and astute essay, Walter Benn Michaels puts Winogrand in company with G. E. M. Anscombe. One through photography, the other through philosophy, each explores, articulates, even plays up, the “difficulties” of making sense of what it is (...)
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  45. 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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  46.  30
    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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  47. Pictures: Their Power in Practice.Dominic McIver Lopes - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 36-51.
    What are pictures good for? “Nothing” recurs as the apparently irrepress- ible reply of a motley collection iconophobes from Plato to the mediaeval iconoclasts, to parents concerned about comic books, to postmoderns in a lather over “scopic regimes”. In the aftermath of Nelson Goodman’s Languages of Art (1976), philosophers doubled down on theories of depiction and pictorial experience, but they have not rushed to work on the value of pictures. Those few who have written about pictorial value have taken for (...)
     
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  48. 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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  49.  52
    Introduction.Costello Diarmuid & Lopes Dominic Mciver - 2012 - Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  50.  35
    Aesthetics of Interaction in Digital Art. [REVIEW]Dominic McIver Lopes - 2015 - British Journal of Aesthetics 55 (2):261-263.
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