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Evan Malone
Lone Star College
  1. Country Music and the Problem of Authenticity.Evan Malone - 2023 - British Journal of Aesthetics 63 (1):75-90.
    In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...)
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  2. The Problem of Genre Explosion.Evan Malone - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...)
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  3. The Ontology and Aesthetics of Genre.Evan Malone - 2024 - Philosophy Compass 19 (1):e12958.
    Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...)
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  4. Popular Music and Art-interpretive Injustice.P. D. Magnus & Evan Malone - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...)
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  5. Two Concepts of Groove: Musical Nuances, Rhythm, and Genre.Evan Malone - 2022 - Journal of Aesthetics and Art Criticism 80 (3):345-354.
    Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...)
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  6. Modal Insurance: Probabilities, Risk, and Degrees of Luck.Evan Malone - 2019 - Southwest Philosophical Studies 41.
    Many widely divergent accounts of luck have been offered or employed in discussing an equally wide range of philosophical topics. We should, then, expect to find some unified philosophical conception of luck of which moral luck, epistemic luck, and luck egalitarianism are species. One of the attempts to provide such an account is that offered by Duncan Pritchard, which he refers to as the modal account. This view commits us to calling an event lucky when it obtains in this world, (...)
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  7. On the Oddly Satisfying.Evan Malone - 2017 - Contemporary Aesthetics 15.
    In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.
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