Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)
_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)
In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...) this essay argues that Lopes is wrong in supposing that theories of arts were developed to deal with the ‘hard cases’ – developments such as Duchamp’s readymades and conceptual art. This is a problem since Lopes holds that the buck passing theory’s capacity to deal with the hard cases is one of its virtues. Second, this essay argues that the buck passing theory has no account of which activities are arts and no account of what makes some activity an art. (shrink)
Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)
Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...) a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)
Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)
Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)
The central claim of this essay is that many deflationary theories of truth are variants of the correspondence theory of truth. Essential to the correspondence theory of truth is the proposal that objective features of the world are the truthmakers of statements. Many advocates of deflationary theories (including F. P. Ramsay, P. F. Strawson and Paul Horwich) remain committed to this proposal. Although T-sentences (statements of the form “ s is true iff p ”) are presented by advocates of deflationary (...) theories of truth as truisms or analytic truths, T-sentences are often understood as entailing commitment to the central proposal of the correspondence theory. (shrink)
The correspondence theory of truth holds that each true sentence corresponds to a discrete fact. Donald Davidson and others have argued (using an argument that has come to be known as the slingshot) that this theory is mistaken, since all true sentences correspond to the same “Great Fact.” The argument is designed to show that by substituting logically equivalent sentences and coreferring terms for each other in the context of sentences of the form ‘P corresponds to the fact that P’ (...) every true sentence can be shown to correspond to the same facts as every other true sentence. The claim is that all substitution of logically equivalent sentences and coreferring terms takes place salva veritate. I argue that the substitution of coreferring terms in this context need not preserve truth. The slingshot fails to refute the correspondence theory. (shrink)
It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.
Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...) the resemblance theory. New and compelling psychological evidence supports the theory. The essay also argues that new psychological evidence indicates that convention makes a smaller contribution to musical expressiveness than Kivy and Davies believe. (shrink)
Recent critics of the coherence theory of truth have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere. Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, not because they cohere with a (...) system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)
Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...) great divide music was often the exclusive object of aesthetic experience. (shrink)
This paper explores the various available forms of relativism concerning aesthetic judgement and contrasts them with aesthetic absolutism. Two important distinctions are drawn. The first is between subjectivism (which relativizes judgements to an individual's sentiments or feelings) and the relativization of aesthetic judgements to intersubjective standards. The other is between relativism about aesthetic properties and relativism about the truth-values of aesthetic judgements. Several plausible forms of relativism about aesthetic properties are on offer, but relativism about the truth-values of aesthetic judgements (...) is more elusive. In particular, John MacFarlane's approach to relativism is shown not to result in relativism about the truth-values of aesthetic judgements. (shrink)
Some members of the Vienna Circle argued for a coherence theory of truth. Their coherentism is immune to standard objections. Most versions of coherentism are unable to show why a sentence cannot be true even though it fails to cohere with a system of beliefs. That is, it seems that truth may transcend what we can be warranted in believing. If so, truth cannot consist in coherence with a system of beliefs. The Vienna Circle's coherentists held, first, that sentences are (...) warranted by coherence with a system of beliefs. Next they drew upon their verification theory of meaning, a consequence of which is that truth cannot transcend what can be warranted. The coherence theory of knowledge and verificationism together entail that truth cannot transcend what can be warranted by coherence with a system of beliefs. The Vienna Circle's argument for coherentism is strong and anticipates contemporary anti-realism. (shrink)
It has long been known that Jean-Baptiste Du Bos exercised a considerable influence on Hume’s essays and, in particular, on the ‘Of the Standard of Taste’ and ‘Of Tragedy’. It has also been noted that some passages in the Treatise bear marks of Du Bos’ influence. In this essay, we identify many more passages in the Treatise that bear unmistakable signs of Du Bos’ influence. We demonstrate that Du Bos certainly had a significant impact on Hume as he wrote the (...) Treatise. We go on to argue that Hume’s views on morality are an extension to the moral realm of Du Bos’ views on beauty and criticism. Du Bos may also have influenced Hume’s distinction between ideas and impressions. (shrink)
This essay argues that there is no alethic basis for adopting one ontology of jazz music rather than another. Any ontology of jazz that is consistent with the available empirical evidence may be adopted, though pragmatic reasons may exist for favouring one ontology of jazz over another. There are empirical differences between jazz and much of classical music, but one may adopt the same ontology for jazz that one adopts for works classical music.
The current debate between realists and anti-realists has brought to the fore some ancient questions about the coherence of relativism. Realism is the doctrine according to which the truth of sentences is determined by the way things really are. Truth is thus the result of a relation between sentences and reality. One species of anti-realism holds, on the contrary, the truth results from a relation between sentences within a theory: a sentence is true if warranted by a correct theory.
Semantic realism is the view that sentences can be true even if speakers cannot know that they are. Anti-realists believe that sentences cannot be true unless speakers can know that they are. The difference between the two positions can be characterized as a dispute about truth conditions. Realists believe that they are objective, that is, they can obtain even though speakers cannot know that they do. Anti-realists believe that truth conditions are always recognizable. Two major lines of argument have been (...) advanced against semantic realism. Dummett initially advanced the first, considered in Part 1 of this book. The other, considered in Part 2, is attributable to Hilary Putnam. (shrink)
When writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art world. My goal in this essay is to do something to end the neglect of the audience. I will focus (...) on the role of the informed or, as I will call it, educated audience. I begin by subjecting the concept of an audience to some old-fashioned conceptual analysis. Once we are clearer about what an audience is and, in particular, what an educated audience is, we can begin to determine .. (shrink)
In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’ 1 Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but Constable (...) goes on to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects. 2 I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science. (shrink)