In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in this area of aesthetics. Written by prominent scholars covering a wide-range of key topics in aesthetics and the philosophy of art Features revised and expanded entries from the first edition, as well as new chapters on recent developments in aesthetics and a larger number of essays on non-Western thought about art Unique to this edition are six overview essays on (...) the history of aesthetics in the West from antiquity to modern times. (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

The two books discussed here make important contributions to our understanding of the role of spacetime concepts in physical theories and how that understanding has changed during the evolution of physics. Both emphasize what can be called a ‘dynamical’ account, according to which geometric structures should be understood in terms of their roles in the laws governing matter and force. I explore how the books contribute to such a project; while generally sympathetic, I offer criticisms of some historical claims concerning (...) Newton, and argue that the dynamical account does not undercut ontological issues as the books claim. *Received January 2009; revised March 2009. †To contact the author, please write to: Department of Philosophy, 1423 University Hall MC 267, University of Illinois at Chicago, 601 S. Morgan Street, Chicago, IL 60607; e‐mail: [email protected]. (shrink)

In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism, which is a theory of literary interpretation, from two criticisms. The first, argued by Stephen Davies, is that it is equivalent to the value-maximizing view. The second, argued by Robert Stecker, is that there are straightforward counterexamples to HI. We will argue that Levinson does not successfully fend off either criticism, and further, that in the process of attempting to do so, creates another dilemma for his (...) view. (shrink)

Aesthetics and the Philosophy of Art is an essential introduction to some of the central topics and approaches being debated in contemporary aesthetics and philosophy of art. By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.

(1997). Considering moral sensitivity in media ethics courses and research: An essay review by Robert F. Potter. Journal of Mass Media Ethics: Vol. 12, No. 1, pp. 51-57. doi: 10.1207/s15327728jmme1201_4.

What is art? What is it to understand a work of art? What is the value of art? Robert Stecker seeks to answer these central questions of aesthetics by placing them within the context of an ongoing debate criticizing, but also explaining what can be learned from, alternative views. His unified philosophy of art, defined in terms of its evolving functions, is used to explain and to justify current interpretive practices and to motivate an investigation of artistic value. (...) Stecker defines art as an item that is an artwork at time t if and only if it is in one of the central art forms at t and is intended to fulfill a function art has at t, or it is an artifact that achieves excellence in fulfilling such a function. Further, he sees the standard of acceptability for interpretations of artworks to be relative to their aim. Finally, he tries to understand the value of artworks through an analysis of literature and the identification of the most important functions of literary works. In addition to offering original answers to major questions of aesthetics, _Artworks_ covers most of the major issues in contemporary analytic aesthetics and discusses many major, as well as many minor, figures who have written about these issues, including Stanley Fish, Joseph Margolis, Richard Rorty, and Richard Shusterman. (shrink)

_Interpretation and Construction_ examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.

What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.

_Interpretation and Construction _examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.

Provides a wide-ranging introduction to aesthetic theory and philosophy of art for readers, particularly university students who seek an overview of major controversies, theories, and writers. The 44 readings are chosen for their capacity to provide a representative set of competing perspectives within the contemporary debate and are edited to be accessible to undergraduates. With 40 readings by contemporary authors and 4 classic texts that provide a solid foundation, Aesthetics: A Reader is both accessible and current.

This paper focuses on the most widely accepted candidate for the essential aspect of artistic value: aesthetic value. The idea that aesthetic value pervades artworks that are valuable at all, was put into doubt by a number of artistic movements that arose in the twentieth century such a Dada and its descendants including conceptual art. Recently, a number of philosophers have tried to resurrect aesthetic essentialism, as I will call the idea that aesthetic value is at the core of artistic (...) value. The purpose of this paper is to argue that this project hasn’t and won’t succeed. (shrink)

This chapter contains section titled: A Dilemma for Moderate Constructivism Is the Dilemma Flawed? Intentional Objects Salience Creation as Property Change Can One Escape the Dilemma by Rejecting Bivalence? Indeterminacy and Imputation Historical Constructivism Oeuvres Conclusion Notes.

It is not uncommon these days to claim that we should distinguish between artistic value and other types of value, including aesthetic value. A problem for this proposal is posed by the fact that artworks have valuable properties that are no part of its artistic value. Unless there is a way to distinguish artistically valuable properties from other valuable properties, some will be unconvinced that the distinction is viable.1 For this reason, I have proposed a test for artistic value to (...) underwrite support for the distinction.2 The main idea of the test is that we gain access to artistic values of artworks by means of understanding or appreciating those works, and this is not necessary to identify a work’s non-artistic values. Julian Dodd has argued the test is flawed and his criticism is based on a phenomenon I will call value entanglement.3 In this paper, I will identify the interesting phenomena of value entanglement, argue that it does not threaten the current version of the test I endorse, and explore whether there are other problems for that test. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Objectivity and InterpretationRobert SteckerAccording to Gregory Currie, literary interpretation suffers from a failure of objectivity. 1 He does not claim that the failure is complete, that it is not an objective matter in the least degree which interpretations of a literary work are acceptable, but he does claim that the degree of objectivity is at best small.I believe that literary interpretation is capable of a high degree of objectivity (...) in the sense Currie specifies as well as in other senses. However, the same standard of objectivity is not properly applied to all interpretations, because there are many different aims or interests with which interpretations are advanced, and the requirements of objectivity on acceptability vary with aim.Currie’s argument for objectivity failure should not be accepted. The most important reason for this is that it is based on a faulty conception of the enterprise of literary interpretation. However, the argument is also questionable on that conception.IBefore examining Currie’s argument, it is best to be clear about the objectivity in question. Just what has, or lacks objectivity, and what makes it more or less objective? I confess to being less than completely clear about Currie’s answer to this question. Let us say that it is judgments that are or are not objective, leaving it open for now which literary judgments are in question in Currie’s claim about objectivity failure. Objectivity depends on the possibility of intersubjective agreement or “agreement across points of view” as Currie puts it. Judgments of taste (e.g., “sushi is delicious”) are common candidates for judgments [End Page 48] that are not objective. We can suppose judgments of leftness are objective because we can all agree with my judgment that the book is to my left even if it is to other people’s right and would be to my right were I to reorient myself. Of course, that we can (should?) all agree doesn’t mean we always will. For various reasons, not all of which are relevant to objectivity, some may refuse to agree.According to Currie, objectivity comes in degrees, and nothing said so far indicates how we assign a degree of objectivity to a judgment. Extent of agreement or probability of reaching agreement might be invoked here, but these are not what Currie has in mind. In Currie’s view, degree of objectivity depends on the degree to which a judgment needs to be relativized before it is capable of getting agreement. There is something intuitive in this, but it is tricky to spell out the relevant criterion. Suppose the sushi lovers of Osaka can pretty much agree among themselves about what is good sushi. So can the sushi lovers of Kyoto. However, they cannot agree with each other. What is good sushi is relative to different groups of sushi lovers and their different standards, and that seems to make the goodness of some sushi a less objective matter than if there were one overarching standard. On the other hand, judgments of leftness are also capable of receiving agreement only when relativized to an individual and her orientation. Yet that does not undermine their objectivity. Similarly, to use an example of Currie’s, judgments of velocity need to be made relative to a frame of reference if they are to receive agreement, but that does not undermine their objectivity. Hence relativizing does not always undermine objectivity. Perhaps the relevant difference is something like this. There is no such thing as leftness not relativized to individual and orientation. There is no such thing as velocity not relativized to frame of reference. But perhaps there is such a thing as being a good F not relativized to group standards. This may not be so with sushi, but perhaps it is with carving knives or with stainless steel. In that case judgments of goodness that are independent of group standards, and hence capable of receiving agreement across groups, are more objective than those that are not. However, if all judgments of goodness are by their nature relative to group standards, the above reasoning suggests that such judgments are just as objective as judgments about velocity. That seems wrong... (shrink)

Introduces a more sophisticated functional definition of art Deals with some of the problems Beardsley had Old & New Aestheticism Aesthetic Communication notes on the Artworld Artistic value End of art?

In lieu of an abstract, here is a brief excerpt of the content:A Theory of International Bioethics: Multiculturalism, Postmodernism, and the Bankruptcy of Fundamentalism 1Robert Baker (bio)AbstractThis first of two articles analyzing the justifiability of international bioethical codes and of cross-cultural moral judgments reviews “moral fundamentalism,” the theory that cross-cultural moral judgments and international bioethical codes are justified by certain “basic” or “fundamental” moral principles that are universally accepted in all cultures and eras. Initially propounded by the judges at (...) the 1947 Nuremberg Tribunal, moral fundamentalism has become the received justification of international bioethics, and of cross-temporal and cross-cultural moral judgments. Yet today we are said to live in a multicultural and postmodern world. This article assesses the challenges that multiculturalism and postmodernism pose to fundamentalism and concludes that these challenges render the position philosophically untenable, thereby undermining the received conception of the foundations of international bioethics. The second article, which follows, offers an alternative model—a model of negotiated moral order—as a viable justification for international bioethics and for transcultural and transtemporal moral judgments.Man in the Twentieth Century can not be circumscribed by the standards of any single culture.American Anthropological Association (1948) in a statement officially denouncing the 1948 United Nation’s Declaration of Human Rights.Recently... so-called “liberal” medicine has revived the old rights of a clinic understood in terms of a special contract, a tacit pact made between one man and another. This patient gaze has even been attributed the power of assuming [a role in clinical decision making].Miracles are not so easy to come by....Michel Foucault (1975, p. 5) [End Page 201]An Overview of the AnalysisInternational bioethics originated in the trauma of the Holocaust, specifically, in the 1946–1947 Nuremberg “Doctors Trial” when a tribunal of three American judges convicted Nazi medical researchers of “crimes against humanity.” In justifying their judgment, the Nuremberg Tribunal cited 10 principles for morally permissible research, which, they claimed, were based on “fundamental” principles that civilized societies “all agree” upon and accept as the foundations of their “moral, ethical, and legal” norms. Foremost among the principles was one stating that morally permissible human experiments require the informed voluntary consent of the subject. The Nuremberg judgment soon became associated with the ideal of human rights declared in the 1948 United Nations Charter. These two ideas—fundamental principles of morality and human rights—have been linked in all major formulations of international bioethics promulgated in the past 50 years, including the Council of Europe’s 1997 Convention for the Protection of Human Rights and Dignity of the Human Being with Regard to the Application of Biology and Biomedicine (Council of Europe 1997; Dommel and Alexander 1997). In this paper, I explore the received justification for international bioethics—the idea that it is grounded in fundamental principles accepted in all societies—tracing it from its initial, almost off-hand, promulgation by the Nuremberg Tribunal, through its more thoughtful development by such bioethicists as Ruth Macklin, to its more complex use by the President’s Advisory Committee on Human Radiation Experiments.After a brief review of the evolution of the received justification, I discuss the viability of this justification in the face of the critique implicit in two important intellectual movements: multiculturalism and postmodernism. In the international context, multiculturalism asserts the claim that there are no common moral principles shared by all cultures. Postmodernism asserts a similar claim against all universal standards, moral and nonmoral. In the 1990s, bioethicists have attempted to respond to these claims in various ways. These responses are documented, analyzed, and then shown to be “bankrupt,” in the sense that they undercut the most important objective of moral fundamentalism: the justification of transcultural moral judgments, such as the condemnation of the Nazi doctors.A second article, which follows the present one in the same issue of the Kennedy Institute of Ethics Journal, revisits the contractarian tradition [End Page 202] of Hobbes and Locke, as it has been reinterpreted by David Gauthier (1986), John Rawls (1971, 1993), and Robert Nozick (1974), to develop the idea of negotiated moral order as the basis of international bioethics. When conceptualized as a negotiated moral order, international bioethics can accept the genuine insights... (shrink)

D'Arcy May, in his review, contends Magliola argues that the Buddhist doctrines of no-self and rebirth are contradictory, whereas Magliola in fact argues just the opposite--that these two Buddhist doctrines are not contradictory (and he explains why). What Magliola does contend is that Buddhist no-self and rebirth contradict the Catholic teachings of individual identity and "one life-span only." D'Arcy May's review contends that Magliola admits "authoritative statements" are "hard to come by" in Buddhism, whereas Magliola in his book contends that (...) "authoritative statements" play a very important role in Buddhism: his book explains how "authority" functions in Buddhism, and he directs readers to the careful "vetting" of his book--including his discussions of "authority in Buddhism"-- by Ven. Bhikkhu Bodhi (for Theravada) and Ven. Dr. Dhammadipa [Fa Yao] (for both Theravada and the two "Big Vehicles"). His book also cites approvals by several established academics who are Buddhologists. Magliola's "Reply" goes on to argue that D'Arcy May's interpretation of the "sensus fidelium" foists the opinions of "white intellectual elites and higher-income Catholics of the North Atlantic tier of countries and their geographical projections--Australia, etc. (only 9 percent of the world's Catholic population) upon the 68 percent of Catholics who live in the global South and East. Magliola's "Reply" also expresses his dismay that D'Arcy May, throughoout his review, dodges the pivotal Derridean notion of "samenesses erected by irreducible difference" though this "thought-motif" constitutes the scaffolding of Magliola's entire book. (shrink)

Direct-democratic processes have won popular support but fall far short of the standards of deliberative democracy. Initiative and referendum processes furnish citizens with insufficient information about policy problems, inadequate choices among policy solutions, flawed criteria for choosing among such solutions, and few opportunities for reflection on those choices prior to decision making. We suggest a way to make direct democracy more deliberative by grafting randomly selected citizen assemblies onto existing institutions and practices. After reviewing the problems that beset modern direct-democratic (...) elections and the long history of randomly selected citizen assemblies, we propose five different varieties of randomly constituted citizen bodies—Priority Conferences, Design Panels, Citizens’ Assemblies, Citizens’ Initiative Reviews, and Policy Juries. After selecting members through stratified random sampling of citizens, each of these assemblies would operate at a different stage of the legislative process, from initial problem identification through approval of a finished ballot measure. Highly structured procedures guided by professional moderators and featuring expert testimony on policy and legal matters would help to ensure deliberative quality, and careful institutional designs would make each body politically powerful. In the end, these citizen bodies would be likely to address the deliberative deficit of direct democracy and better achieve the public’s desired policy objectives. (shrink)