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  1.  63
    The Artful Species: Aesthetics, Art, and Evolution.Stephen Davies - 2012 - Oxford University Press.
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  2. Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...)
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  3. Musical Meaning and Expression.Stephen Davies - 1994 - Cornell University Press.
    But what does music mean, and how does it mean?Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in ...
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  4. Definitions of Art.Stephen Davies - 1991 - Cornell University Press.
    In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...)
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  5.  17
    An Ethics of the System: Talking to Scientists About Research Integrity.Sarah R. Davies - 2019 - Science and Engineering Ethics 25 (4):1235-1253.
    Research integrity and misconduct have recently risen to public attention as policy issues. Concern has arisen about divergence between this policy discourse and the language and concerns of scientists. This interview study, carried out in Denmark with a cohort of highly internationalised natural scientists, explores how researchers talk about integrity and good science. It finds, first, that these scientists were largely unaware of the Danish Code of Conduct for Responsible Conduct of Research and indifferent towards the value of such codes; (...)
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  6.  92
    Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  7. The Philosophy of Art.Stephen Davies - 2006 - Wiley-Blackwell.
    Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide spectrum of topics (...)
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  8.  10
    Behavioral Modernity in Retrospect.Stephen Davies - 2021 - Topoi 40 (1):221-232.
    This paper reviews the debate about behavioral modernity in our species, listing counterexamples to the thesis that there was a dramatic change to the minds of Cro-Magnon sapiens in Europe in the Upper Paleolithic. It is argued that we were probably behaviorally modern from about 150,000 years ago, and that aspects of this mentality were apparent in developments in tool technologies and hunting practices across the prior Homo lineage. Key behaviors expressive of behavioral modernity include practical reasoning about the past (...)
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  9.  96
    Themes in the Philosophy of Music.Stephen Davies - 2003 - Oxford University Press.
    Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, (...)
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  10. Artistic Expression and the Hard Case of Pure Music.Stephen Davies - 2006 - In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
     
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  11. Aesthetic Judgements, Artworks and Functional Beauty.Stephen Davies - 2006 - Philosophical Quarterly 56 (223):224-241.
    I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...)
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  12.  8
    The Pleasures of Aesthetics: Philosophical Essays.Stephen Davies - 1996 - Journal of Aesthetics and Art Criticism 57 (3):371-374.
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  13.  86
    On Defining Music.Stephen Davies - 2012 - The Monist 95 (4):535-555.
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  14.  29
    Language, Music, and Mind.Stephen Davies - 1993 - Journal of Aesthetics and Art Criticism 52 (3):360-362.
  15. Authors' Intentions, Literary Interpretation, and Literary Value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...)
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  16.  11
    Music, Art, and Metaphysics.Stephen Davies - 1992 - Journal of Aesthetic Education 26 (2):110.
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  17. The Expression of Emotion in Music.S. Davies - 1980 - Mind 89 (353):67-86.
  18.  40
    Ontology of Art.Stephen Davies - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 155--180.
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  19.  65
    Musical Understandings: And Other Essays on the Philosophy of Music.Stephen Davies - 2011 - New York;Oxford University Press.
    In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of an accomplished listener, (...)
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  20.  74
    Responding Emotionally to Fictions.Stephen Davies - 2009 - Journal of Aesthetics and Art Criticism 67 (3):269 - 284.
    It is widely held that there is a paradox in the fact that we respond emotionally to characters, situations, or events that we know to be fictional, or in other words, when they do not exist. To take a familiar example.
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  21. The Cluster Theory of Art.Stephen Davies - 2004 - British Journal of Aesthetics 44 (3):297-300.
    Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.
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  22. Infectious Music: Music-Listener Emotional Contagion.Stephen Davies - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
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  23.  37
    Philosophical Perspectives on Art.Stephen Davies - 2007 - New York;Oxford University Press.
    Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? (...)
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  24.  85
    Profundity in Instrumental Music.Stephen Davies - 2002 - British Journal of Aesthetics 42 (4):343-356.
    According to Peter Kivy, to be profound, music would have to be about a profound subject that is treated in an exemplary way. Instrumental music does not satisfy this definition; usually it is not about anything humanly important, and when it is, it can convey no more than banalities. Like others, I argue against the propositional character of Kivy's ‘aboutness’ criterion; profundity can be revealed or displayed other than via statements and descriptions. I am less inclined than some of Kivy's (...)
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  25.  25
    Artificial Intelligence in Global Health.Sara E. Davies - 2019 - Ethics and International Affairs 33 (2):181-192.
  26. The Ontology of Musical Works and the Authenticity of Their Performances.Stephen Davies - 1991 - Noûs 25 (1):21-41.
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  27.  30
    Quasi−Realism, Acquaintance, and The Normative Claims of Aesthetic Judgement.S. Davies, R. Hopkins, J. Robinson & C. Samuel Todd - 2004 - British Journal of Aesthetics 44 (3):277-296.
  28. Authenticity in Musical Performance.Stephen Davies - 1987 - British Journal of Aesthetics 27 (1):39-50.
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  29. Musical Meaning in a Broader Perspective.Constantijn Koopman & Stephen Davies - 2001 - Journal of Aesthetics and Art Criticism 59 (3):261–273.
  30.  76
    First Art and Art’s Definition.Stephen Davies - 1997 - Southern Journal of Philosophy 35 (1):19-34.
  31. Relativism in Interpretation.Stephen Davies - 1995 - Journal of Aesthetics and Art Criticism 53 (1):8-13.
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  32.  44
    The Aesthetic Relevance of Authors' and Painters' Intentions.Stephen Davies - 1982 - Journal of Aesthetics and Art Criticism 41 (1):65-76.
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  33.  11
    Rothschild Reversed: Explaining the Exceptionalism of Biomedical Research, 1971–1981.Stephen M. Davies - 2019 - British Journal for the History of Science 52 (1):143-163.
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  34.  16
    The Cluster Theory of Art.S. Davies & J. Robinson - 2004 - British Journal of Aesthetics 44 (3):297-300.
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  35.  56
    Musical Works and Orchestral Colour.Stephen Davies - 2008 - British Journal of Aesthetics 48 (4):363-375.
    known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...)
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  36.  3
    The Introduction of Research Ethics Review Procedures at a University in South Africa: Review Outcomes of a Social Science Research Ethics Committee.Simeon E. H. Davies - 2020 - Research Ethics 16 (1-2):1-26.
    The research ethics committee is a key element of university administration and has gained increasing importance as a review mechanism for those institutions that wish to conduct responsible...
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  37.  17
    Selective Processing of Threat Cues in Subjects with Panic Attacks.Anke Ehlers, Jürgen Margraf, Sylvia Davies & Walton T. Roth - 1988 - Cognition and Emotion 2 (3):201-219.
  38.  49
    How Ancient is Art?Stephen Davies - 2015 - Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  39.  17
    Narrative, Nanotechnology and the Accomplishment of Public Responses: A Response to Thorstensen.Matthew Kearnes, Phil Macnaghten & Sarah R. Davies - 2014 - NanoEthics 8 (3):241-250.
    In this paper, we respond to a critique by Erik Thorstensen of the ‘Deepening Ethical Engagement and Participation in Emerging Nanotechnologies’ project concerning its ‘realist’ treatment of narrative, its restricted analytical framework and resources, its apparent confusion in focus and its unjustified contextualisation and overextension of its findings. We show that these criticisms are based on fairly serious misunderstandings of the DEEPEN project, its interdisciplinary approachand its conceptual context. Having responded to Thorstensen’s criticisms, we take the opportunity to clarify and (...)
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  40. Why Listen to Sad Music If It Makes One Feel Sad?Stephen Davies - 1997 - In Jenefer Robinson (ed.), Music & Meaning. Cornell University Press.
  41.  18
    Sound Sentiment: An Essay on the Musical Emotions.Stephen Davies - 1991 - Journal of Aesthetics and Art Criticism 49 (1):83-85.
  42.  62
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  43.  53
    Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature.Stephen Davies - 2014 - Philosophy Compass 9 (6):361-367.
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  44.  98
    Performing Musical Works Authentically: A Response to Dodd.S. Davies - 2013 - British Journal of Aesthetics 53 (1):71-75.
    A kind of musical authenticity Julian Dodd thinks has been neglected, interpretive authenticity, as he calls it, is intended to provide both an insightful and faithful understanding of the work. This kind of authenticity is distinguished from score compliance authenticity (a view I have defended) on grounds that an authentic musical interpretation can sometimes deliberately depart from the score. I argue that none of the four examples Dodd offers in favour of this hypothesis is uncontroversial. I have less faith than (...)
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  45.  77
    Perceiving Melodies and Perceiving Musical Colors.Stephen Davies - 2010 - Review of Philosophy and Psychology 1 (1):19-39.
  46.  26
    Distancing, Not Embracing, the Distancing-Embracing Model of Art Reception.Stephen Davies - 2017 - Behavioral and Brain Sciences 40.
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  47. Life is a Passacaglia.Stephen Davies - 2009 - Philosophy and Literature 33 (2):315-328.
    Arthur C. Danto taught that an artwork’s identity and content depend on "an atmosphere of theory the eye cannot de[s]cry" (1964:580). By "theory", he did not mean the ideas developed by philosophers of art. His point was that an artwork can be properly recognized and appreciated only when seen in relation to the heritage of works, writings, practices, genres, and conventions that form the ground on which it stands out as subject. In brief, the work must be seen against the (...)
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  48.  42
    Why Art Is Not a Spandrel.S. Davies - 2010 - British Journal of Aesthetics 50 (4):333-341.
    If one views humans’ creation and appreciation of art as grounded in our biological nature, it might be tempting to see art as a spandrel, as an adventitious by-product of some adaptation without adaptive significance in itself. Such a position connects art to our evolved human nature yet apparently avoids the demands of demonstrating how art behaviours enhanced the fitness of our ancestors in the Upper Paleolithic. In this paper I explore two arguments that count against the view that art (...)
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  49.  41
    Artists' Intentions and Artwork Meanings: Some Complications.Stephen Davies - 2013 - Behavioral and Brain Sciences 36 (2):138 - 139.
    Artists' intentions are among the primary data retrieved by art appreciators. However, artistic creation is not always deliberate; artists sometimes fail in their intentions; artists' achievements depend on artworld roles, not only intentions; factors external to the artist contribute to artwork meaning; artworks stand apart from their creators; and interpretation need not be exclusively concerned with recovering intended meaning.
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  50.  79
    The Hypothetical Intentionalist's Dilemma: A Reply to Levinson: Articles.Robert Stecker & Stephen Davies - 2010 - British Journal of Aesthetics 50 (3):307-312.
    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.
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