As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent (...) formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

NOT SAUSSURE: A CRITIQUE OF POST?SAUSSUREAN LITERARY THEORY by Raymond Tallis London: Macmillan, 1988. 273 pp., £33 (£10.95 paper).

Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (...) (1997) lists the psychological ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture (...) might say about it, while the art status of others fundamentally depends on the judgment of the art world. Because of the theory's quasi-institutional component, I conclude by defending it against four objections that have been raised against institutional definitions. (shrink)

Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reasons for this are appreciated, any apparent motivation to engage in relational theorizing about art evaporates.

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

The general theory of art and aesthetic value developed in this book is based on the notions of inexhaustibility and contrast and has important forebears in Kant, Coleridge, and Whitehead.

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

Book Information A Theory of Art. A Theory of Art Berger Karol Oxford Oxford University Press 2000 287 Hardback By Berger Karol. Oxford University Press. Oxford. Pp. 287. Hardback:.

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the (...) critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the (...) social and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts. (shrink)

Greek art and literature follow parallel courses through the long period from Homer to Euripides. Homer and Euripides, Dipylon vases and the latest white lekythoi are as far apart from each other as it is possible for works in the same medium to be. The distance can only be explained by a similar change in the views of artists, writers, and their public.

This book places the contribution of psychoanalysis to the understanding of art within a philosophical framework and seeks to show by argument and example the potential and unrealized power of psychoanalytic theory for a philosophy of art and culture.

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical (...) review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship (...) between scientific inquiry and artistic theory. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense sensory experiences, psychological reflection on the effects of art, and an attraction to the exotic and alien--making for the most exciting and fertile period in the history of art criticism. (shrink)

This chapter contains section titled: Conceptual Issues of Art Interpretation Ontology of Interpretation Notes.

This chapter contains section titled: Arguing for the Theory Objections Notes.

he first institutional theory of art is outlined in a 1964 essay by Arthur Danto, “The Artworld,” which ruminates on the paradox that Andy Warhol’s Brillo Boxes is art though any of its perceptually indistinguishable twins—any stack of Brillo boxes in a grocery store—is not. Danto’s offers this solution to the paradox: “To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Ultimately, though, it (...) is “art theory” that makes Warhol’s stack of silk screened plywood boxes into art. (shrink)

For so long a time it has been getting increasingly formidable, if not possible, to define art in general ever since the advent of the so-called “found art” or “ready-mades” of Marcel Duchamp and Andy Warhol, among other avant-garde or pop artists. But this does not have too much constraint over some philosophers who have made persistent attempts in this regard. What have turned out to be considerably influential are the “artworld” framed by Arthur C. Danto and the “institutional (...) class='Hi'>theory” proposed by George Dickie. Nevertheless, Li Zehou, a contemporary Chinese philosopher, argues that the two theories aforementioned are not self-sufficient and convincing enough. For they could not well explicate the distinction between art and non-art, not to speak of the difference between artworks as artifacts and those as aesthetic objects. He then continues to treat art as sedimentation from an anthropo-historical viewpoint peculiar of his practical aesthetics (shijian meixue). His argument is underlined by a transcultural approach that is deployed to expand the intellectual horizon and consequently bear the theoretical fruit. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not (...) only present an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage (...) a work that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (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)

In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part (...) because, when they are expressed in artistic activity, that activity is chosen for its own sake, ‘under the concept of art’; and also they are virtues in part because, when they are so expressed, the activities are themselves partly constitutive of human well-being, along with other activities, including leading an ethical life, and what Aristotle called contemplation. With a virtue theory of art before us, we can begin to see the point of art, to see why art matters to us as human beings. (shrink)

A book for Open University Course AA301: Philosophy of the Arts.

Introduction -- Prelude: from gesture to virtual agency -- Foundations for a theory of agency -- Virtual environmental forces and gestural energies: actants as agential -- Virtual embodiment: from actants to virtual human agents -- Virtual identity and actorial continuity -- Interlude I: from embodiment to subjectivity -- Staging virtual subjectivity -- Virtual subjectivity and aesthetically warranted emotions -- Staging virtual narrative agency -- Performing agency -- An integrative agential interpretation of Chopin's Ballade in F minor, op. 52 -- (...) Interlude II: hearing agency: a complex cognitive task -- Other perspectives on virtual agency -- Postlude. (shrink)

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view (...) that we are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art. (shrink)