-
Drawing lessonsIn Dominic Lopes (ed.), Sight and Sensibility: Evaluating Pictures, Oxford University Press. 2005.Cognitive evaluations of pictures imply aesthetic evaluations of pictures given the right conception of cognitive evaluation. Knowledge has cognitive value, but so do some personal character traits—intellectual virtues. Pictures foster virtues of perception, and that is part of their aesthetic value.
-
Good lookingIn Dominic Lopes (ed.), Sight and Sensibility: Evaluating Pictures, Oxford University Press. 2005.To evaluate a picture as a picture is to evaluate it with respect to a feature essential to pictures. An aesthetic evaluation of a picture is one which is bound up with perceptual experience. On this account, aesthetic evaluations imply or are implied by cognitive or moral evaluations. The account is anti-formalist.
-
Aesthetics and Philosophy of ArtIn Herman Cappelen, Tamar Gendler & John Hawthorne (eds.), The Oxford Handbook of Philosophical Methodology, Oxford University Press. 2016.This article focuses on aesthetics and the philosophy of art as branches of so-called analytic philosophy. It begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and art…Read more
-
68From Languages of Art to Art in MindJournal of Aesthetics and Art Criticism 58 (3): 227-231. 2000.
-
83Beyond ArtOxford University Press. 2014.This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations
-
86A Philosophy of Computer ArtRoutledge. 2009.What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth of examples he al…Read more
-
39Four Arts of PhotographyWiley. 2015.Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.
-
32Photography and the “Picturesque Agent”Critical Inquiry 38 (4): 855-869. 2012.Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady Eastlake's colorful words, the ‘obedience of …Read more
-
137Aesthetic Experts, Guides to ValueJournal of Aesthetics and Art Criticism 73 (3): 235-246. 2015.A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aest…Read more
-
29A philosophy of mass art (review)Philosophical Review 109 (4): 614-617. 2000.The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room for mass art w…Read more
-
130Art Without ‘Art’British Journal of Aesthetics 47 (1): 1-15. 2007.Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for cross-cultural studies of art both in anthropology and…Read more
-
139Beauty, The Social NetworkCanadian Journal of Philosophy 47 (4): 437-453. 2017.Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor t…Read more
-
60Aesthetics of Interaction in Digital Art (review)British Journal of Aesthetics 55 (2): 261-263. 2015.
-
123Drawing in a Social Science: Lithic IllustrationPerspectives on Science 17 (1). 2009.Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
-
77A Philosophy of Mass Art (review)Philosophical Review 109 (4): 614. 2000.The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room for mass art w…Read more
-
1An Empathic EyeIn Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives, Oxford University Press Uk. pp. 118-133. 2011.What you see can shape how you feel, and the route from seeing to feeling sometimes involves empathy – as you might empathize with a woman you see grieving the death of her child. But empathy also comes from what you see in pictures. Bellini's Pieta? is one among many paintings, drawings, prints, and photographs that evoke empathy – and are designed to do so. Going further, it seems that episodes of empathy triggered by pictures can help build up a person's capacity for empathic response. Indeed…Read more
-
9Conceptual Art Is Not What It SeemsIn Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and conceptual art, Oxford University Press. 2007.Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure …Read more
-
286Art Media and the Sense Modalities: Tactile PicturesPhilosophical Quarterly 47 (189): 425-440. 1997.It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret an…Read more
-
129The Routledge Companion to Aesthetics (edited book)Routledge. 2000.The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, im…Read more
-
AfterwordIn Dominic Lopes (ed.), Sight and Sensibility: Evaluating Pictures, Oxford University Press. 2005.
-
82Philosophy of literature: contemporary and classic readings: an anthology (edited book)Blackwell. 2004.This authoritative volume offers a handy compilation of contributions to the field by its leading figures.
-
6GenreIn Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film, Routledge. pp. 152-161. 2008.
-
206Hearing and Seeing Musical ExpressionPhilosophy and Phenomenological Research 78 (1): 1-16. 2008.Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and…Read more
-
68Imagination, Philosophy and the Arts (edited book)Routledge. 2003._Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of…Read more
-
The Routledge Companion to Aesthetics Third Edition (edited book)Routledge. 2013.The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imag…Read more
-
81Objects of AppropriationIn James O. Young & Conrad G. Brunk (eds.), The Ethics of Cultural Appropriation, Wiley-blackwell. 2009.This chapter contains sections titled: Introduction Monument as Museum, Museum as Monument Arts of Appropriation Appropriation, Property and Oppression Appropriation, Memory and Identity References.
APA Western Division
Spain
Areas of Specialization
23 more
Areas of Interest
26 more