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334Art and Pornography: Philosophical Essays (edited book)Oxford University Press UK. 2012.Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, fr…Read more
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5Aesthetics, literature and life: essays in honour of Jean-Pierre Cometti (edited book)Mimesis International. 2019.The complex relationship between life and the arts has always Vbeen a crucial topic in philosophical discourse. The essays in this book discuss fundamental issues of modern and contemporary aesthetics, drawing upon the work of the French philosopher Jean- Pierre Cometti, a key fi gure in the studies of aesthetics, pragmatism, and Austrian philosophy. The volume covers a wide-range of topics, from the examination of fundamental principles of art and literary criticism to a new understanding of th…Read more
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29Film, Art, and the Third CultureBritish Journal of Aesthetics 58 (3): 336-341. 2018.Film, Art, and the Third CultureSmithMurrayoup. 2017. pp. 320. £35.00.
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17Artist and Aesthete: A Dual PortraitJournal of Aesthetics and Art Criticism 75 (4): 479-487. 2017.Two of the principal roles or positions in the aesthetic/artistic situation are those of artist and aesthete. The former is obviously primarily a creative role, while the latter is obviously primarily an appreciative role. And these roles, as we know, are also interdependent: aesthetes would have little, or at any rate less, to appreciate without artists, while artists would have little, or at any rate less, creative motivation without appreciators, with aesthetes as the most important vanguard …Read more
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67Peter Kivy and the Philosophy of MusicBritish Journal of Aesthetics 57 (3): 269-282. 2017.In the beginning—or more exactly, the seventies, when I was in graduate school at the University of Michigan—was the void, and darkness was upon the face of the waters. Philosophical reflection on the experience, meaning, and powers of music by analytic philosophers was almost non-existent. And then, as the 1980s dawned, came Peter Kivy. Suddenly there was light, and analytic philosophy of music was born. In this piece I summarize the substance of the successive instalments in the astounding ser…Read more
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9Artist versus AestheteIn Anja Weiberg & Stefan Majetschak (eds.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Arts. Proceedings of the 39th International Wittgenstein Symposium in Kirchberg, De Gruyter. pp. 95-108. 2017.
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31Artful Intentions: Paisley Livingston, Art and Intention: A Philosophical Study. Art and Intention: A Philosophical Study by livingston, paisleyJournal of Aesthetics and Art Criticism 65 (3): 299-305. 2007.
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11The Philosophy of Horror, or Paradoxes of the HeartJournal of Aesthetics and Art Criticism 49 (3): 253-258. 1991.
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18IntroductionJournal of Aesthetics and Art Criticism 62 (2): 89-93. 2004.Jerrold Levinson; Introduction, The Journal of Aesthetics and Art Criticism, Volume 62, Issue 2, 5 May 2004, Pages 89–93, https://doi.org/10.1111/j.1540-594X.20.
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80Sexual PerversityThe Monist 86 (1): 30-54. 2003.Ivan is a gifted pianist, but spends most of his time at the keyboard playing simple blues progressions over and over. Sarah is fluent in French, but avoids every opportunity to converse in that language. Greg lives in a household whose kitchen offers an assortment of tantalizing foods, yet he never eats anything except bagels and cream cheese. Melinda has many friends, with whom she would enjoy socializing, but she forgoes their company to devote all her free time to video games. Clive is a cha…Read more
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1. the intentional-historical conception of artIn Eric Margolis & Stephen Laurence (eds.), Creations of the Mind: Theories of Artifacts and Their Representaion, Oxford University Press. pp. 74. 2007.
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69Music-Specific Emotion: An Elusive QuarryEstetika: The European Journal of Aesthetics 53 (2): 115-131. 2016.Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model of a standard emotion is set ou…Read more
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3Sound, gesture, spatial imagination, and the expression of emotion in musicEuropean Review of Philosophy 5 137-150. 2002.
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162Music, Art, and MetaphysicsOxford University Press. 2011.This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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12Response: A Thousand Entities: Comments on Haugeland’s ‘Ontological Supervenience’Southern Journal of Philosophy 22 (S1): 93-110. 1984.
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54Concatenationism, Architectonicism, and the Appreciation of MusicRevue Internationale de Philosophie 4 (4): 505-514. 2006.
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13What a Musical Work Is, AgainIn Music, Art, and Metaphysics, Oxford University Press. pp. 215-263. 2011.
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3A Note on Categorical Properties and Contingent IdentityJournal of Philosophy 85 (12): 718-722. 1988.