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1782Aesthetic ContextualismPostgraduate Journal of Aesthetics 4 (3): 1-12. 2007.Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art…Read more
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338Art 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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69Peter 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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81Sexual 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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35Film Music and Narrative AgencyIn David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies, U Wisconsin Press. 1996.
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335Philosophy and musicTopoi 28 (2): 119-123. 2009.This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes have explicit recours…Read more
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70Artful 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). 2007.
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313The Oxford handbook of aesthetics (edited book)Oxford University Press. 2003.The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to a fascinating theme in philosophy and the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as…Read more
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3An Ontology of Art, by Gregory Currie (review)Philosophy and Phenomenological Research 52 (1): 215-222. 1992.
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20Causal history, actual and apparentBehavioral and Brain Sciences 36 (2). 2013.Attention is drawn to the distinction between the actual (or factual) and the apparent (or ostensible) causal history of a work of art, and how the authors' recommendation in the name of understanding works of art blurs that distinction, thus inadvertently reinforcing the hoary idea, against which the authors otherwise rightly battle, that what one needs to properly appreciate an artwork can be found in even suitably framed observation of the work alone
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14Why There Are No TropesPhilosophy 81 (4): 563-580. 2006.This paper effectively inverts the argument of an earlier paper of mine, “The Particularisation of Attributes”, to argue that there are no necessarily particularised and unshareable attributes of the sort that contemporary metaphysics calls tropes. In that earlier paper I distinguished two kinds of attributes, namely, properties and qualities, and argued that if there were tropes they could only be particularised qualities, i.e. particularisations of, say, redness, rather than particularisations…Read more