-
AdornoIn Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music, Routledge. 2011.
-
13The Aesthetics of DesignIn Fritz Allhoff, Jessica Wolfendale & Jeanette Kennett (eds.), Fashion - Philosophy for Everyone: Thinking with Style, Wiley. pp. 51--69. 2011.
-
13The aesthetics of imperfection in music and the arts: spontaneity, flaws and the unfinished (edited book)Bloomsbury Academic. 2020.The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spon…Read more
-
13Routledge Philosophy Guidebook to Wittgenstein and on CertaintyRoutledge. 2008.Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In _On Certainty_ he discusses central issues in epistemology, including the nature of knowledge and scepticism. _The Routledge Philosophy Guidebook to Wittgenstein and On Certainty_ introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of _On Certainty_, including its responses to G.E. Moore and discussion of fundamental issues in the theory of …Read more
-
18Routledge Philosophy Guidebook to Wittgenstein and on CertaintyRoutledge. 2008.Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In On Certainty he discusses central issues in epistemology, including the nature of knowledge and scepticism. The Routledge Philosophy Guidebook to Wittgenstein and On Certainty introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of On Certainty , including its responses to G.E. Moore and discussion of fundamental issues in the theory of knowl…Read more
-
21The Philosophy of Rhythm: Aesthetics, Music, Poetics (edited book)Oxford University Press, USA. 2019.Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philos…Read more
-
12The Aesthetics of DesignIn Fritz Allhoff, Jessica Wolfendale & Jeanette Kennett (eds.), Fashion - Philosophy for Everyone: Thinking with Style, Wiley. 2011.This chapter contains sections titled: Design as Problem‐Solving or Design as Fashion? The Rise of Design As a Profession: Is Design a Response to Consumerism? Consumerism, Self‐expression, and The “Invention” of Design Consumerism Is Not Essential to Design Were Neolithic Flint Tools Designed? Can We Avoid Designing? – The Idea of “Useless Work” The Function and Value of Fashion.
-
800Philosophy of BiologyIn Fritz Allhoff (ed.), Philosophies of the Sciences, Wiley‐blackwell. 2010-01-04.This chapter contains sections titled: Introduction What Are the Biological Sciences (Not)? Systematics Ecology and Evolution Levels of Selection Conclusion References.
-
5The Aesthetics of Western Art Music (review)Philosophical Books 40 (3): 145-159. 1999.Book reviewed in this article:Roger Scruton, The Aesthetics of Music.
-
4Proprioception as Basic Knowledge of the BodyIn René Woudenberg, Sabine Roeser & Ron Rood (eds.), Basic Belief and Basic Knowledge: Papers in Epistemology, De Gruyter. pp. 269-292. 2005.
-
5The Cambridge History of Nineteenth‐century Music (review)British Journal of Aesthetics 43 (1): 86-89. 2003.
-
7The cambridge history of nineteenth-century musicBritish Journal of Aesthetics 43 (1): 86-89. 2003.
-
47The Artful Species: Aesthetics, Art and Evolution By Stephen DaviesAnalysis 76 (1): 115-117. 2016.
-
70The art of recording and the aesthetics of perfectionBritish Journal of Aesthetics 43 (4): 345-362. 2003.Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recor…Read more
-
35The Aesthetics of Imperfection Reconceived: Improvisations, Compositions, and MistakesJournal of Aesthetics and Art Criticism 78 (3): 289-302. 2020.ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model…Read more
-
63Scruton's philosophy of culture: Elitism, populism, and classic artBritish Journal of Aesthetics 49 (4): 389-404. 2009.Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but with communal re…Read more
-
148Music and the aural artsBritish Journal of Aesthetics 47 (1): 46-63. 2007.The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contr…Read more
-
168Memory and self-consciousness: immunity to error through misidentificationSynthese 171 (3): 409-417. 2009.In The Blue Book, Wittgenstein defined a category of uses of “I” which he termed “I”-as-subject, contrasting them with “I”-as-object uses. The hallmark of this category is immunity to error through misidentification (IEM). This article extends Wittgenstein’s characterisation to the case of memory-judgments, discusses the significance of IEM for self-consciousness—developing the idea that having a first-person thought involves thinking about oneself in a distinctive way in which one cannot think …Read more
-
103Groups, individuals, and evolutionary restraints: the making of the contemporary debate over group selectionBiology and Philosophy 27 (2): 299-312. 2012.Groups, individuals, and evolutionary restraints : the making of the contemporary debate over group selection Content Type Journal Article Pages 1-14 DOI 10.1007/s10539-011-9255-5 Authors Andrew Hamilton, Center for Biology and Society, School of Life Sciences, Arizona State University, Tempe, AZ 85287-4501 USA Christopher C. Dimond, Center for Biology and Society, School of Life Sciences, Arizona State University, Tempe, AZ 85287-4501 USA Journal Biology and Philosophy Online ISSN 1572-8404 Pri…Read more
-
45Artistic TruthRoyal Institute of Philosophy Supplement 71 229-261. 2012.According to Wittgenstein, in the remarks collected as Culture and Value , ‘People nowadays think, scientists are there to instruct them, poets, musicians etc. to entertain them. That the latter have something to teach them; that never occurs to them.’ 18th and early 19th century art-lovers would have taken a very different view. Dr. Johnson assumed that the poets had truths to impart, while Hegel insisted that ‘In art we have to do not with any agreeable or useful child's play, but with an unfo…Read more
-
37Against Modernism and Postmodernism on Art and Entertainment: A Kristeller Thesis of EntertainmentBritish Journal of Aesthetics 63 (1): 41-56. 2022.This article develops a Wittgensteinian treatment of the relationship between art and entertainment, combining universal and historically conditioned features.
-
59Meeting report: First ISHPSSB off-year workshop (review)Biology and Philosophy 20 (4): 927-929. 2005.
-
65The Quest for voice: On music, politics, and the limits of philosophyBritish Journal of Aesthetics 42 (3): 327-328. 2002.
-
30The russell/bradley dispute and its significance for twentieth century philosophy - by Stewart CandlishPhilosophical Books 49 (3): 264-266. 2008.No Abstract