Dominic McIver Lopes

Generative AI systems provoke important practical questions, but they also provoke existential anxieties, which arise in response either to the reality or the possibility of AI art made by genuinely creative AI artists. This paper first reviews recent arguments that existing AI systems do not make art and are not genuinely creative. It then argues that existential anxieties are not warranted if possible AI artists are just like human artists. Finally, it argues that, if they are not just like human artists, then we should design them to benefit us by satisfying an interest in aesthetic diversity. The upshot is that no existential anxieties are justified. In making this argument, the paper draws lessons about AI art and artists and also about our values and interests.

People do not appreciate unfamiliar art as deeply as those who have known it all their lives; empirical studies confirm that few features in any art category have universal appeal. From the eighteenth century onward, relatively few European philosophers built this diversity into the foundations of their aesthetic theories, and their critics argue that this deficiency stems from colonialist and other discriminatory ideologies. Recent analytic philosophers of art inherit some of this indifference to diversity, though some have fashioned tools that could assist in understanding the phenomenon. This introduction surveys highlights of this history.

Empirical research on aesthetic response poses two challenges to philosophy. The more familiar challenge is that scientific explanations of aesthetic responses debunk what we take to be our reasons for those responses. One reaction to this challenge is an accommodation strategy that seeks to reconcile the scientific findings with an improved understanding of our normative reasons. This paper presents a more fundamental challenge: some empirical research challenges the role of reasoning in aesthetic response. This challenges the accommodation strategy and suggests that philosophy should adopt a more radical naturalism about aesthetic response.

As the powerful and persistent impact of photojournalism shows, people respond empathically to scenes in images and to the emotions that those scenes express. Without question, looking at images contributes to the development of empathic character traits. This paper argues for a more specific thesis: images contribute in a unique manner to the development of empathic character traits. The argument is that only images afford experiences of seeing-in, seeing-in mediates unique empathic responses, and these unique empathic responses to images can enrich empathic responses in real life situations. In order to make this argument, a component-based model of the syndrome of empathic responses is introduced.

“This collection provides an ideal introduction to the issues that draw analytic philosophers to literature. It brings together an extraordinary array of the most vital, influential, and sophisticated essays published by philosophers of literature in the past three decades.”_ Stephen Davies,_ University of Auckland “These essays, taken together, constitute a serious and probing exploration of several of the most fundamental philosophical puzzles about literature. They are also accessible, engaging, and frequently a lot of fun. A superb collection!”_ Kendall Walton,_ University of Michigan Forty-five essential readings in the philosophy of literature are brought together for the first time in this anthology to provide a balanced and coherent overview of developments in the field during the past thirty years. They include substantial and carefully chosen essays and extracts which highlight influential work on fiction, emotion, interpretation, metaphor, literary value, and the definition and ontology of literature. An additional historical section features generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume. This authoritative volume offers a handy compilation of contributions to the field by its leading figures. It is an indispensable resource for anyone interested in the philosophy of literature or the philosophy of art.

“This collection provides an ideal introduction to the issues that draw analytic philosophers to literature. It brings together an extraordinary array of the most vital, influential, and sophisticated essays published by philosophers of literature in the past three decades.”_ Stephen Davies,_ University of Auckland “These essays, taken together, constitute a serious and probing exploration of several of the most fundamental philosophical puzzles about literature. They are also accessible, engaging, and frequently a lot of fun. A superb collection!”_ Kendall Walton,_ University of Michigan Forty-five essential readings in the philosophy of literature are brought together for the first time in this anthology to provide a balanced and coherent overview of developments in the field during the past thirty years. They include substantial and carefully chosen essays and extracts which highlight influential work on fiction, emotion, interpretation, metaphor, literary value, and the definition and ontology of literature. An additional historical section features generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume. This authoritative volume offers a handy compilation of contributions to the field by its leading figures. It is an indispensable resource for anyone interested in the philosophy of literature or the philosophy of art.

_Four Arts of Photography_ explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland.

This paper offers an interpretation of the theories of aesthetic value and agency in the Zhuangzi 莊子. The first section outlines two claims that articulate an aesthetics that can be found in the Analects: (1) there is a single ideal of aesthetic value, and (2) ideal aesthetic agents are those with the competence to access that ideal. The Zhuangzi rejects both claims. The second section argues, contra (1), that the Zhuangzi embraces a variety of pluralism about aesthetic value. This pluralism is rooted in some of the text’s broader metaphysical commitments. The third section argues, contra (2), that the Zhuangzi portrays ideal aesthetic agents as those with the competence to access what it calls “utmost beauty” (zhimei 至美), the plurality of aesthetic values. As this ideal of aesthetic agency is beyond the reach of ordinary human beings, the concluding section of the paper argues that the Zhuangzi additionally recommends a modified ideal of aesthetic agency that is within our reach.

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives.

_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 imagination illuminates fundamental problems in the philosophy of art.

You have a complex and detailed aesthetic life. You make aesthetic decisions every day. You wake up, shower, and dress. When you decide what to wear, you think about how it feels and fits. You have aesthetic feelings and reactions every day. The sunset swings into view as you turn a corner and you think, “That’s beautiful.” A wave of calm and pleasure wash over you. You take a bite of cake and you think, “Wow, that’s sweet.” Maybe too sweet. Almost everything you do has an aesthetic dimension—from the way you make your bed, prepare your coffee, and tie your shoes, to the way you speak to others and edit photos to post on social media. You have a complex and detailed aesthetic life that you orchestrate every day through your aesthetic decisions, reactions, feelings, and actions. But why live this way? What exactly is aesthetic life and why, if at all, does it matter? In Aesthetic Life and Why It Matters, three philosophers present their different answers to this question and discuss the many challenging and fascinating philosophical issues that arise in our aesthetic lives.

The personal and political significance of social identity is well studied; this paper contributes to those studies a discussion of the metaphysics of identity. Three features of an adequate theory of identity are specified, two existing theories are considered, and concerns about them are leveraged in order to craft a new theory. An identity group is a group whose members value and commit to valuing enough of the activities and products of cultures associated with the group. Theories of culture and commitment are provided. Some hard cases are discussed.

There are many aesthetic cultures, and groups with different aesthetic cultures can come in contact with one another, sometimes resulting in conflict. An aesthetic injustice is a failure of policies in large scale social arrangements to manage the contact well and avoid conflict. This book articulates and defends the cosmopolitan theory of aesthetic injustice: a large scale social arrangement is aesthetically unjust when and only when it harms people in their capacities as aesthetic agents, thereby subverting interests in the value diversity and social autonomy of aesthetic cultures. It contrasts aesthetic injustice with related phenomena. It presents three cases studies of the aesthetic injustice in cultural appropriation, ideals of bodily beauty, and access to aesthetic resources for disabled people.

Work on aesthetic value appeals to expertise in three different ways. On traditional approaches, expert aesthetic judges either provide authoritative access to aesthetic value or they constitute it. On a third, new approach, aesthetic values are relative to social practices, and aesthetic expertise determines which practices are the ones that we belong to. Aesthetic experts, on this approach, are neither guides to aesthetic value nor those whose responses constitute aesthetic value. This paper offers a defence of this innovative third approach to the relationship between aesthetic value and aesthetic expertise.

In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya’s theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views that dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness.

A theory of aesthetic normativity states what makes it the case that the fact that an item is beautiful is reason to appreciate it. Aesthetic hedonists characteristically hold that the fact that an item is beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure. Bernard Bolzano was an aesthetic hedonist who is best interpreted as offering a mixed theory of aesthetic normativity. The fact that an item is beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure and because anyone also has reason to do what fosters virtue, the capacity to act well. The argument for this interpretation knits together Bolzano’s aesthetics, his ethics, and his philosophy of science. In doing so, this argument opens up a new perspective on aesthetic normativity.

Working with a minimal theory of culture, according to which cultures are group-level patterns of specific types of activities, together with a modest theory of values as features that figure in reasons to promote or inhibit, this chapter provides constitutive accounts of hedonic, aesthetic, and artistic cultures, each organized around values in different ways. Hedonic cultures generate hedonic payoffs. Aesthetic cultures coordinate sundry activities around distinctive vocabularies of aesthetic value. Artistic cultures are ones where media of making are leveraged in order to generate any of a range of different varieties of value. The argument for this three-way division of the geography of taste is that it provides an effective framework for empirical investigations of the striking degree of variation within each of the three cultures of taste.