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24The Aesthetic Mind: Philosophy and Psychology (edited book)Oxford University Press. 2011.The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art.
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135Respect, Responsibility and RuinsIn Jeanette Bicknell, Carolyn Korsmeyer & Jennifer Judkins (eds.), Philosophical Perspectives on Ruins, Monuments, and Memorials, Routledge. 2019.A person can appropriately manifest respect toward a world heritage ruin by developing a sensitive understanding of the ruin’s cultural and historical context and significance. In this paper, we link such respectful understanding to the question of the aesthetic appreciation of world heritage ruins. Our claim is that an aesthetic appreciation of a world heritage ruin qua world heritage ruin typically involves two things: first, the responsibility not to neglect the individuality of the object, a…Read more
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42On The Rise of the Aesthetic Mind: Archaeology and PhilosophyAisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1): 113-122. 2015.Moving from a critical assessment of some recent attempts to define the arts in terms of adaptations, spandrels, by-products and, moreover, calling into question the continued development of the concept of the "aesthetic" in the frame of contemporary interdisciplinary research projects, the main aim of this paper is to highlight some of the ways in which archaeological objects can, at least in some respects, testify to the manifestation of the modern aesthetic mind
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83Meta-Aesthetics: Realism, Objectivism, CognitivismIn Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics, Palgrave-macmillan. pp. 170-187. 2008.
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1Book Review: The Emotions: A Philosophical Exploration, by Peter Goldie (review)Disputatio 1 (16): 70-76. 2004.
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50Meta-Aesthetics: Realism, Objectivism, CognitivismIn Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics, Palgrave-macmillan. 2008.Discusses three current debates in meta-aesthetics.
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76Is Psychology Relevant to Aesthetics?Estetika: The European Journal of Aesthetics 56 (1). 2019.A symposium on Bence Nanay, Aesthetics as Philosophy of Art and Murray Smith, Film, Art, and the Third Culture. Commentaries on the two books by two critics, followed by responses by the two book authors.
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34Psychologizing Aesthetic AttentionEstetika: The European Journal of Aesthetics 56 (1): 110-117. 2019.Psychologizing Aesthetic Attention.
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32Explanatory Dualism in Empirical Aesthetics A New ReadingJournal of Consciousness Studies 19 (9-10): 9-10. 2012.The last decade has seen a significant increase in empirical research into the nature of art and aesthetic experience in the Anglo- American scientific community. Much of the impetus for this came from the publication of three special issues of the present journal on the theme of 'Art and the Brain' . A decade or so later, it seems timely to consider the extent to which these new approaches have filtered through into wider philosophical understanding. Many philosophers express scepticism towards…Read more
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302Taste and objectivity: The emergence of the concept of the aestheticPhilosophy Compass 4 (5): 734-743. 2009.Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of diss…Read more
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69Art, emotion, ethics: Conceptual boundaries and kinds of valuePhilosophical Books 50 (3): 158-171. 2009.
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25A Reasonable Objectivism for Aesthetic Judgments: Towards An Aesthetic PsychologyDissertation, University of London. 2008.This doctoral thesis is an examination of the possibility of ascribing objectivity to aesthetic judgements. The aesthetic is viewed in terms of its being a certain kind of relation between the mind and the world; a clear understanding of aesthetic judgements will therefore be capable of telling us something important about both subjects and objects, and the ties between them. In view of this, one of the over-riding aims of this thesis is the promotion of an ‘aesthetic psychology’, a philosophica…Read more
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102Seeing is believing' and 'believing is seeingActa Analytica 20 (4): 10-23. 2005.The principal concern of my paper is a distinction between two ways of appreciating works of art, characterised here in terms of the phrases ‘seeing is believing’ and ‘believing is seeing’. I examine this distinction in the light of an epistemological requirement at times at least grounded in what David Davies, in his Art as Performance , refers to as the ‘common sense theory of art appreciation’ in order to assess exactly what aspect of the philosophical approach generally known as aesthetic em…Read more
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11Autonomy or Evolutionary Biology?In Elisabeth Schellekens Dammann & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology, Oxford University Press. pp. 223. 2011.
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65Aesthetic Understanding and Epistemic Agency in ArtDisputatio 13 (62): 265-282. 2021.Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count as knowledge. Co…Read more
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4EditorialBritish Journal of Aesthetics 57 (1). 2017.After four years as Editorial Assistant of the British Journal of Aesthetics, Dr Víctor Durà-Vilà is stepping down from his post. We would like to take this opportunity to thank him for his outstanding service to the journal, including the development of an exemplary Style Guide. We would also like to welcome our new editorial assistants, Jeremy Page and Rebecca Wallbank, both based at Uppsala University. We look forward to working with them for the benefit of our readers.
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70Review: Jerrold Levinson: Contemplating Art: Essays in Aesthetics (review)Mind 118 (470): 489-492. 2009.
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45A bridge too far: From basic exposure to understanding in artistic experienceBehavioral and Brain Sciences 36 (2): 156-157. 2013.In the context of a broad welcome to Bullot & Reber's (B&R's) proposals concerning the incorporation of contextual awareness into the study of the psychology of art appreciation, I raise two concerns. First, the proposal makes no allowance for degrees of relevance of contextual awareness to appreciation. Second, the authors assume that and can be maintained as separate phases or modes, but this may be more problematic than anticipated
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19The aesthetic value of ideasIn Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and conceptual art, Oxford University Press. 2007.
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5Who's Afraid of Conceptual Art?Routledge. 2009.What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know…Read more
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66Evaluating Art MorallyTheoria 86 (6): 843-858. 2020.What is the value of art? Standard responses draw on the different kinds of value that we tend to ascribe to individual artworks. In that context, none have been more significant than aesthetic value and moral value. To understand what makes an artwork valuable we then need to examine the interaction between these two kinds of value and how this contributes to the artwork's final value. The main aim of this article is to highlight two areas of concern for interaction theories, in order to improv…Read more
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IntroductionIn Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and conceptual art, Oxford University Press. 2007.
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54Aesthetic Taste: Perceptual Discernment or Emotional Sensibility?In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy, Routledge. 2022.Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste si…Read more
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218Towards a reasonable objectivism for aesthetic judgementsBritish Journal of Aesthetics 46 (2): 163-177. 2006.This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogi…Read more
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34Goldie, Peter. The Mess Inside: Narrative, Emotion, & the Mind. Oxford University Press, 2012, xi + 186 pp., $55.00 cloth (review)Journal of Aesthetics and Art Criticism 72 (1): 95-97. 2014.