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Popular musicIn Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music, Routledge. 2011.
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52The wrong stuff: Chinese rooms and the nature of understandingPhilosophical Investigations 11 (October): 279-99. 1988.Searle's Chinese Room argument is a general argument that proves that machines do not have mental states in virtue of their programming. I claim that the argument expresses powerful but mistaken intuitions about understanding and the first person point of view. A distinction is drawn between a competence sense and a performance sense of ‘understanding texts’. It is argued that the Chinese Room intuition looks for a special experience (performance) of comprehension, whereas artificial intelligenc…Read more
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10AestheticsIn Dale Jamieson (ed.), A Companion to Environmental Philosophy, Blackwell. 2001.This chapter contains sections titled: Aesthetic preservationism Aesthetic value The biophilia hypothesis What is an aesthetic response to nature? Perceiving nature as nature Positive aesthetics Mixed and influenced environments Conclusion.
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12The Fine Art of Repetition (review)Philosophy and Phenomenological Research 56 (4): 962-965. 1996.
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7The Wrong Stuff: Chinese Rooms and the Nature of UnderstandingPhilosophical Investigations 11 (4): 279-299. 1988.Searle's Chinese Room argument is a general argument that proves that machines do not have mental states in virtue of their programming. I claim that the argument expresses powerful but mistaken intuitions about understanding and the first person point of view. A distinction is drawn between a competence sense and a performance sense of ‘understanding texts’. It is argued that the Chinese Room intuition looks for a special experience (performance) of comprehension, whereas artificial intelligenc…Read more
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22Aberrant speakers and linguistic philosophy: A reconsideration of the dialogue between Cavell and the BakerPhilosophical Investigations 4 (4): 24-44. 1981.
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9Carol Becker, Ed., The Subversive Imagination: Artists, Society, and Social ResponsibilityJournal of Aesthetics and Art Criticism 54 (3): 302-303. 1996.
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15Pankratz, David B., Andmorris, Valerie B., Eds. The Future of The Arts: Public Policy and Arts ResearchJournal of Aesthetics and Art Criticism 49 (4): 393-396. 1991.
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9Edward Arian, The Unfulfilled Promise: Public Subsidy of The Arts in AmericaJournal of Aesthetics and Art Criticism 52 (3): 372-372. 1994.
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82What the Hills are alive with: In defense of the sounds of natureJournal of Aesthetics and Art Criticism 56 (2): 167-179. 1998.
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22Review of Scott Walden (ed.), Photography and Philosophy: Essays on the Pencil of Nature (review)Notre Dame Philosophical Reviews 2009 (2). 2009.
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29The Fine Art of Repetition (review)Philosophy and Phenomenological Research 56 (4): 962-965. 1996.
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86Technology, appreciation, and the historical view of artJournal of Aesthetics and Art Criticism 55 (2): 169-185. 1997.
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33Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown by rudinow, joelJournal of Aesthetics and Art Criticism 69 (4): 427-430. 2011.
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43Jazz and Musical Works: Hypnotized by the Wrong ModelJournal of Aesthetics and Art Criticism 76 (2): 151-162. 2018.It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance of works is very different from performance of classical music work…Read more
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156NANAY, BENCE. Aesthetics as Philosophy of Perception. Oxford University Press, 2016, 192 pp., $65.00 cloth (review)Journal of Aesthetics and Art Criticism 75 (2): 210-214. 2017.
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12Low artIn Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics, Routledge. pp. 409. 2001.
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57Performing NatureEnvironmental Philosophy 4 (1-2): 15-28. 2007.Natural environments differ from artworks in two ways: (a) they are surroundings filled with objects, processes, and the observer, (b) they are natural, not intentionally created to be appreciated. I show that this serious problem for accounts of aesthetic appreciation of nature has led many thinkers in environmental aesthetics (e.g., Carlson and Rolston) to claim that appreciators should be actively engaged with a natural environment. But how? One suggestion has been that appreciators play the …Read more
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37On Carroll's enfranchisement of mass art as artJournal of Aesthetics and Art Criticism 62 (1): 57-61. 2004.
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153Discovery, creation, and musical worksJournal of Aesthetics and Art Criticism 49 (2): 129-136. 1991.
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1Environmental AestheticsIn Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics, Oxford University Press. pp. 667--678. 2003.
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15High art versus low artIn Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics, Routledge. 2000.
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28Is it worth it? Lintott and ethically evaluating environmental artEthics, Place and Environment 10 (3). 2007.The question ‘Is it worth it?’, as originally applied to artworks by Tolstoy and here reintroduced by Sheila Lintott, opens a fruitful avenue for understanding land art. It is, however, a question...
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AnthropomorphismIn Marc Bekoff & Carron A. Meaney (eds.), Encyclopedia of Animal Rights and Animal Welfare, Greenwood Press. 1998.
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21Song, songs, and singing (edited book)Wiley. 2013.The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical chall…Read more
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Areas of Interest
Philosophy of Mind |
Aesthetics |