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19The Idea of Form: Rethinking Kant's AestheticsBritish Journal of Aesthetics 44 (3): 313-315. 2004.
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34Quasi−Realism, Acquaintance, and The Normative Claims of Aesthetic JudgementBritish Journal of Aesthetics 44 (3): 277-296. 2004.
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117On Richard WollheimBritish Journal of Aesthetics 44 (3): 213-225. 2004.There was a deep continuity in Wollheim’s thought from his book on F. H. Bradley onward. His notion of the concept of art as deeply interiorized was inextricable from his sense of the psychological unity of the mind and the historical continuity of artistic tradition, seen on analogy with an inherited language. His study of pictorial representation pivoted on the innate psychological capacity of ‘seeing-in’, perceiving the represented subject in a surface from which it was seen as distinct but t…Read more
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12Interpretation and Construction, Art, Speech, and the LawBritish Journal of Aesthetics 44 (3): 303-304. 2004.
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6Environment and the Arts: Perspectives on Environmental AestheticsBritish Journal of Aesthetics 44 (3): 311-313. 2004.
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49Philosophy, Music and EmotionAustralasian Journal of Philosophy 81 (2): 281-283. 2003.Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40
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1BUDD, M.: "Music and the Emotions: The Philosophical Theories" (review)Australasian Journal of Philosophy 65 (n/a): 227. 1987.
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52Why Art Is not a SpandrelBritish Journal of Aesthetics 50 (4): 333-341. 2010.If one views humans’ creation and appreciation of art as grounded in our biological nature, it might be tempting to see art as a spandrel, as an adventitious by-product of some adaptation without adaptive significance in itself. Such a position connects art to our evolved human nature yet apparently avoids the demands of demonstrating how art behaviours enhanced the fitness of our ancestors in the Upper Paleolithic. In this paper I explore two arguments that count against the view that art is a …Read more
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103Performing Musical Works Authentically: A Response to DoddBritish Journal of Aesthetics 53 (1): 71-75. 2013.A kind of musical authenticity Julian Dodd thinks has been neglected, interpretive authenticity, as he calls it, is intended to provide both an insightful and faithful understanding of the work. This kind of authenticity is distinguished from score compliance authenticity (a view I have defended) on grounds that an authentic musical interpretation can sometimes deliberately depart from the score. I argue that none of the four examples Dodd offers in favour of this hypothesis is uncontroversial. …Read more
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24The Psychology of Art and the Evolution of the Conscious BrainBritish Journal of Aesthetics 47 (1): 97-99. 2007.
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103The Mess Inside: Narrative, Emotion, and the MindBritish Journal of Aesthetics 53 (2): 247-249. 2013.
Areas of Interest
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