For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

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. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.

Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant's third critique contains resources for a non-hedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant's because it ties his aesthetics into a key theme of his larger philosophy.

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works 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. (shrink)

Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...) of representationalism. Do experiences in different sense modalities have the same phenomenal character when they share content? Psychological work on the perception of shape through vision and spatial hearing is discussed. This work shows that visual and auditory experiences differ in phenomenal character even in so far as they represent similar properties. This objection to representationalism does not invite questions about secondary qualities or depend on establishing metaphysical possibilities. (shrink)

Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...) ingenuity in the work of K. C. Bhattacharyya. Bhattacharyya is an aesthetic hedonist who grounds aesthetic normativity in freedom. (shrink)

If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.

The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...) that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need. (shrink)

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...) pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting. (shrink)

Being for Beauty has two ambitions. It makes a case that the network theory of aesthetic value has enough going for it to be taken seriously in philosophical aesthetics, and in work on practical values and reasons more generally. In addition, by illustrating how much room we have to maneuver outside the bounds of aesthetic hedonism, the book invites work on alternative approaches. James Shelley, Julia Driver, and Samantha Matherne take up the invitation with such aplomb that one might declare (...) success on the second ambition and merely comment on how their proposals might be further developed. Nevertheless, since its explanatory power is precisely what gives us room to maneuver, what follows also sticks up for the network theory. (shrink)

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: a well-established body of research in social psychology indicates that we routinely confabulate the reasons we give for (...) our aesthetic response. This challenges the accommodation strategy and suggests that philosophy should adopt a more radical naturalism about aesthetic response. (shrink)

How are patriarchal regimes perpetuated and reproduced? Kate Manne’s recent work on misogyny aims to provide an answer to this central question. According to her, misogyny is a property of social environments where women perceived as violating patriarchal norms are ‘kept down’ through hostile reactions coming from men, other women and social structures. In this paper, I argue that Manne’s approach is problematically incomplete. I do so by examining a recent puzzling social phenomenon which I call (post-)feminist backlash: the rise (...) of women-led movements reinstating patriarchal practices in the name of feminism. I focus on the example of ‘raunch feminist’ CAKE parties and argue that their pro-patriarchal dimension cannot be adequately explained by misogyny. I propose instead a different story that emphasizes the continued centrality of gender distinctions in our social normative life, even as gendered social meanings become increasingly contested. This triggers meaning vertigo, a distinct form of social anxiety and the reactionary impulse at the heart of (post)-feminist backlash. Meaning vertigo both complicates the answer to Manne’s main question—“why is misogyny still a thing?”—and suggests the need and opportunity for a different kind of feminist political intervention. (shrink)

_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. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

This paper presents an ontological perspective that enables evaluating the effectiveness of business models from an integrative worldview. Different groups’ fragmented and reductionist views on this topic create a dichotomy that makes it difficult to compare and analyze them in practice. Such groups use different values for some components, which may result in neglecting others and their interrelationship. This study discusses a functional characteristic of business models that academia still needs to address. It explores new frontiers in the field, such (...) as business models for networks, sustainability, and their practical evaluation. To achieve an integrative ontology and avoid focusing on specific constructs or systems at the expense of others, we draw upon the theory of worldviews from Wilhelm Dilthey, reformational philosophy, and Herman Dooyeweerd’s theory of modal aspects. Society should move beyond dualistic thinking and embrace practical and applicable solutions. To help companies develop effective models, we introduce a new business model framework based on an integrative worldview that enables comparisons and evaluations of companies in practice. Creating competitive advantages and value appropriations synergizes with essential aspects of reformational philosophy. Analyzing and interrelating such elements are fundamental to understanding the real applied value of business models. (shrink)

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.

Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...) expressive properties are purely sonic, then music expresses less than we think it does. And if the expressive properties of music are visual as well as sonic, then music is not what we think it is—it is not purely sonic. (shrink)

This article is the lead piece in a special report that presents the results of a bioethical investigation into chimeric research, which involves the insertion of human cells into nonhuman animals and nonhuman animal embryos, including into their brains. Rapid scientific developments in this field may advance knowledge and could lead to new therapies for humans. They also reveal the conceptual, ethical, and procedural limitations of existing ethics guidance for human‐nonhuman chimeric research. Led by bioethics researchers working closely with an (...) interdisciplinary work group, the investigation focused on generating conceptual clarity and identifying improvements to governance approaches, with the goal of helping scholars, funders, scientists, institutional leaders, and oversight bodies (embryonic stem cell research oversight [ESCRO] committees and institutional animal care and use committees [IACUCs]) deliver principled and trustworthy oversight of this area of science. The article, which focuses on human‐nonhuman animal chimeric research that is stem cell based, identifies key ethical issues in and offers ten recommendations regarding the ethics and oversight of this research. Turning from bioethics’ previous focus on human‐centered questions about the ethics of “humanization” and this research's potential impact on concepts like human dignity, this article emphasizes the importance of nonhuman animal welfare concerns in chimeric research and argues for less‐siloed governance and oversight and more‐comprehensive public communication. (shrink)

Aesthetic hedonism is the default theory of aesthetic value. Some of its critics share with it a pair of unquestioned assumptions, namely, that any theory of aesthetic value should make special appeal to its being the case that the canonical form of aesthetic evaluation is a state of pleasure and to its being the case that the canonical purpose of aesthetic acts is to access pleasure. This paper argues that there is reason to doubt both assumptions. Doubting both assumptions suggests (...) a wider range of alternatives to aesthetic hedonism and primitivist inversions of aesthetic hedonism. (shrink)

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents. (shrink)

But never let it be doubted that depression, in its extreme form, is madness. (Styron, 1990, p. 62)There is nothing wrong with our biology or our intelligence; sometimes we are just stuck. (Cvetkov...

Psychologism is defined as “the doctrine that the laws of mathematics and logic can be reduced to or depend on the laws governing thinking” (Moran & Cohen, 2012 266). And for Husserl, the laws of logic include the laws of meaning: “logic evidently is the science of meanings as such [Wissenschaft von Bedeutungen als solchen]” (Husserl ( 1975 ) 98/2001 225). I argue that, since it is sufficient for a theory to be psychologistic if the empiricistic theory of abstraction is (...) employed, it follows that neural networks are psychologistic insofar as they use this theory of abstraction, which I demonstrate is the case (Husserl ( 1975 ) 191/2001 120). It’s sufficient for psychologism because, according to Husserl, the theory in question reduces one’s phenomenological ability to intend types (or universals) to one’s past history of intending tokens (or particulars), usually amalgamated in some fashion (classically via associations; recently via autoencoders) (ibid; Kelleher, 2019 ). Similarly dynamical systems theory entails psychologism. For dynamical systems theory ties content to the temporal evolution of a system, which, according to Husserl, violates the fact that intentionality toward validities and objectivities does not pertain to "particular temporal experience[s]" (Husserl ( 1975 ) 194/2001 121). It follows that neither the species (neural networks), nor the genus (dynamical systems), can avoid psychologism and intend objects "in specie" (ibid). After critiquing these two approaches, I proceed to give an account based on the essentialist school of cognitive psychology of how we may intend objects "in specie" while avoiding the empiricistic theory of abstraction (Keil, 1989, Carey, 2009, Marcus & Davis, 2019 ). Such an account preserves the type-token distinction without psychologistic reduction to the temporal evolution of a dynamical system (Hinzen, 2006 ). This opens the way toward a truly unifying account of Husserlian phenomenology in league with cognitive science that avoids Yoshimi's ( 2016 ) and neurophenomenology's psychologistic foundation (herein demonstrated) and builds upon Sokolowski's ( 2003 ) syntactic account of Husserlian phenomenology. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...) This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

Provides an account of what it is for works of academic philosophy to be beautiful in their content or in their mode of expression.

A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment.

De uma perspectiva comportamentalista radical, o eu é um repertório verbal complexo, que, como tal, tem uma gênese social. O reconhecimento da origem social do “eu” abre caminho para uma análise política, incluindo uma discussão do pa- pel das relações de poder na constituição do eu. Entretanto, uma concepção radicalmente social do “eu”, como a proposta pelo comportamentalismo, suscita um problema político: se o eu é integralmente produto do ambiente social, de onde viria uma eventual “vontade” de romper com esse (...) sistema? Parece que para reconhecer a possibilidade de ação política transformadora seria preciso preservar uma noção descontextualizada de “eu”. Considerando essa dificuldade, o objetivo deste artigo é propor uma interpretação política da constituição do “eu” no âmbito do comportamentalismo radical, mantendo no horizonte a possibilidade de uma ação política transformadora. Para tanto, destacamos como “eus” oprimidos são tornados submissos, mas também como de certas contingências podem emergir “eus” subversivos, que se opõem a um sistema social opressivo. Esse “eu” subversivo é caracterizado por um repertório de autoconhecimento mais amplo, que inclui a discriminação do papel das relações de poder e do controle promovido por instituições. Concluímos, com isso, que um “eu” socialmente constituído pode ser politicamente ativo. (shrink)

Although theory and research on emotional intelligence in the workplace has generated high expectations and promising findings, the gap between research and practice looms large. Several lines of inquiry point to the potential benefits of EI for leaders, teams, and organizations. Yet, assessing EI remains challenging, and research focusing on group and organizational levels of analysis is still scarce. In this review, I seek to bridge the gap between research and practice by considering a broader view of EI and discussing (...) research findings with a focus on implications for assessment and training. In particular, I discuss strategies to enhance the impact of EI and leadership training, and to drive results through well-integrated organizational development initiatives. (shrink)

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. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...) belongs to a system that conveys the kind of information that suits the needs of users in a context. (shrink)