This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...) Joyce, Stein, and Eliot on the other.”1 Susanne Langer can be read as provid- ing a justification for modern dance, while the ini- tial version of George Dickie’s institutional the- ory “requires something like the presupposition that Dada is a central form of artistic practice” in order to gain intuitive appeal. The. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

I argue for the Expanded Cluster Account of art by first inquiring as to whether “art” is best described by a cluster account and where ECA fits into the current landscape of theories of concepts. Second, I explicate the relevant aspects of Boyd’s theory of natural kinds and argue that his concepts of “disciplinary matrices” and “homeostatic property clusters” have relevant roles in a proper cluster account of art, thus explicating and expanding Gaut’s account in the process. Third, I defend (...) the thesis that Boyd’s concept of “disciplinary matrix,” when applied to “art,” is fulfilled by George Dickie’s notion of “the Artworld.” Lastly, I consider objections to ECA and positively explain its heuristic and explanatory efficacy above and beyond other contemporary “anti-definitional” accounts. (shrink)

This dissertation is based around conceptual conflicts introduced by the notion of rewilding and the challenges rewilding poses to place and cultural landscapes. Rewilding is a recent conservation strategy interested in the return of wilder, less human-managed environments. Often presented as an antidote to increasingly homogenized, organized, and managed environments, rewilding deliberately opens up space for the return of wild nature, typically by removing human elements that have obstructed or diminished its free reign or by reintroducing locally extinct species to (...) re-activate trophic cascades. There is, however, an increasing awareness that rewilding in many places will threaten cultural landscapes that are prized for their human meanings and histories. This dissertation does not attempt to resolve this conflict but instead takes a hermeneutic interest in it and tries to understand better what is at stake in such a conflict. This is attempted by means of a hermeneutic detour through the concepts of place and of wilderness, and ultimately the dissertation argues that instead of understanding rewilding simply as undermining notions of place, we should understand rewilding itself as placemaking. This conceptual work is informed by actual cases of rewilding and an examination of the conflicts arising out of the various modes of placemaking rewilding performs. Three modes of placemaking are demonstrated: wilderness placemaking, experimental placemaking, and place-regenerative placemaking. Taken in total, these reveal ways in which rewilding confronts us with relations with nonhuman others and with questions of belonging and not belonging that are increasingly at issue. (shrink)

I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) aesthetic value; it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art. (shrink)

The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...) result in incorporating an essentially institutional component or making the theory extremely complex and virtually impossible to use. (shrink)