Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are art (...) now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy. (shrink)

Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception (...) of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

In this paper, I argue that machines can create works of art. My argument is based on an analysis of the so-called creative machines and focuses on technical functions and intentions. If my proposal is correct, then creative machines are technical artifacts with the proper function to bring about works of art. My account is based on sensible conceptual connections between makers, technical artifacts, intentions, and the creation of art. One upshot of the account presented here is that we do (...) not need a new conceptual framework or dubious assumptions about artistic agency on part of machines in order to arrive at the conclusion that creative machines make art. I will conclude the paper with some remarks regarding the artistic value of items produced by creative machines. (shrink)

In his presidential address, at the fiftieth anniversary of the American Society of Aesthetics in 1992, Peter Kivy suggested that "progress in the philosophy of art in the immediate future is to be made not by theorizing in the grand manner, but by careful and imaginative philosophical scrutiny of the individual arts and their individual problems." The study of the individual arts, and the differences between them, has, in the ensuing decades, provided a useful corrective to aesthetic theorizing in the (...) grand manner. In this essay, I urge philosophers of art, art educators, and art theorists to consider a different option—the rigorous and creative investigation of art clusters: that is, various collections of artworks and art kinds, unified by significant similarities and cutting across the recognized artforms and genres. (shrink)

The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, (...) even though many theorists have tried to come up with a solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory. (shrink)

In this paper, I argue that ‘art’, though an open concept, is not undefinable. I propose a particular kind of definition, a disjunctive definition, which comprises extant theories of art. I co-opt arguments from the philosophy of science, likening the concept ‘art’ to the concept ‘species’, to argue that we ought to be theoretical pluralists about art. That is, there are a number of legitimate, perhaps incompatible, criteria for a theory of art. In this paper, I consider three: functionalist definitions, (...) procedural definitions, and an intentional-historical definition. The motivation for this pluralism comes from an analysis of practice, because the term is of apparent value to practitioners. However, a closer analysis of the concept reveals that, while disjunctive definitions help us to understand how we use certain terms, they lack ontological import. In sum, I attempt to glean lessons from the philosophy of science about the philosophy of art. If my analysis is correct, we ought to be eliminative pluralists about art as a concept. (shrink)

Over the last several decades Ellen Dissanayake has developed an evolutionary theory of art that views all art as having evolved for the function of promoting group cohesion. This theory is not without its critics, yet it has received little empirical attention. In this article I propose a more modest formulation of Dissanayake’s hypothesis and proceed to test it using a cross-cultural analysis. I rely on the ethnographic databases of the electronic Human Relations Area Files as well as the Standard (...) Cross-Cultural Sample to compare proxies for group cohesion with measures of ritual art, a subset of art that I theoretically define. While my results cannot decisively prove or disprove Dissanayake’s hypothesis, they do lend empirical support to her views. This is promising not only for her views but for outlining ways of empirically testing other views in evolutionary aesthetics. (shrink)

ABSTRACT Stand-up so closely resembles-and is meant to resemble-the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk-social spaces and third spaces such as bars, coffee houses, (...) and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up. (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...) necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)