Jennifer A. McMahon
University of Adelaide
James Phillips
University of New South Wales
Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction.
Keywords philosophy of art  aesthetic pleasure  aesthetic ideas  semiotics  Kant's aesthetics  creative practice
Categories (categorize this paper)
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

 PhilArchive page | Other versions
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

The Artworld.Arthur Danto - 1964 - Journal of Philosophy 61 (19):571-584.
The artworld.Arthur Danto - 2012 - Problemos 82:184-193.
The Philosophy of Art.Stephen Davies - 2006 - Wiley-Blackwell.

View all 14 references / Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
Schopenhauer, Philosophy and the Arts.Dale Jacquette (ed.) - 1996 - Cambridge University Press.
Aesthetics is the Grammar of Desire.Jennifer A. McMahon - 2015 - Aesthetic Investigations 1 (1):156-164.
Aesthetic Experts, Guides to Value.Dominic Mciver Lopes - 2015 - Journal of Aesthetics and Art Criticism 73 (3):235-246.
Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism.Rachel Zuckert - 2006 - Journal of the History of Philosophy 44 (4):599-622.


Added to PP index

Total views
817 ( #8,338 of 2,497,996 )

Recent downloads (6 months)
48 ( #17,435 of 2,497,996 )

How can I increase my downloads?


My notes