Von 1925 bis 1928 wurden im Berliner J. M. Spaeth-Verlag unter der Leitung von Hans Rosenkranz eine Reihe von Werken seinerzeit eher unbekannter, in der Retrospektive jedoch signifikanter Autoren der Zwischenkriegszeit publiziert. Der Beitrag thematisiert Rosenkranz als jungen Verleger und Bewunderer Stefan Zweigs. Er entwirft auf Grundlage der Archivüberlieferung einen neuen Blick auf die Geschichte des Unternehmens und kommentiert das damit verbundene literarische Programm: Welche wichtigen verlegerischen Projekte wurden in jener kurzen Zeit unternommen? Welche Rolle hatte Stefan Zweig (...) für das Zustandekommen einiger Titel und besonders in den letzten Wochen der Verlagsexistenz? Inwiefern lässt sich Programmgestaltung und ökonomische Entwicklung von J. M. Spaeth als paradigmatisch für jüdische Verlage in der Weimarer Republik verstehen? Dazu wird erstmals das Scheitern des Unternehmens während der „Bücherkrise“ Ende der 1920er Jahre aus den Quellen rekonstruiert. (shrink)

Stefan Collini challenges the common claim that universities need to show that they help to make money in order to justify getting more money.

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

The notion that our society, its education system and its intellectual life, is characterised by a split between two cultures – the arts or humanities on one hand, and the sciences on the other – has a long history. But it was C. P. Snow's Rede lecture of 1959 that brought it to prominence and began a public debate that is still raging in the media today. This 50th anniversary printing of The Two Cultures and its successor piece, A Second (...) Look features an introduction by Stefan Collini, charting the history and context of the debate, its implications and its afterlife. The importance of science and technology in policy run largely by non-scientists, the future for education and research, and the problem of fragmentation threatening hopes for a common culture are just some of the subjects discussed. (shrink)

The ongoing conflict between the economic imperative of stimulating consumption as part of the proliferation of neoliberal ideals of consumer supremacy and growing concern to increase environmental protection presents an opportunity to focus on consumption with respect to ethical behavior. Ethical concerns regarding purchasing and consumption behavior are addressed here in relation to the adoption of principles associated with temperance as applied to self-restraint in food purchase and consumption. The paper outlines theological links to the concept of temperance as applied (...) to environmental and health concerns. Employing a virtue ethics perspective, it examines people’s proactive attitudes that value the environment by adopting waste reduction behaviors. Within the context of normative ethics, it is asked: “Is temperance able to fulfill the role of a lever in consumers’ hands and thereby contribute to minimizing negative environmental impacts associated with food waste?” The research bears witness to the role that consumer behavior may play in promotion and application of temperance in daily life. Study results from a survey conducted in Romania extend the scant information on people’s food waste behavior in relation to religion, underscoring the relationship between religion, temperance-oriented behavior and environmental concerns. (shrink)

One of the most striking features of Christy Mag Uidhir’s rich and challenging book is the contrast between the modesty of its professed aim and the controversial nature of its professed conclusions. The aim is to investigate “what follows from taking intention-dependence seriously as a substantive necessary condition for being art.”1 The concern is not to give a theory of art but to clarify “the nature of the art-theoretic space that any art theory must occupy so as to be minimally (...) viable as such.”2 Since, as Mag Uidhir points out, almost everyone who claims to be doing theory of art subscribes to the intention-dependence of artworks as contrasted with natural objects, we might expect only ecumenical conclusions... (shrink)

This article considers the prospects of inference to the best explanation as a method of confirming causal claims vis-à-vis the medical evidence of mechanisms. I show that IBE is actually descriptive of how scientists reason when choosing among hypotheses, that it is amenable to the balance/weight distinction, a pivotal pair of concepts in the philosophy of evidence, and that it can do justice to interesting features of the interplay between mechanistic and population level assessments.

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

The notion that our society, its education system and its intellectual life, is characterised by a split between two cultures – the arts or humanities on one hand and the sciences on the other – has a long history. But it was C. P. Snow's Rede lecture of 1959 that brought it to prominence and began a public debate that is still raging in the media today. This fiftieth anniversary printing of The Two Cultures and its successor piece, A Second (...) Look features an introduction by Stefan Collini, charting the history and context of the debate, its implications and its afterlife. The importance of science and technology in policy run largely by non-scientists, the future for education and research, and the problem of fragmentation threatening hopes for a common culture are just some of the subjects discussed. (shrink)

An introduction to special collection on “Environmental Ethics: Issues and Perspectives from Romania”.

Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's _The Tennis Court Oath_, James Ensor's _Christ's Entry into Brussels in 1889_, and Alfredo Jaar's _They Loved It So Much, the Revolution_. Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding of the relationship (...) between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture. Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

This imaginative and unusual book explores the moral sensibilities and cultural assumptions that were at the heart of political debate in Victorian and early twentieth-century Britain. It focuses on the role of intellectuals as public moralists, and suggests ways in which their more formal political theory rested upon habits of response and evaluation that were deeply embedded in wider social attitudes and aesthetic judgements. Stefan Collini examines the characteristic idioms and strategies of argument employed in periodical and polemical writing, (...) and reconstructs the sense of identity and of relation to an audience exhibited by social critics from John Stuart Mill and Matthew Arnold to J. M. Keynes and F. R. Leavis. Dr Collini begins by situating the leading intellectuals in the social and political world of the Victorian governing classes. He explores fundamental values like `altruism', `character', and `manliness', which are revealed as the animating dynamic of much of the political thought of the period. The book assesses the impact of increasing academic specialization across a range of disciplines, and offers an illuminating analysis of the public voice of legal theorists like Maine and Dicey. Through a detailed study of J.S. Mill's posthumous reputation Dr Collini uncovers the process by which the genealogy of images of national cultural identity is established; and he concludes with a provocative exploration of the nationalist significance of what he calls `the Whig interpretation of English literature'. Public Moralists is a subtle and illuminating study by a leading intellectual historian which will redirect debate about the distinctive development of modern English culture. (shrink)

A critical pathway for conceptual innovation in the social is the construction of theoretical ideas based on empirical data. Grounded theory has become a leading approach promising the construction of novel theories. Yet grounded theory-based theoretical innovation has been scarce in part because of its commitment to let theories emerge inductively rather than imposing analytic frameworks a priori. We note, along with a long philosophical tradition, that induction does not logically lead to novel theoretical insights. Drawing from the theory of (...) inference, meaning, and action of pragmatist philosopher Charles S. Peirce, we argue that abduction, rather than induction, should be the guiding principle of empirically based theory construction. Abduction refers to a creative inferential process aimed at producing new hypotheses and theories based on surprising research evidence. We propose that abductive analysis arises from actors' social and intellectual positions but can be further aided by careful methodological data analysis. We outline how formal methodological steps enrich abductive analysis through the processes of revisiting, defamiliarization, and alternative casing. (shrink)

"In 'Mag ik Orpheus zijn?' legt Esther Jansma messcherp uit wat het lezen en schrijven van poëzie en proza voor haar inhoudt. Wat betekent het om 'ik' te zeggen in een gedicht, mag een tekst worden herleid tot de persoon van de maker, in hoeverre wordt wat wij 'het leven' noemen bepaald door wat we hebben gelezen, zijn er grenzen aan de verbeelding en waar zouden die dan moeten liggen, wie bepaalt wat wel en niet mag of kan in een (...) tekst? Voor deze essays bewerkte zij vier lezingen die zij in Berkeley en als gastschrijver aan de Rijksuniversiteit Groningen heeft gegeven."--Back cover. (shrink)

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

Two environmental accidents in the mining industry provide the context for this study of the Mitchell, Agle, and Wood (1997, The Academy of Management Review 22, 853–886) analysis of stakeholder salience. I examine the reactions of two stakeholder groups: shareholder response is examined in terms of changing share returns and risk; management response through change in disclosure. I find the two decision-makers reacted at different times. Management responded to the first accident, though not the second. Shareholders responded to the second (...) accident alone. My findings support the Mitchell, Agle, and Wood (MAW) assertion that stakeholder status is impermanent, and determined through the eyes of the decision-maker. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (b), because (...) the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

For Aristotle, a just political community has to find similarity in difference and foster habits of reciprocity. Conventionally, speech and law have been seen to fulfill this role. This article reconstructs Aristotle’s conception of currency as a political institution of reciprocal justice. By placing Aristotle’s treatment of reciprocity in the context of the ancient politics of money, currency emerges not merely as a medium of economic exchange but also potentially as a bond of civic reciprocity, a measure of justice, and (...) an institution of ethical deliberation. Reconstructing this account of currency in analogy to law recovers the hopes Aristotle placed in currency as a necessary institution particular to the polis as a self-governing political community striving for justice. If currency was a foundational institution, it was also always insufficient, likely imperfect, and possibly tragic. Turned into a tool for the accumulation of wealth for its own sake, currency becomes unjust and a serious threat to any political community. Aristotelian currency can fail precisely because it contains an important moment of ethical deliberation. This political significance of currency challenges accounts of the ancient world as bifurcated between oikos and polis and encourages contemporary political theorists to think of money as a constitutional project that can play an important role in improving reciprocity across society. (shrink)

In the past few decades, a growth in ethical consumerism has led brands to increasingly develop conscientiousness and depict ethical image at a corporate level. However, most of the research studying business ethics in the field of corporate brand management is either conceptual or has been empirically conducted in relation to goods/products contexts. This is surprising because corporate brands are more relevant in services contexts, because of the distinct nature of services and the key role that employees have in the (...) services sector. Accordingly, this article aims at empirically examining the effects of customer perceived ethicality in the context of corporate services brands. Based on data collected for eight service categories using a panel of 2179 customers, the hypothesized structural model is tested using path analysis. The results show that, in addition to a direct effect, customer perceived ethicality has a positive and indirect effect on customer loyalty, through the mediators of customer affective commitment and customer perceived quality. Further, employee empathy positively influences the impact of customer perceived ethicality on customer affective commitment, and customer loyalty positively impacts customer positive word-of-mouth. The first implication of these results is that corporate brand strategy needs to be aligned with human resources policies and practices if brands want to turn ethical strategies into employee behavior. Second, corporate brands should build more authentic communications grounded in their ethical beliefs and supported by evidence from actual employees. (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

This is the first volume of essays on Berkeley's Three Dialogues, a classic of early modern philosophy. Leading experts cover all the central issues in the text: the rejection of material substance, the nature of perception and reality, the limits of human knowledge, and the perceived threats of skepticism, atheism, and immorality.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

The fact that the standard probabilistic calculus does not define probabilities for sentences with embedded conditionals is a fundamental problem for the probabilistic theory of conditionals. Several authors have explored ways to assign probabilities to such sentences, but those proposals have come under criticism for making counterintuitive predictions. This paper examines the source of the problematic predictions and proposes an amendment which corrects them in a principled way. The account brings intuitions about counterfactual conditionals to bear on the interpretation of (...) indicatives and relies on the notion of causal (in)dependence. (shrink)

Against content theories of slurs, according to which slurs have some kind of derogatory content, Anderson and Lepore have objected that they cannot explain that even slurs under quotation can cause offense. If slurs had some kind of derogatory content, the argument goes, quotation would render this content inert and, thus, quoted slurs should not be offensive. Following this, Anderson and Lepore propose that slurs are offensive because they are prohibited words. In this paper, we will show that, pace Anderson (...) and Lepore, content theories of slurs do provide an explanation of the fact that quoted slurs can cause offense: even under quotation, the explanation goes, the derogatory content of a slur can still be psychologically efficacious. We will go one step further by pointing out that offensiveness is not the only function of slurs, but that slurs can also be used to create and reinforce negative attitudes towards the target group. While content theories can easily explain this by referring to some kind of derogatory content, Anderson and Lepore’s prohibitionism will lack a satisfactory explanation of this second function of slurs. Concluding, we will argue that, unlike uses of slurs, uses of quoted slurs normally do not derogate the target group. This will again speak in favor of content theories. Accordingly, uses of quoted slurs are not derogatory because quotation renders the derogatory content inert. Hence, rather than speaking against content theories, quoted slurs speak in their favor. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

This paper discusses counterexamples to the thesis that the probabilities of conditionals are conditional probabilities. It is argued that the discrepancy is systematic and predictable, and that conditional probabilities are crucially involved in the apparently deviant interpretations. Furthermore, the examples suggest that such conditionals have a less prominent reading on which their probability is in fact the conditional probability, and that the two readings are related by a simple step of abductive inference. Central to the proposal is a distinction between (...) causal and purely stochastic dependence between variables. (shrink)

Collection of original essays on human rights Content: Höffe, Otfried: Transzendentaler Tausch. Eine Legimitationsfigur für Menschenrechte? Tugendhat, Ernst: Die Kontroverse um die Menschenrechte. Lohmann, Georg: Menschenrechte zwischen Moral und Recht. Koller, Peter: Der Geltungsbereich der Menschenrechte. Wildt, Andreas: Menschenrechte und moralische Rechte. Gosepath, Stefan: Zu Begründungen sozialer Menschenrechte. O'Neill, Onora: Transnationale Gerechtigkeit. Böckenförde, Ernst-Wolfgang: Ist Demokratie eine notwendige Forderung der Menschenrechte?. Alexy, Robert: Die Institutionalisierung der Menschenrechre im demokratischen Verfassungsstaat. Wellmer, Albrecht: Menschenrechte und Demokratie. Dworkin, Ronald: Freiheit, Selbstregierung und (...) der Wille des Volkes. Okin, Susan Moller: Konflikte zwischen Grundrechten. Shue, Henry: Menschenrechte und kulturelle Differenz. Pogge, Thomas: Menschenrechte als moralische Ansprüche an globale Institutionen. (shrink)

This paper describes and discusses the phenomenon ‘predatory publishing’, in relation to both academic journals and books, and suggests a list of characteristics by which to identify predatory journals. It also raises the question whether traditional publishing houses have accompanied rogue publishers upon this path. It is noted that bioethics as a discipline does not stand unaffected by this trend. Towards the end of the paper it is discussed what can and should be done to eliminate or reduce the effects (...) of this development. The paper concludes that predatory publishing is a growing phenomenon that has the potential to greatly affect both bioethics and science at large. Publishing papers and books for profit, without any genuine concern for content, but with the pretence of applying authentic academic procedures of critical scrutiny, brings about a worrying erosion of trust in scientific publishing. (shrink)

Prospect Theory (PT) is widely regarded as the most promising descriptive model for decision making under uncertainty. Various tests have corroborated the validity of the characteristic fourfold pattern of risk attitudes implied by the combination of probability weighting and value transformation. But is it also safe to assume stable PT preferences at the individual level? This is not only an empirical but also a conceptual question. Measuring the stability of preferences in a multi-parameter decision model such as PT is far (...) more complex than evaluating single-parameter models such as Expected Utility Theory under the assumption of constant relative risk aversion. There exist considerable interdependencies among parameters such that allegedly diverging parameter combinations could in fact produce very similar preference structures. In this paper, we provide a theoretic framework for measuring the (temporal) stability of PT parameters. To illustrate our methodology, we further apply our approach to 86 subjects for whom we elicit PT parameters twice, with a time lag of 1 month. While documenting remarkable stability of parameter estimates at the aggregate level, we find that a third of the subjects show significant instability across sessions. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)