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Rob Van Gerwen
Utrecht University
  1.  64
    Ethical Autonomism. The Work of Art as a Moral Agent.Rob van Gerwen - 2004 - Contemporary Aesthetics 2.
    Much contemporary art seems morally out of control. Yet, philosophers seem to have trouble finding the right way to morally evaluate works of art. The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical (...)
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  2. Richard Wollheim on the Art of Painting. Art as Representation and Expression.Rob van Gerwen - 2002 - Tijdschrift Voor Filosofie 64 (4):809-809.
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  3.  70
    Mathematical Beauty and Perceptual Presence.Rob van Gerwen - 2011 - Philosophical Investigations 34 (3):249-267.
    This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...)
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  4.  59
    Kant’s Regulative Principle of Aesthetic Excellence: The Ideal Aesthetic Experience.Rob van Gerwen - 1995 - Kant Studien 86 (3):331-345.
    It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative conceptions (...)
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  5. Arthur Coleman Danto - Een Kritisch Portret.Rob van Gerwen - 2005 - de Uil Van Minerva 20:99-112.
     
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  6. Een dialoog over David Hume. [REVIEW]Rob van Gerwen - 2009 - Nexus 52.
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  7. Kuipers Over Comparatief Realisme.Rob van Gerwen - 2008 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 100 (3):203-205.
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  8. Richard Wollheim on the Art of Painting.Rob van Gerwen - 2001 - Cambridge University Press.
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  9. Traktaat over de menselijke natuur. [REVIEW]Rob van Gerwen - 2009 - Nexus 52.
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  10. Wat is er mis met de verschijnselen?Rob van Gerwen - 2012 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 104 (1):62-64.
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  11. De ontologische drogreden in de analytische esthetica.Rob van Gerwen - 2002 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 94 (2):109-123.
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  12. Esthetische normativiteit. Tegen empirische en evolutionaire verklaringen.Rob van Gerwen - 2011 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 103 (2):126-138.
    Aesthetic normativity is the core issue of philosophical aesthetics. It cannot be solved by statistical knowledge or neurophysiology, nor by evolutionary explanation. I argue that aesthetic normativity concerns how we see things. We can see things wrongly and by suitable prompting someone may help us seeing it aright. So aesthetic normativity is to do with human interaction.
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  13. Richard Wollheim on the Art of Painting: Art as Expression and Representation.Rob Van Gerwen - 2003 - Journal of Aesthetics and Art Criticism 61 (3):302-304.
     
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  14. Expression as Success. The Psychological Reality of Musical Performance.Rob van Gerwen - 2008 - Estetika: The European Journal of Aesthetics 45 (1):24-40.
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...)
     
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  15.  39
    Human Inertia and Cell Phone Conversations.Rob van Gerwen - manuscript
    Cellular, or mobile phones are great: they allow people to communicate over long distances whenever and wherever they are, and instantaneously at that when the one called is wearing one too. Having said that, though, it must immediately be added that they, also, have a complex disadvantage, and it is one we are hard pushed to understand. In fact, due to its complexity people simply tend to neglect it, even though everyone in his right mind has had experience with it. (...)
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  16.  26
    Ethical Autonomism.Rob van Gerwen - 2004 - Contemporary Aesthetics 2.
    The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how (...)
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  17.  36
    Roger Scruton on “Why Beauty is Not a Luxury but a Necessity for a Life Worth Living” Soeterbeeck Instituut, June 12, 2009.Rob van Gerwen - unknown
    My pleasure in being here, at the Studiecentrum Soeterbeeck, to discuss the book Roger Scruton wrote on beauty, is twofold. It so happens that I am finishing a book on facial expression and facial beauty, and the chapter I sent to Roger to request his comments, resurfaced unopened in my own mail box, last week. Apparently something went wrong in the mail. Today I might get some of those comments. Secondly, reading Roger’s book, an impression of a kindred spirit has (...)
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  18.  33
    Inertie hoort bij Kunst als de Dood bij het Leven.Rob van Gerwen - 2008 - In Kabinet: Inertie & Kunst (even pages Russian translation). St. Petersburgh: pp. 238-263.
    In this article I propose to understand inertia in art as a “disposition to meaning”. I compare inertia in art with that of a face of a person recently deceased. To acquaintances, i.e. to family and friends, it holds a promise of memories (of the deceased); to all the others the corpse offers the possibility of a projection of meanings. Art is made of plain, or extra-ordinary stuff, which is turned into artistic material. The artist is to bring the inert (...)
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  19.  10
    Een politieke rol voor kunst?Rob van Gerwen - 2018 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 110 (2):197-202.
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  20.  27
    Evaluating Art.Rob van Gerwen - unknown
    – The property of the car – The appropriateness of your response: you are overreacting • We can discuss the value of art works.
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  21.  14
    Wachten op beeld - De tragische retorica van Iconische foto’s.Rob van Gerwen - 2013 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 105 (1):40-54.
    Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...)
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  22. Aesthetics as First Philosophy.Rob van Gerwen - 2015 - Aesthetic Investigations 1 (1).
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  23.  2
    Art and Human Interaction.Rob van Gerwen - 2021 - Aesthetic Investigations 5 (1):i-vi.
    In this Editor’s column I discuss certain fruits and limits of applying the notion of ‘performance’ to works of art. Art works can be viewed as perfor- mances, the public furnishing of works’ final form. Concerts can be viewed as performances of a work scored by someone else, the composer, but not all arts are double in this sense. Moreover, art can be viewed as mirroring the psychological, phenomenological and rhetorical aspects of human interaction, which exemplify the way people scrutinise (...)
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  24.  10
    Hearing Musicians Making Music: A Critique of Roger Scruton on Acousmatic Experience.Rob Van Gerwen - 2012 - Journal of Aesthetics and Art Criticism 70 (2):223-230.
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  25.  21
    Book Reviews. [REVIEW]Rob van Gerwen - 1998 - British Journal of Aesthetics 38 (1):93-95.
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  26.  8
    De Toekomst van Kunst.Rob van Gerwen - 2013 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 105 (3):135-147.
    A philosophical analysis of the future of art must explicate art’s nature, as well as discuss the historical nature of art practice. Only so can one explain those contemporary developments in art which have led many people to doubt whether art even has a future. Arguably, art practice as we know it started with the installing of the modern system of the fine arts. I explain the pragmatics of art so understood, and suggest that we can define art, internally. We (...)
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  27.  1
    Filosofie en subjectiviteit.Rob van Gerwen - 2016 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 108 (4):545-549.
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  28.  2
    Hegel's Dialectics Was Geared To Art: HE HAD NO BUSINESS >ENDING< IT.Rob van Gerwen - 2000 - Hegel-Jahrbuch 2 (1):68-74.
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