Dominic McIver Lopes – författare

Dominic McIver Lopes articulates and defends a ''buck passing theory of art'', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannotresolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts aswell as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.

Dominic McIver Lopes articulates and defends a ''buck passing theory of art'', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannotresolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts aswell as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.

Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures is emotional expressions, his book also develops a theory of expression especially tailored to pictures. Not all evaluations of pictures as opportunities for seeing-in are aesthetic - others are cognitive or moral. Lopes argues that these evaluations interact, for some imply others. His argument entails novel conceptions of aesthetic and cognitive evaluation, such that aesthetic evaluation is distinguished from art evaluation as essentially tied to experience, and that cognitive evaluations assess cognitive capacities, including perceptual ones. Ultimately, Lopes defends images against the widespread criticism that they thwart serious thought, especially moral thought, because they merely replicate ordinary experience. He concludes by presenting detailed case studies of the contribution pictures can make to moral reflection. Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives.

Philosophers say what art is and then scientists and then other scholars study how we are equipped, cognitively and socially, to make art and appreciate it. This time-honoured approach will not work. Recent science reveals that we have poor intuitive access to artistic and aesthetic phenomena. Dominic McIver Lopes argues for a new approach that mandates closer integration, from the start, between aesthetics and the human sciences.In these eleven essays he proposes a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. Aesthetics on the Edge opens with a four essays outlining the methodology and its potential. Thefollowing essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.

Philosophers say what art is and then scientists and then other scholars study how we are equipped, cognitively and socially, to make art and appreciate it. This time-honoured approach will not work. Recent science reveals that we have poor intuitive access to artistic and aesthetic phenomena. Dominic McIver Lopes argues for a new approach that mandates closer integration, from the start, between aesthetics and the human sciences.In these eleven essays he proposes a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. Aesthetics on the Edge opens with a four essays outlining the methodology and its potential. Thefollowing essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.

No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty''ssignificance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes''s ''network theory'' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance ofdisagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.

No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty''ssignificance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes''s ''network theory'' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance ofdisagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.

No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty's significance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes's 'network theory' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance of disagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations.Wherever on the globe anyone sets foot, they find people immersed in matters aesthetic. In UNESCO's definition, there can be no culture that lacks an aesthetic life. Aesthetic life is in this sense a cultural universal. At the same time, aesthetic engagement has a geography. While all cultures have an aesthetic, no single aesthetic belongs to all cultures. The rules of aesthetic engagement vary by culture.How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? To model what the turn toward diversity might look like in aesthetic inquiry, the four authors of this book each defend a different account of aesthetic diversity, and together they engage in a collective dialogue about these issues. The Geography of Taste will interest students in aesthetics courses as well as others interested in novel, global approaches to aesthetics.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations.Wherever on the globe anyone sets foot, they find people immersed in matters aesthetic. In UNESCO's definition, there can be no culture that lacks an aesthetic life. Aesthetic life is in this sense a cultural universal. At the same time, aesthetic engagement has a geography. While all cultures have an aesthetic, no single aesthetic belongs to all cultures. The rules of aesthetic engagement vary by culture.How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? To model what the turn toward diversity might look like in aesthetic inquiry, the four authors of this book each defend a different account of aesthetic diversity, and together they engage in a collective dialogue about these issues. The Geography of Taste will interest students in aesthetics courses as well as others interested in novel, global approaches to aesthetics.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations.Wherever on the globe anyone sets foot, they find people immersed in matters aesthetic. In UNESCO''s definition, there can be no culture that lacks an aesthetic life. Aesthetic life is in this sense a cultural universal. At the same time, aesthetic engagement has a geography. While all cultures have an aesthetic, no single aesthetic belongs to all cultures. The rules of aesthetic engagement vary by culture.How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? To model what the turn toward diversity might look like in aesthetic inquiry, the four authors of this book each defend a different account of aesthetic diversity, and together they engage in a collective dialogue about these issues. The Geography of Taste will interest students in aesthetics courses as well as others interested in novel, global approaches to aesthetics.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations.Wherever on the globe anyone sets foot, they find people immersed in matters aesthetic. In UNESCO''s definition, there can be no culture that lacks an aesthetic life. Aesthetic life is in this sense a cultural universal. At the same time, aesthetic engagement has a geography. While all cultures have an aesthetic, no single aesthetic belongs to all cultures. The rules of aesthetic engagement vary by culture.How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? To model what the turn toward diversity might look like in aesthetic inquiry, the four authors of this book each defend a different account of aesthetic diversity, and together they engage in a collective dialogue about these issues. The Geography of Taste will interest students in aesthetics courses as well as others interested in novel, global approaches to aesthetics.

As the sunset swings into view, you think, "That's beautiful." You take a bite of cake and you think, "Wow, that's sweet"-maybe too sweet. You hear that new song and it blows you away. You play it for your friends. The novel is wonderful, the movie disappoints, the dress looked better in the store. Aesthetic Life and Why It Matters offers three new answers to Socrates's great question about how we should live that focus on the place of aesthetic engagement in well-being. Three philosophers offer their perspectives on how aesthetic commitments move us through the world and shape our well-being, our sense of self, and our connections to others. Aesthetic engagement is a site for achievement, it cultivates individuality within a context of community, and it satisfies a hunger for exploring our differences. A closing dialogue between the authors probes some flash points in thinking about value: disagreement, subjectivism, ethnocentrism, fads and fashions, and ideology critique. Written in appealing prose, with vivid examples, a comprehensive introduction, and suggestions for further reading, the book is designed as a self-contained module in aesthetics for introductory courses in philosophy.

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.

Philosophers say what art is and then scientists and then other scholars study how we are equipped, cognitively and socially, to make art and appreciate it. This time-honoured approach will not work. Recent science reveals that we have poor intuitive access to artistic and aesthetic phenomena. Dominic McIver Lopes argues for a new approach that mandates closer integration, from the start, between aesthetics and the human sciences.In these eleven essays he proposes a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. Aesthetics on the Edge opens with a four essays outlining the methodology and its potential. The following essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.

No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty's significance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes's 'network theory' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance of disagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.

Contrast the glittering palette used to decorate rickshaws on the streets of Mumbai, the phlegmatic angst of Nordic noir, the taut ovoids of Kwakwaka'wakw carving, or the kawaii invasion of parts of Tokyo. The diversity of the aesthetic ecosystem enriches our lives.In Aesthetic Injustice, Dominic McIver Lopes draws on his earlier books, Beyond Art and Being for Beauty^—^as well as the rich tradition of cultural cosmopolitanism^—^to argue that we have interests in there being diverse conceptions of aesthetic value, each one at the centre of a thriving, self-directed aesthetic culture. These interests should govern how, from the perspective of our own aesthetic cultures, we interact with others' aestheticcultures.Lopes articulates an entirely new theory of aesthetic injustice: the consequence of neglecting our own interests. This theory sheds light on cultural appropriation, gendered and racialized ideals of bodily beauty, the allocation of resources to the aesthetic pursuits of disabled people, and state support for the aesthetic cultures of minority groups.In its combination of theoretical innovation with detailed treatment of contemporary issues, Aesthetic Injustice forges important connections between aesthetics, political philosophy, and research on social justice.

Contrast the glittering palette used to decorate rickshaws on the streets of Mumbai, the phlegmatic angst of Nordic noir, the taut ovoids of Kwakwaka'wakw carving, or the kawaii invasion of parts of Tokyo. The diversity of the aesthetic ecosystem enriches our lives.In Aesthetic Injustice, Dominic McIver Lopes draws on his earlier books, Beyond Art and Being for Beauty^a "e;^as well as the rich tradition of cultural cosmopolitanism^a "e;^to argue that we have interests in there being diverse conceptions of aesthetic value, each one at the centre of a thriving, self-directed aesthetic culture. These interests should govern how, from the perspective of our own aesthetic cultures, we interact with others' aestheticcultures.Lopes articulates an entirely new theory of aesthetic injustice: the consequence of neglecting our own interests. This theory sheds light on cultural appropriation, gendered and racialized ideals of bodily beauty, the allocation of resources to the aesthetic pursuits of disabled people, and state support for the aesthetic cultures of minority groups.In its combination of theoretical innovation with detailed treatment of contemporary issues, Aesthetic Injustice forges important connections between aesthetics, political philosophy, and research on social justice.

Contrast the glittering palette used to decorate rickshaws on the streets of Mumbai, the phlegmatic angst of Nordic noir, the taut ovoids of Kwakwaka'wakw carving, or the kawaii invasion of parts of Tokyo. The diversity of the aesthetic ecosystem enriches our lives.In Aesthetic Injustice, Dominic McIver Lopes draws on his earlier books, Beyond Art and Being for Beauty^a "e;^as well as the rich tradition of cultural cosmopolitanism^a "e;^to argue that we have interests in there being diverse conceptions of aesthetic value, each one at the centre of a thriving, self-directed aesthetic culture. These interests should govern how, from the perspective of our own aesthetic cultures, we interact with others' aestheticcultures.Lopes articulates an entirely new theory of aesthetic injustice: the consequence of neglecting our own interests. This theory sheds light on cultural appropriation, gendered and racialized ideals of bodily beauty, the allocation of resources to the aesthetic pursuits of disabled people, and state support for the aesthetic cultures of minority groups.In its combination of theoretical innovation with detailed treatment of contemporary issues, Aesthetic Injustice forges important connections between aesthetics, political philosophy, and research on social justice.

Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures is emotional expressions, his book also develops a theory of expression especially tailored to pictures. Not all evaluations of pictures as opportunities for seeing-in are aesthetic - others are cognitive or moral. Lopes argues that these evaluations interact, for some imply others. His argument entails novel conceptions of aesthetic and cognitive evaluation, such that aesthetic evaluation is distinguished from art evaluation as essentially tied to experience, and that cognitive evaluations assess cognitive capacities, including perceptual ones. Ultimately, Lopes defends images against the widespread criticism that they thwart serious thought, especially moral thought, because they merely replicate ordinary experience. He concludes by presenting detailed case studies of the contribution pictures can make to moral reflection. Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives.

Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures is emotional expressions, his book also develops a theory of expression especially tailored to pictures. Not all evaluations of pictures as opportunities for seeing-in are aesthetic - others are cognitive or moral. Lopes argues that these evaluations interact, for some imply others. His argument entails novel conceptions of aesthetic and cognitive evaluation, such that aesthetic evaluation is distinguished from art evaluation as essentially tied to experience, and that cognitive evaluations assess cognitive capacities, including perceptual ones. Ultimately, Lopes defends images against the widespread criticism that they thwart serious thought, especially moral thought, because they merely replicate ordinary experience. He concludes by presenting detailed case studies of the contribution pictures can make to moral reflection. Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives.

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series:Philosophy of Literature: Contemporary and Classic Readings - An AnthologyEdited by Eileen John and Dominic McIver LopesISBN: 9781405112086Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extractsProvides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literatureIncludes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and HumeServes as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figuresPhilosophy of Film and Motion Pictures: An AnthologyEdited by Noël Carroll and Jinhee ChoiISBN: 9781405120272Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theoryEight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and moralityIssues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornographyReplete with examples and discussion of moving pictures throughout

Two events in particular occasion this volume on the philosophy of photography: the blurring of boundaries that many took to demarcate photographic technology and practices from other representational and artistic technologies and the invention of digital photography. The purpose of this volume is not to revive older questions by asking what, if anything, still distinguishes photography in the light of these developments, but to consider sundry questions about the materials and tools—or media—of photography from a variety of perspectives. critically examines classic and influential arguments in philosophy of photographyaddresses recent trends in photographic art, such as conceptualism and appropriationhighlights philosophically neglected elements of photographic art, such as performativity and self-portraiturereexamines the role of photographic media in photographic art practicesoffers new perspectives of the impact of digital technologies on photographyexplores the relationship between photographic art and photography in other arts (comics and music) and in sciencebrings a range of philosophical methodologies and traditions into dialogueincorporates extended discussions of the work of important photographers and artists who use photography (e.g. Friedlander, Gursky, Lawlor)illustrates philosophical points with reproductions, many of them not widely knownclosely connects philosophical theory to the details of photographic practiceoffers original and novel theories of the aesthetic, artistic, and epistemic values of photographs

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century.

Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative imagesEmploys a top-down, theory to case approach, as well as a bottom-up, case to theory approachAdvances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to paintingIncludes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century.

Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Artworks potentially convey two kinds of knowledge. They obviously afford knowledge of art itself, and they also afford general empirical knowledge, especially knowledge of human psychology and value. “Knowing Art” collects ten original essays written by leading philosophers who distill and build upon recent work at the intersection of aesthetics and epistemology. Specific topics addressed include the objectivity of critical knowledge, the quality of critical testimony, the roles of principles and perception in critical reasoning, phenomenal knowledge of what a work of art is like, the acquisition of factual information and psychological understanding from fictions, and the limits of images as sources of historical evidence. In addressing these topics, the volume also explores the challenges that art poses for theories of knowledge as well as the challenges that artistic knowledge poses to traditional views about art.