Abstract: I argue that clarity about essence provides the tools both to isolate a distinct concept of art and to see why anti-essentialism is a plausible, though incomplete, doctrine about it. While this concept is not the only concept currently expressed by our word ‘art’, it is an interesting, and might be an important, one. One of the challenges it poses to conceptual analysis is to explain what it is to be better than being good of a thing’s kind, where this extra-goodness is neither a trivial fact nor simply a matter of being a good instance of two different kinds of thing. While anti-essentialism seems to be right about what types of analysis will not work for it, this result only deepens the question of what its proper analysis is.
Nobody Needs a Theory of Art
Abstract: The question “what is art?” is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment’s thought. The trouble is not that anyone might seriously deny the truth of (R), but rather that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need.
Evaluating the Classificatory Process
Content: In this short discussion paper, Werhane challenges the distinction between the classificatory and evaluative senses of ‘art’ defended by George Dickie. Many of the criteria which matter in the selective classificatory process are evaluative in nature, and thus even institutional classification of art depends on evaluation. This means that sometimes people whom institutionalists would interpret as using ‘art’ in the evaluative sense (e.g. in saying: ‘this is not art!’), should rather be seen as using it in the classificatory sense, evaluating the classificatory process (e.g. meaning: ‘the process which led to classifying this as art is wrong, because this should not be classified as art’).
Art, Artifacts, and Intentions
Content: The paper is written in support of the claim that artworks have to be artefacts. In a series of thought experiments involving driftwood and poems typed by monkeys, Eaton argues that linguistic objects such as warnings or poems have to result from intentional actions. She supports this argument by distinguishing linguistic objects from linguistic actions. To understand an utterance, it is necessary to not only explicate the meaning of the words used, but also to interpret the linguistic action which resulted in it. Literary works require interpretation, and interpretation requires reference to the linguistic actions of the work’s creator – their intentions. So literary works need to result from intentional actions, i.e. be artefacts. Similarly, artworks are objects of interpretation and thus must be artefacts.
What Is a “Work of Art”?
Abstract: This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell’s: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards’s “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is straightway confused by the varied contexts in which “beauty” and “beautiful” may function. We hear much more often of a beautiful stroke in cricket than in painting, and many of our moral judgments have an aesthetic flavour. An action may be bold, dashing, mean, underhanded, unimaginative, cringing, fine, as well as right or wrong. Aesthetic adjectives and adverbs may occur in any context, and part of our job is to separate out the various uses and establish their inter-relationships.
Art: What It Is and Why It Matters
Content: The first three sections of this paper offer a very useful overview of modern definitions of art. Most major types of definitions are introduced and explained in a succinct way, followed by a discussion of selected objections they face. First, Abell introduces functionalism and discusses its problems with extensional adequacy. Second, procedural theories including Dickie’s institutional and Levinson’s historical definitions are discussed, and criticized for their circularity and inability to account for art’s value. Next, Abell considers two mixed theories, formulated by Robert Stecker and David Davies. She shows how they can overcome the difficulties discussed above, but run into their own problems. Finally, Berys Gaut’s cluster account is introduced and criticized for its circularity and difficulties in determining all sufficiency conditions for being an artwork. In the remainder of the paper Abell focuses on developing her own version of the institutional theory.
The morals of model-making
Abstract: I address questions about values in model-making in engineering, specifically: Might the role of values be attributable solely to interests involved in specifying and using the model? Selected examples illustrate the surprisingly wide variety of things one must take into account in the model-making itself. The notions of system , and physically similar systems are important and powerful in determining what is relevant to an engineering model. Another example illustrates how an idea to completely re-characterize, or reframe, an engineering problem arose during model-making.I employ a qualitative analogue of the notion of physically similar systems. Historical cases can thus be drawn upon; I illustrate with a comparison between a geoengineering proposal to inject, or spray, sulfate aerosols, and two different historical cases involving the spraying of DDT . The current geoengineering proposal is seen to be like the disastrous and counterproductive case, and unlike the successful case, of the spraying of DDT. I conclude by explaining my view that model-making in science is analogous to moral perception in action, drawing on a view in moral theory that has come to be called moral particularism.
Telling the Truth
Abstract: Are doctors and nurses bound by just the same constraints as everyone else in regard to honesty? What, anyway, does honesty require? Telling no lies? Avoiding intentional deception by whatever means? From a utilitarian standpoint lying would seem to be on the same footing as other forms of intentional deception: yielding the same consequences. But utilitarianism fails to explain the wrongness of lying. Doctors and nurses, like everyone else, have a prima facie duty not to lie – but again like everyone else, they are not duty-bound to avoid intentional deception, lying apart; except where it would involve a breach of trust.
Respecting the Margins of Agency: Alzheimer’s Patients and the Capacity to Value
Introduction: Dworkin puts forth two main arguments to justify adhering to the wishes the patient expressed before becoming demented. As he sees it, this course of action both promotes the patient’s well-being and is required in order to respect the patient’s autonomy. In each argument, while I consider most of the ideas well-founded, I challenge the crucial premise. In the argument focused on the patient’s well-being, I dispute the claim that demented patients are no longer capable of generating what Dworkin calls “critical interests.” In the argument concerning autonomy, I question the premise that demented patients no longer possess the “capacity for autonomy.”7 In each case, I will trace how the problematic premise arises within Dworkin’s argument and then develop an alternative account of the relevant capacity.
Reproductive freedom, self-regulation, and the government of impairment in utero
Abstract: This article critically examines the constitution of impairment in prenatal testing and screening practices and various discourses that surround these technologies. While technologies to test and screen (for impairment) prenatally are claimed to enhance women’s capacity to be self-determining, make informed reproductive choices, and, in effect, wrest control of their bodies from a patriarchal medical establishment, I contend that this emerging relation between pregnant women and reproductive technologies is a new strategy of a form of power that began to emerge in the late eighteenth century. Indeed, my argument is that the constitution of prenatal impairment, by and through these practices and procedures, is a widening form of modern government that increasingly limits the field of possible conduct in response to pregnancy. Hence, the government of impairment in utero is inextricably intertwined with the government of the maternal body.