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Added by: Simon FoktContent: Eaton begins with some remarks on the practical need for classification of art and proceeds to present and improve her definition. Her focus is not on specific properties of artworks, but on the fact that they possess properties which within a given culture are considered worth attending to. The modifications made to the theory follow a realisation of Western-centric bias embedded in the original formulation, and the discussion explicitly aims to work towards a definition which acknowledges the cultural differences in art production and appreciation. Eaton moves on to discuss Danto’s and Cohen’s claims that art cannot be defined and points out some Western-centric aspects of their arguments. The paper ends with an overview of what it is for art and its definition to be sustainable.
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Added by: Simon FoktContent: 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.
Comment: The artefactuality requirement is involved in various definitions of art and thus Eaton’s paper can be used in many contexts. With its narrow topic and a lack of introduction to any particular definitions, in the context of undergraduate teaching it remains a rather specialised reading. It is best used as a further reading, or as a required reading in higher level modules which already introduced more general works on art classification.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Two conflicting but strongly entrenched intu itions about beauty hold sway in the hearts and minds of many. On the one hand, many people believe that attributions of beauty to objects or events are unmediated-that all that matters is one's direct, personal response. If something is beautiful, one just sees it; cognitive or ethical concerns matter little. On the other hand, many people are drawn to the view that the beautiful is not independent of other human values and atti tudes-that our attributions of beauty are related to beliefs or moral judgments. At the end of the eighteenth century, Immanuel Kant represented the former view with such cleverness that his ar guments continue to disturb even those who re main unconvinced by them. At the end of the nineteenth century, partly as a result of the influ ence of Kant's theory of beauty, Leo Tolstoy felt forced to downplay the importance of beauty's role in explaining the value of art-a trend that continued for several decades. At the end of the twentieth century, increasing numbers of aes thetic theorists and practitioners are persuaded that beauty does matter in art, and although many, including me, believe that beauty is a con textual property deeply connected to factual be liefs and moral attitudes, the tug of Kant's arguments remains strong.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: HERE IS a Steve McQueen, Jackie Gleason, Tuesday Weld movie called Soldier in the Rain that I watch whenever it comes on the TV late show. I have seen it at least half a dozen times. The first time I saw it, I cried at the end. The next time I saw it I began crying just before the end. Now I choke up when it starts and cry more or less steadily through the whole thing. My husband and son find this exasperating. "Why are you going to watch that if it is just going to make you unhappy?" they ask. What they do not understand is that very few things bring me greater pleasure than watching this movie, crying all the way through. Or perhaps my son does understand when he disdainfully concludes, "You're crazy".
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirPublisher's Note: To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.
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Added by: M. Jimena Clavel Vázquez and Andrés Hernández VillarrealAbstract:
Summary adapted from the introduction: The ancient Maya shouldered the burden of time. J. Eric S. Thompson (1950) opens his Maya Hieroglyphic Writing: An Introduction with a collage of god-numbers who carry time units with their mecapal, or head strap. This iconic image has defined our understanding of classic Maya time as cyclical. (…) In the following, I shift the perspective from the “burden of time” to “burdened with time” in order to move from an abstract understanding of time to a study of its practice and bodily experience. I adapt Edmund Husserl’s work to develop a cognitive model of time that I apply to classic Maya culture.
Comment: available in this Blueprint
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Added by: Franci MangravitiAbstract:
Val Plumwood’s 1993 paper, “The politics of reason: towards a feminist logic” (hence- forth POR) attempted to set the stage for what she hoped would begin serious feminist exploration into formal logic – not merely its historical abuses, but, more importantly, its potential uses. This work offers us: (1) a case for there being feminist logic; and (2) a sketch of what it should resemble. The former goal of Plumwood’s paper encourages feminist theorists to reject anti-logic feminist views. The paper’s latter aim is even more challenging. Plumwood’s critique of classical negation (and classical logic) as a logic of domination asks us to recognize that particular logical systems are weapons of oppression. Against anti-logic feminist theorists, Plumwood argues that there are other logics besides classical logic, such as relevant logics, which are suited for feminist theorizing. Some logics may oppress while others may liberate. We provide details about the sources and context for her rejection of classical logic and motivation for promoting relevant logics as feminist.
Comment (from this Blueprint): This is an ideal companion piece to Plumwood's paper: it provides an accessible summary, and discusses both objections to the paper and possible responses.
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Added by: Franci Mangraviti and Viviane FairbankAbstract: The strongest and, until recently, least-explored approach to feminist logic holds that some formal logics have structural features that perpetuate sexism and oppression, whereas other logics are helpful for resisting and opposing these social phenomena. Our choice of logics may not be purely formal on this view: for example, some logics are preferrable to others on the grounds of feminist commitments. This strong account of feminist logic was first articulated by Val Plumwood. We will critically engage salient features of her view, especially her critique of classical logic and the centering and dominating functions she believes classical negation has. We will see that her understanding of classical negation captures neither the development of Intersectional Feminism, nor the position the concept of centering holds in transformative justice. However, Plumwood's critique of classical negation does lead us to a deeper insight regarding which logics to apply in social justice contexts. Robin Dembroff's analysis of genderqueer as a critical gender kind helps us delineate a non-classical context in which a four-valued logic, such as FDE, can structurally account for the critical feature of this gender kind in a way classical logic cannot. We will also observe how four-valued logics precisely capture the destabilization of, and resistance to, the exclusive and exhaustive gender binary categories Dembroff describes.
Comment: available in this Blueprint
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Added by: Emily Paul, Contributed by: Helen De CruzSummary: Examines the theory of conditionals and whether it's possible to have a unified theory of them.
Comment: Great core text as there are many important discussion points here, and Edginton uses lots of helpful examples. Could set students the task of coming up with their own conditionals, and analysing these in the would/will sense. This definitely requires a background in beginner's logic.
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Added by: Franci MangravitiAbstract:
The chapter is an introduction to logical treatments of indicative conditionals, comparing truth-functional, non-truth-functional, and suppositional approaches. Some of the topics discussed are truth conditions, conditional belief, assertability, and issues with compounds of conditionals.
Comment: This page can be used in a course focused on the philosophy of conditionals, as an introduction/overview of the basic logical issues; or in any logic course wishing to spend more time on this particular notion.
Comment: Western-centric bias in art classification is explicitly addressed in the article and efforts are made to account for the cultural variations in attitudes to and classification of art. This can offer a powerful motivation for the students to seek similar biases in other definitions and ask whether they entail a preferential treatment of Western art.