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This is the first collection of essays focused on the many-faceted work of Kendall L. Walton. Walton has shaped debate about the arts for the last 50 years. He provides a comprehensive framework for understanding arts in terms of the human capacity of make-believe that shows how different arts – visual, photographic, musical, literary, or poetic – can be explained in terms of complex structures of pretense, perception, imagining, empathy, and emotion. His groundbreaking work has been taken beyond aesthetics to address foundational issues concerning linguistic and scientific representations – for example, about the nature of scientific modelling or to explain how much of what we say is quite different from the literal meanings of our words. Contributions from a diverse group of philosophers probe Walton’s detailed proposals and the themes for research they open. The essays provide an overview of important debates that have Walton’s work at their core. This book will be of interest to scholars and graduate students working on aesthetics across the humanities, as well as those interested in the topic of representation and its intersection with perception, language, science, and metaphysics.
Representations in visual arts and fiction play an important part in our lives and culture. Walton presents a theory of the nature of representation, which shows its many varieties and explains its importance. His analysis is illustrated with examples from film, art, literature and theatre.
A major question in studies of aesthetic expression is how we can understand and explain similarities and differences among different forms of representation. In the current volume, this question is addressed through the lens of make-believe theory, a philosophical theory broadly introduced by two seminal works - Kendall Walton's Mimesis as Make-Believe and Gregory Currie's The Nature of Fiction, both published 1990. Since then, make-believe theory has become central in the philosphical discussion of representation. As a first of its kind, the current volume comprises 17 detailed studies of highly different forms of representation, such as novels, plays, TV-series, role games, computer games, lamentation poetry and memoirs. The collection contributes to establishing make-believe theory as a powerful theoretical tool for a wide array of studies traditionally falling under the humanities umbrella.
Real Likenesses presents a radical new approach to the philosophy of artistic representation. Through a close analysis of paintings, photographs, and novels it reconsiders the relationship between medium and content, and proposes a new understanding of the 'real likenesses' that we encounter in representational art.
What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror movie even though we know it to be fictional? In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art.
Electrical lines that turn into the strings of a massive guitar in the sky. A man dragging a bed sheet, which turns into a road, across an empty field. A charming cottage on an island that is actually the back of a giant fish. Digital photography artist Erik Johansson has achieved international fame by taking and then combining photos into surreal, M.C. Escher–like worlds. This is his first book, and it captures the improbable and impossible in fifty distinctive images. Digital artist Erik Johansson starts with a simple hand-drawn sketch, but what you see in the end is anything but simple: dazzlingly realistic scenes made of hundreds of photographs—all meticulously staged and propped and then stitched together in software—offer a glimpse into wholly invented, incredibly detailed worlds. While shooting takes only a few days, Johansson’s planning and retouching process each take months, resulting in out-of-this-world images that have won him fans worldwide. Here’s what people are saying about the Erik Johannson’s work: “Erik Johansson has created a portfolio of stunning images combining photography, raw materials, and digital editing.” — Daily Mail UK “Erik Johansson … has [taken] the blogosphere by storm by producing heavily manipulated photographs [that] invert aesthetics as we understand them, inspired by MC Escher and other surrealist artists.” — Independent UK
The first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media—oral, aural, visual, and literary. Investigates the many ways in which the arts were experienced and conceptualized in the ancient world Explores the aesthetic experience of the ancients across a range of media, treating literary, oral, aural, and visual arts together in a single volume Presents an integrated perspective on the major themes of ancient aesthetics which challenges traditional demarcations Raises questions about the similarities and differences between ancient and modern ways of thinking about the place of art in society
Can games be art or is all art a kind of game? A philosophical investigation of play and imaginary things.
Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity.
Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.