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Empathy and the Aesthetic Mind
Art is a constant point of reference for the exploration of the different manifestations of empathy and of its cognitive, affective and moral dimensions. Bringing together 15 essays from a team of established and rising philosophers, this volume sheds light on how both representational and non-representational forms of art allow empathic engagement. It examines the significance of such engagement for cognition, our emotive life and our moral stance. Opening with a historical reconstruction of the origins of empathy, or 'Einfühlung', in the German-speaking world from the late 19th to the early 20th century, the collection highlights the relevance of those early insights for current debates. Structured into four parts, chapters explore our emphatic engagement with fictional characters, with the inanimate in art forms such as film, music and architecture, with the cognitive value of empathy with fiction, and finally our emphatic response to fiction in relation to our moral attitudes. The contributors reflect on these specific themes and bring into sharp focus our emphatic engagement with works of art from historical, systematic and interdisciplinary perspectives.
Wollheim, Wittgenstein, and Pictorial Representation
Pictorial representation is one of the core questions in aesthetics and philosophy of art. What is a picture? How do pictures represent things? This collection of specially commissioned chapters examines the influential thesis that the core of pictorial representation is not resemblance but 'seeing-in', in particular as found in the work of Richard Wollheim. We can see a passing cloud as a rabbit, but we also see a rabbit in the clouds. 'Seeing-in' is an imaginative act of the kind employed by Leonardo’s pupils when he told them to see what they could - for example, battle scenes - in a wall of cracked plaster. This collection examines the idea of 'seeing-in' as it appears primarily in the...
Philosophical Perspectives on Depiction
Depiction plays as important a role as language in our culture and communication, but its function is still not well understood. This volume of specially written essays by leading philosophers investigate the nature and value of depiction and its role in our understanding of the world. They set the agenda for the philosophy of depiction.
A Companion to Aesthetics
A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition...
Art as Communication
Is art a form of communication? If so, what does art express or represent? How should we interpret the meaning of works created by more than one artist? Is art an adaptation, via natural selection? In what ways is art similar to—and different from—language? Art as Communication: Aesthetics, Evolution, and Signaling employs information theory, the theory of evolution, and the newly developed sender-receiver model of communication to reason about art, aesthetic behavior, and its communicative nature. Shawn Simpson considers whether art, from a biological point of view, is the province of only humans or whether animals might reasonably be said to create art. Examining the work of evolutionary biologists, art theorists, linguists, and philosophers—including Charles Darwin, Stephen Davies, H. Paul Grice, and others—he addresses how well different theories of communication explain meaning and expression in art and argues that art is much more continuous with other forms of communication than previously thought.
Thomas Reid on Mind, Knowledge, and Value
This volume offers a fresh view of the work of Thomas Reid, and its significance in his time and ours. A team of leading experts address three broad themes in Reid's philosophy: mind, knowledge, and value. They reveal the vitality of Reid's work, and explore the ways in which current philosophers are engaging with his ideas.
How We Fight
How We Fight: Ethics in War contains ten groundbreaking essays by some of the leading philosophers of war. The essays offer new perspectives on key debates including pacifism, punitive justifications for war, the distribution of risk between combatants and non-combatants, the structure of 'just war theory', and bases of individual liability in war.
Suffering Art Gladly
A collection of newly composed essays, some with a historical focus and some with a contemporary focus, which addresses the problem of explaining the appeal of artworks whose appreciation entails negative or difficult emotions on the appreciator's part - what has traditionally been known as "the paradox of tragedy".
Image in the Making
Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images - whether they are still or moving, 2D or 3D - have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a hand-made image or traditional photograph need not look analog. If we do not see the artist's choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making an...
Thick Concepts
An international team of experts explores the distinction between 'thin' concepts (general, evaluative terms like 'good' and 'bad') and 'thick' concepts (more specific concepts, such as 'brave', or 'rude'). Their essays touch on key debates in metaethics about the evaluative and normative, and raise fascinating questions about how language works.
