For the L.A. Times obituary, go here.
I’ll also be conducting interviews with philosophers who also actively work in one or more of the various Arts (or actively engage in the artistic practices thereof). The idea here is that in virtue of their being uniquely situated between the two worlds of art and philosophy, they are able to offer valuable insights into both, as well as to how work in one might figure for work in the other. To this end, I’ve thus far confirmed the following stellar line-up of Philosopher-Artists (official schedule coming soon):
In addition to featuring guest posts from various philosophers working or with interests in Philosophical Aesthetics, I’ll also be conducting and featuring interviews with established artists and critics from across the Arts. The idea here is to help bridge the gulf between The Artist and The Philosopher of Art by actively engaging these artists about the various philosophical aspects of their artworks as well as the extent to which they might take such issues to figure in the production, appreciation, or evaluation of those works. To this end, I have thus far confirmed the following utterly fantastic and star-studded line-up of Artists (official schedule coming soon):
Curtis Gannon: Emerging visual artist (more info here).
Simon Fokt (St. Andrews)
Throw in a Wollheim Lecture from Gregory Currie and a sunny SoCal host city. Et voila! An ASA Annual Meeting that should not be missed. See you in San Diego!
Ergo is a general, open access philosophy journal accepting submissions on all philosophical topics and from all philosophical traditions. This includes, among other things: history of philosophy, work in both the analytic and continental traditions, as well as formal and empirically informed philosophy.
Ergo uses a triple-anonymous peer review process and aims to return decisions within two months on average.
Ergo is published by MPublishing at the University of Michigan and sponsord by the Department of Philosophy at the University of Toronto. Papers are published as they are accepted; there is no regular publication schedule.
To submit a paper, please register and login to Ergo’s editorial management system at:
Submitted manuscripts should be prepared for anonymous review, containing no identifying information. Submissions need not conform to the journal style unless and until accepted for publication.
Submission and publication is free, but the journal essentially depends on the support of reliable reviewers returning informative reports in a timely manner. We hope that you will consider acting as referee for Ergo if asked by one of its editors. We also hope that you will consider submitting your work to Ergo.
Please share this call for papers with your colleagues!
Franz Huber (University of Toronto)
Jonathan Weisberg (University of Toronto)
Rachael Briggs (Australian National University & Griffith University)
Eleonora Cresto (University of Buenos Aires)
Vincenzo Crupi (University of Turin)
Imogen Dickie (University of Toronto)
Catarina Dutilh-Novaes (University of Groningen)
Kenny Easwaran (University of Southern California)
Matt Evans (University of Michigan)
Laura Franklin-Hall (New York University)
Ole Hjortland (LMU Munich)
Michelle Kosch (Cornell University)
Antonia LoLordo (University of Virginia)
Christy Mag Uidhir (University of Houston)
Julia Markovits (Massachusetts Institute of Technology)
Lionel McPherson (Tufts University)
Jennifer Nagel (University of Toronto)
Jill North (Cornell University)
Brian O’Connor (University College Dublin)
Laurie A. Paul (University of North Carolina at Chapel Hill)
Richard Pettigrew (Bristol University)
Martin Pickavé (University of Toronto)
Adam Sennet (University of California at Davis)
Nishi Shah (Amherst College)
Quayshawn Spencer (University of San Francisco)
Ásta Sveinsdóttir (San Francisco State University)
Robbie Williams (University of Leeds)
Wayne Wu (Carnegie Mellon University)
Jiji Zhang (Lingnan University)
call for papers
- Is printmaking an essential part of the art-historical narrative, Western or otherwise?
- What are the implications of the relationship between print artists and master printers for issues of authorship and artistry?
- What are the descriptive or evaluative implications of the practices of editioning, proofing, or plate striking?
- What are the implications of printmaking practices for print ontology–whether prints are best construed as repeateable works, single-instance works, or something else entirely?
- How do issues of originality or authenticity for printmaking compare to those for other forms of visual art?
- What are the implications qua art (if not also qua print) of digital prints (for example, laser C-prints or inkjet Giclée prints)?
***UPDATED 07/31. I encourage readers to continue to send suggestions.***
Lamarque & Olsen’s Aesthetics & The Philosophy of Art: The Analytic Tradition is arguably the best general anthology in Contemporary Anglo-American Aesthetics. Unfortunately, this anthology distinguishes itself yet another way by having only 2 of its 46 articles written by women (in fact, the very same woman as it turns out). A friend of mine teaching philosophy of art for the first time recently discovered this and asked me to suggest some articles written by women with which to supplement the anthology. I’ve copied the list I sent him below so that it might be a useful resource for others in similar situations. I welcome and actively encourage readers to suggest additions in the comments section at which point I’ll update the list accordingly. However, please note that my interest lies with maximizing the number of distinct female authors rather than the number of distinct female-authored works.
- Catherine Abell (2012). Art: What it is & Why it Matters
- Laurie Adams (1976). Van Meegeren v. Vermeer (from Art on Trial: From Whistler to Rothko, ch. 4)
- Sondra Bacharach & Deborah Tollefsen (2010). We Did It: From Mere Contributors to Coauthors
- Christine Battersby (1991). Situating the Aesthetic: a Feminist Defense
- Karol Berger (2000). A Theory of Art
- Peggy Zeglin Brand (1998). Disinterestedness and Political Art
- Elisabeth Camp (2009). Two Varieties of Literary Imagination: Metaphor, Fiction, & Thought Experiments
- Jinhee Choi (2003). All the Right Responses: Fiction Films and Warranted Emotions
- Amy Coplan (2004). Empathic Engagement with Narrative Fictions
- Mary Devereaux (1993). Protected Space: Politics, Censorship, and the Arts
- Ellen Dissanayake (1992). Homo Aestheticus
- Anne Eaton (2012). Robust Immoralism
- Marcia Eaton (1982). A Strange Kind of Sadness
- Susan Feagin (1983).The Pleasures of Tragedy
- Cynthia Freeland (2007). Portraits in Painting and Photography
- Stacie Friend (2008). Imagining Fact and Fiction
- Tamar Gendler (2000). The Puzzle of Imaginative Resistance
- Hannah Ginsborg (2006). Aesthetic Judgment and Perceptual Normativity
- Lydia Goehr (1994). Political Music and the Politics of Music
- Karen Gover (2011). Artistic Freedom and Moral Rights in Contemporary Art
- Karen Hanson (1990). Dressing Down Dressing Up: The Philosophic Fear of Fashion
- Louise Hanson (2013). The Reality of (Non-Aesthetic) Artistic Value
- Hilde Hein (1996). What Is Public Art? Time, Place, and Meaning
- Kathleen Higgins (1991). The Music of Our Lives
- Sherri Irvin (2005). Appropriation and Authorship in Contemporary Art
- Amy Kind (2011). The Puzzle of Imaginative Desire
- Carolyn Korsmeyer (1993). Pleasure: Reflections on Aesthetics & Feminism
- Susanne Langer (1953). Feeling and Form: A Theory of Art
- Shelia Lintott (2006). Toward Eco-Friendly Aesthetics
- Béatrice Longuenesse (2006). Kant’s Leading Thread in the Analytic of the Beautiful
- Catherine Lord (1977). A Kripkean Approach to the Identity of a Work of Art
- Anna Mahtani (2012). Imaginative Resistance without Conflict
- Mary Mothersill (1984). Beauty Restored
- Marcia Muelder Eaton (1999). Kantian and Contextual Beauty
- Martha Nussbaum (1990). Love’s Knowledge: Essays on Philosophy and Literature
- Linda Nochlin (1971). Why Have There Been No Great Women Artists?
- Anna Christina Ribeiro (2012). Aesthetic Attributions: The Case of Poetry
- Jenefer Robinson (1994). The Expression and Arousal of Emotion in Music
- Stephanie Ross (1998). A Century of Taste
- Yuriko Saito (2001). Everyday Aesthetics
- Barbara Savedoff (1989). The Art Object
- Elaine Scarry (2001). On Beauty and Being Just
- Eva Schaper (1978). Fiction and the Suspension of Disbelief
- Elisabeth Schellekens (2007). The Aesthetic Value of Ideas
- Sandra Shapshay (2012). Schopenhauer’s Aesthetics and Philosophy of Art
- Anita Silvers (1990). Has Her(oine’s) Time Now Come?
- Kathleen Stock (2009). Fantasy, Imagination, and Film
- Amie Thomasson (2003). Fictional Characters and Literary Practices
- Katherine Thomson-Jones (2005). Reconciling Cognitivism & Formalism in Aesthetics
- Sarah Worth (2004). Fictional Spaces
What follows is an assessment of the professional state of Aesthetics with respect to faculty research at Leiter Ranked Programs in the United Kingdom. I counted only permanent faculty and so excluded visiting, emeritus, as well as affiliated faculty. Finally, faculty were counted according to two conditions which I’ve explained below (AOS, Primary). The full program/faculty list can be found at the link provided. Again, please inform me of any omissions or mistakes, as I no doubt made a few.
- Faculty must have (at least as indicated on department website or CV) an AOS in Aesthetics.
- Faculty must have an AOS in Aesthetics.
- Faculty must work primarily within Aesthetics (i.e., have a primary research program in/commitment to Aesthetics or to have one’s body of work reasonably suggest as much).