Art and Moral Knowledge

Freeland, Cynthia

doi:10.5840/philtopics19972518

Cited by 18 publications

(7 citation statements)

References 1 publication

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“…On the contrary, when concerned with the ethical and aesthetic values of artworks, we should focus on ethical judgments that take works themselves their object. Further, Freeland (1997) and Harold (2006) argue that debates on ethical and aesthetic values of works should concern the status of artworks qua artworks, and should thus consider the relation between artistic properties and ethical content.…”

Section: Intrinsic Ethical Flawsmentioning

confidence: 99%

The Diversity of Intrinsic Ethical Flaws in Fiction

Clavel-Vázquez

2020

The Journal of Aesthetics and Art Criticism

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This article examines what constitutes an ethical flaw in artworks and asks which ethical flaws are relevant in determining works. ethical and aesthetic values. I argue that while most of the discussion has simply taken for granted that it is intrinsic ethical flaws that should be taken into account, there are further important differences in the type of intrinsic ethical flaws that artworks display. I identify two different types of ethical defects in artworks, fictional and actual, and argue that this distinction has important consequences for debates surrounding the ethical value of works of fiction.

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Section: Intrinsic Ethical Flawsmentioning

confidence: 99%

The Diversity of Intrinsic Ethical Flaws in Fiction

Clavel-Vázquez

2020

The Journal of Aesthetics and Art Criticism

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“…We need not be afraid of the big bad wolf but engage in an epistemic valorization of art that justifies it as knowledge, and avoid parochial essentialist views of the special status of art. See numerous authors on the episteme of arts Carroll (2004), Freeland (1997), Gibson (2003), Green (2010), Goodman (1968), Lamarque (2010) embodies the result of the research activity. I will not be talking of research into or through art, which is currently done in academic institutions and is epistemologically uncontroversial (like art history, critical theory, etc.).…”

Section: Introductionmentioning

confidence: 99%

“…Although essential for learning purposes and to be able to recognize innovation. SeeGould (1994).16 Carroll (2004);Freeland (1997);Gibson (2003);Green (2010);John (2005); Lamarque (2010);Vidmar (2015);Vidmar (2010).…”

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confidence: 99%

A defense of artistic research

Alegria¹

2019

dia

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In this article I will try to defend, first, that there is a sense in which research is not only possible but desirable in art. Second, that there is a minimal set of written/physical components that are the minimal conditions for something to be considered research for art (in Frayling's sense). Third, that the epistemic value of the results is derived from the concept of exemplification as a retriever of value in a dense universe of artistic possibilities. And finally, that artistic research is a tool for empowering the artist if it is done within a set of parameters that gives it some epistemic value.Keywords: Artistic research. Requirements of research for art. Empowerment. Exemplification.Neste artigo defende-se, em primeiro lugar, que há um sentido em que a investigação em arte não é apenas possível, mas desejável. Em segundo lugar, há um conjunto mínimo de componentes escritos/materiais que são as condições mínimas para que algo seja considerado investigação para a arte (no sentido de Frayling). Terceiro, que o valor epistêmico dos resultados é derivado do conceito de exemplificação como origem do valor epistémico no universo denso de possibilidades artísticas. E, finalmente, essa investigação artística é uma ferramenta para capacitar o artista, se isso for feito dentro de um conjunto de parâmetros que lhe dão algum valor epistêmico. Palavras-chave:Investigação em arte. Requisitos para investigação em arte. Potencialização. Exemplificação.•

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“…Viewing aesthetics from a cognitive perspective can result in the stimulation of sensing activity which reveals certain truths about the world (Freeland 1997). It also introduces an element of pleasure seeking which helps to understand what it means to be creative.…”

Section: Aesthetic Impact On Craftmentioning

confidence: 99%

An aesthetic understanding of the craft sector

Fillis

2012

Creative Industries Journal

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This article evaluates the contribution of aesthetics to our understanding of the craft sector within the creative industries. Aesthetics make a dual contribution in terms of its original interpretation as an artistic factor relating to beauty, and also can be viewed in terms of the different styles of managing shaped by the owner/manager of the craft enterprise. In addition, creativity provides the artistic enterprise with competitive advantage, resulting in innovative products. Previous research on the creative industries has tended to follow a conventional path, using a combination of qualitative and quantitative data constructed from in-depth interviews and large-scale surveys. This article conceptualizes the essence of the creative industries, drawing on examples from craft in order to reach an understanding of the aesthetic value and impact of the sector

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Art and Moral Knowledge

Cited by 18 publications

References 1 publication

The Diversity of Intrinsic Ethical Flaws in Fiction

The Diversity of Intrinsic Ethical Flaws in Fiction

A defense of artistic research

An aesthetic understanding of the craft sector

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