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Art and Well-Being

100%
Melchionne K.
Estetika: The Central European Journal of Aesthetics
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2017
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vol. 54 (New Series 10)
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issue 2
189-211
EN
Art is commonly thought to promote well-being. Aestheticians, however, have not considered how art plays this role. Over the past quarter century, there has been considerable research in positive psychology, the empirical study of subjective well-being (SWB). This research has resulted in robust findings on the factors promoting well-being. In this paper, I consider the findings for SWB in contemporary psychology in order to identify how art supports well-being. I also explore the implications of SWB theory for aesthetic theory and arts policy.
2
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What is an instance of an artwork?

100%
Aliyev A.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 2
163-185
EN
The expression ‘an instance of an artwork’ is often used in philosophical discourse about art. Yet there is no clear account of what exactly this expression means. My goal in this essay is to provide such an account. I begin by expounding and defending a particular definition of the concept of ‘an instance of an artwork’. Next, I elaborate this definition – by providing definitions of the main derivatives of the concept of ‘an instance of an artwork’, namely the concepts of ‘a well-formed instance of an artwork’ and ‘a non-wellformed instance of an artwork’. Finally, I examine the relation of the foregoing definitions to the existence and identity conditions of artworks and make some additional remarks concerning these definitions.
3
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Why We Need a Theory of Art

88%
Monseré A.
Estetika: The Central European Journal of Aesthetics
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2016
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vol. 53 (New Series: 9)
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issue 2
165-183
EN
In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art.
4
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Collingwood and ‘Art Proper’: From Idealism to Consistency

88%
Dönmez D.
Estetika: The Central European Journal of Aesthetics
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2015
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vol. 52
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issue 2
152-164
EN
Collingwood’s ‘art-proper’ definition has been controversial. Wollheim argues that his Theory of Imagination assumes that the nature of the artwork exists solely in the mind, committing him to the Ideal Theory. Consequently, when Collingwood states that the audience is essential for the artist and the artwork, he is being inconsistent. In contrast, Ridley claims that Collingwood’s Expression Theory saves him from Wollheim’s accusations; hence he is consistent and does not support the Ideal Theory. I demonstrate that Collingwood both adheres to the Ideal Theory (contrary to Ridley) and is consistent in his art theory (contrary to Wollheim). I show that imagination is the sufficient condition of art and expression is the process of art’s coming into existence. I argue that Collingwood is consistent in his theory because the audience and the externalization of the work are needed for an appreciation and understanding of the artwork as either good or bad, as either a work of a corrupt consciousness or not. Hence, an account of the role of externalization is a contribution to the epistemology, not the ontology, of art.
5
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Not Music, but Musics : A Case for Conceptual Pluralism in Aesthetics

75%
Currie A., Killin A.
Estetika: The Central European Journal of Aesthetics
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2017
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vol. 54 (New Series 10)
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issue 2
151-174
EN
We argue for conceptual pluralism about music. In our view, there is no right answer to the question ‘What is music?’ divorced from some context or interest. Instead, there are several, non-equivalent music concepts suited to different interests – from within some tradition or practice, or by way of some research question or field of inquiry. We argue (1) that unitary definitions of music are problematic, (2) that the role music concepts play in various research questions should motivate conceptual pluralism about music, and (3) that taking music pluralism seriously grounds a fruitful research programme in aesthetics. We suspect that pluralism about music is a good test case for the utility of pluralism in aesthetics more generally, and we present it as such.
6
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Meals, Art, and Artistic Value

75%
John E.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
254-269
EN
The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an activity is sketched.
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In Search of the Ontological Common Core of Artworks: Radical Embodiment and Non-universalization

75%
Consoli G.
Estetika: The Central European Journal of Aesthetics
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2016
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vol. 53 (New Series: 9)
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issue 1
14-41
EN
I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that (a) this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; (b) this common core functions as the constitutive rule of art (conceived as a social kind) and institutes an axiological normativity, that is, normativity based on aesthetic value; (c) it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; (d) it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art.
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