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  • 1.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    A Bridge Too Far: From Basic Exposure to Understanding in Artistic Experience2013In: Behavioral and Brain Sciences, ISSN 0140-525X, E-ISSN 1469-1825, Vol. 36, no 3Article in journal (Refereed)
  • 2.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetic Normativity2017Collection (editor) (Refereed)
    Abstract [en]

    Forthcoming, 2017

  • 3.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetic Properties2012In: The Continuum Companion to Aesthetics / [ed] Ribeiro, A, London: Bloomsbury Academic, 2012Chapter in book (Refereed)
  • 4.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetic Sensibility, Epistemic Virtue and Emotional Sharing’2016In: Emotion, Narrative and Art. / [ed] Julian Dodd, Oxford: Oxford University Press, 2016Chapter in book (Refereed)
  • 5.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetics and Epistemology’2014In: Oxford Encyclopaedia of Aesthetics / [ed] Kelly, M, Oxford: Oxford University Press, 2014Chapter in book (Refereed)
  • 6.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetics and Morality2008Book (Refereed)
    Abstract [en]

    Aesthetic and moral value are often seen to go hand in hand.  They do so not only practically, such as in our everyday assessments of artworks that raise moral questions, but also theoretically, such as in Kant's theory that beauty is the symbol of morality.  Some philosophers have argued that it is in the relation between aesthetic and moral value that the key to an adequate understanding of either notion lies. But difficult questions abound.  Must a work of art be morally admirable in order to be aesthetically valuable? How, if at all, do our moral values shape our aesthetic judgements - and vice versa?  

     Aesthetics and Morality is a stimulating and insightful inquiry into precisely this set of questions. Elisabeth Schellekens explores the main ideas and debates at the intersection of aesthetics and moral philosophy. She invites readers to reflect on the nature of beauty, art and morality, and provides the philosophical knowledge to render such reflection more rigorous. This original, inspiring and entertaining book sheds valuable new light on a notably complex and challenging area of thought.

    - See more at: http://www.bloomsbury.com/us/aesthetics-and-morality-9780826497628/#sthash.HFJK9C5i.dpuf

  • 7.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Aesthetics Beyond Perception?2016In: Filosofisk Tidskrift, ISSN 0348-7482Article in journal (Other academic)
  • 8.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Analytic Aesthetics2006In: Companion to Twentieth-Century Philosophies / [ed] Boundas, C, Edinburgh: Edinburgh University Press, 2006, 338-350 p.Chapter in book (Refereed)
  • 9.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Are Aesthetic Reasons Normative Reasons?2017In: Estetika, ISSN 0014-1291Article in journal (Refereed)
  • 10.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Art, Emotion, Ethics: Conceptual Boundaries and Kinds of Value2009In: Philosophical Books, ISSN 0031-8051, E-ISSN 1468-0149, Vol. 50, no 3, 158-171 p.Article in journal (Other academic)
  • 11.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Experiencing the Aesthetic: Kantian Autonomy or Evolutionary Biology?2011In: The Aesthetic Mind: Philosophy and Psychology. / [ed] . Schellekens, E. & Goldie, P., Oxford: Oxford University Press, 2011Chapter in book (Refereed)
  • 12.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Explanatory Dualism in Empirical Aesthetics: A New Reading2012In: Journal of consciousness studies, ISSN 1355-8250, E-ISSN 2051-2201, Vol. 19, no 9-10Article in journal (Refereed)
    Abstract [en]

    The last decade has seen a significant increase in empirical research into the nature of art and aesthetic experience in the Anglo- American scientific community. Much of the impetus for this came from the publication of three special issues of the present journal on the theme of 'Art and the Brain' (Vol. 6, no. 6-7, 1999; Vol. 7, no. 8-9, 2000; Vol.11, no. 3-4, 2004). A decade or so later, it seems timely to consider the extent to which these new approaches have filtered through into wider philosophical understanding. Many philosophers express scepticism towards empirical aesthetics. This paper seeks to re-examine the grounds for any such scepticism and proposes a new reading of the explanatory power of scientific approaches. It begins by separating the data provided by such theories into three categories. Having identified a particular conceptual problem, it argues that many empirical accounts fail to distinguish sufficiently between the aesthetic and the artistic, and that this is a source of considerable philosophical concern. It then suggests that empirical aesthetics should be divided into two branches, namely empirical aesthetics and empirical art theory. Although such a division may seem to restrict the explanatory reach of scientific accounts somewhat in philosophy, it highlights the numerous ways in which empirical investigations can nonetheless strengthen and benefit philosophical analyses.

  • 13.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Is artistic meaning defunct? A Reply to Noel Carroll2014In: Stuka i Filosofia, Vol. 44Article in journal (Refereed)
  • 14.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Kant: A Philosopher of Beauty2012In: Key Thinkers in Aesthetics / [ed] Giovanelli, A, London: Continuum, 2012Chapter in book (Refereed)
  • 15.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Meta-Aesthetics: Realism, Objectivism, Cognitivism2008In: New Waves in Aesthetics and Value Theory / [ed] Stock, K. & Thomson-Jones, K, London: Palgrave Macmillan, 2008Chapter in book (Refereed)
  • 16.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    On Aesthetics and Subjectivity: From Kant to Nietzsche: by Bowie, A. Manchester University Press 2003.2004In: British Journal of Aesthetics, ISSN 0007-0904, E-ISSN 1468-2842, Vol. 44, no 3, 304-307 p.Article, book review (Other academic)
  • 17.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    On Contemplating Art: Essays in Aesthetics: by Levinson, J. Oxford University Press. 20072009In: Mind (Print), ISSN 0026-4423, E-ISSN 1460-2113, Vol. 118, 489-492 p.Article, book review (Other academic)
  • 18.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    On The Mess Inside: Narrative, Emotion and the Mind: by Goldie, P. Oxford University Press 20122013In: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 72, no 1Article, book review (Other academic)
  • 19.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    On the Rise of the Aesthetic Mind: Philosophy and Archaeology2015In: Aisthesis, ISSN 0568-3939, E-ISSN 0718-7181, Vol. 8, no 1Article in journal (Refereed)
    Abstract [en]

    Moving from a critical assessment of some recent attempts to define the arts in terms of adaptations, spandrels, by-products and, moreover, calling into question the continued development of the concept of the "aesthetic" in the frame of contemporary interdisciplinary research projects, the main aim of this paper is to highlight some of the ways in which archaeological objects can, at least in some respects, testify to the manifestation of the modern aesthetic mind

  • 20.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Review of Aesthetics and Rock Art: by Clegg, J. & Heyd, T. (eds.). Ashgate 20052006In: Canadian Journal of Aesthetics, Vol. 12Article, book review (Other academic)
  • 21.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Review of Kant’s Aesthetics: Core concepts and Problems: by Wenzel, C. Blackwell. 2005.2006In: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245, Vol. 64, no 4, 483-485 p.Article, book review (Other academic)
  • 22.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Review of On De Gustibus: Arguing About Taste and Why We Do It: by Kivy, P. Oxford: Oxford University Press.In: Philosophy in Review/Comptes rendus philosophiques, ISSN 1206-5269Article, book review (Other academic)
  • 23.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Review of The Objective Eye: Color, Form and Reality in the Theory of Art: by Hyman, J. Chicago University Press. 20062007In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 27Article, book review (Other academic)
  • 24.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Review of The Reach of the Aesthetic: Collected Papers on Art and Nature: by Hepburn, R. W. Ashgate 20012004In: International Journal of Applied Philosophy, ISSN 0739-098X, E-ISSN 2153-6910, Vol. 21, no 2, 225-227 p.Article, book review (Other academic)
  • 25.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    "Seeing is Believing" and "Believing is Seeing"2005In: Acta Analytica, ISSN 0353-5150, E-ISSN 1874-6349, Vol. 20, no 4, 10-23 p.Article in journal (Refereed)
  • 26.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Seeing the Light: Aesthetic Experience and Understanding Pictures’2017In: Pictorial Experience: Perception and Appreciation / [ed] Pelletier, J. & Voltolini, A, oxford: Oxford University Press, 2017Chapter in book (Refereed)
  • 27.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Taking the Moral Perspective: On Voyeurism in Art2012In: Art, Aesthetics and Pornography. / [ed] Levinson, J. & Maes, H., Oxford: Oxford University Press, 2012Chapter in book (Refereed)
  • 28.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Taste and Objectivity: The Emergence of the Concept of the Aesthetic2009In: Philosophy Compass, ISSN 1747-9991, E-ISSN 1747-9991, Vol. 4Article in journal (Refereed)
    Abstract [en]

    Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste.

  • 29.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    The Aesthetic Value of Ideas2007In: Philosophy and Conceptual Art / [ed] Goldie, P. & Schellekens, E, Oxford: Oxford University Press, 2007, 71-91 p.Chapter in book (Refereed)
  • 30.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    The Philosophy of Conceptual Art’2006In: Stanford Encyclopaedia of Philosophy / [ed] Zalta, E. N., Stanford: Stanford University Press, 2006Chapter in book (Refereed)
    Abstract [en]

    The philosophy of art addresses a broad spectrum of theoretical issues arising from a wide variety of objects of attention. These range from Paleolithic cave painting to postmodern poetry, and from the problem of how music can convey emotion to that of the metaphysical status of fictional characters. Until recently, however, philosophical interest in conceptual art, or conceptualism, has been notably sparse. Why? After all, both philosophy and the myriad of kinds and styles of art and art-making that fall under the conceptual tradition all have one thing in common: they are both intended to make you think and ask pressing questions. What are those questions and how do we go about answering them?

  • 31.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Towards a Reasonable Objectivism for Aesthetic Judgements2006In: British Journal of Aesthetics, ISSN 0007-0904, E-ISSN 1468-2842, Vol. 46, no 2, 163-177 p.Article in journal (Refereed)
    Abstract [en]

    This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which allows for some such analogies at the epistemological level, is too quick to ground aesthetic judgements in perceptual experiences alone. Further, it is held that aesthetic justification can, contra the objectivist theory under scrutiny, be based on an appeal to generally available justifying reasons without overthrowing the non-inferential character of aesthetic judgements. This possibility relies on a clearly established delineation between (i) aesthetic perception and aesthetic judgement, (ii) justifying reasons and explaining reasons, and (iii) judgement-making and judgement-justification.

  • 32.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Value Judgements and Standards of Normative Assessment2016In: The Semantics of Aesthetic Judgement / [ed] Young, J. O., New York: Oxford University Press, 2016Chapter in book (Refereed)
  • 33.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    What Do We Owe Historical Objects?2017In: Artifact and Memory: Philosophical Perspectives on Ruins, Monuments and Memorials / [ed] Bicknell, J. & Judkins, J, New York: Routledge, 2017Chapter in book (Refereed)
  • 34.
    Schellekens Dammann, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Who's Afraid of Conceptual Art2009Book (Refereed)
    Abstract [en]

    What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever?

    Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation.

    Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.

  • 35.
    Schellekens Dammann, Elisabeth
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Del Sasso, David
    Aesthetics, Conceptual Art and Martin Creed2017Collection (editor) (Refereed)
  • 36.
    Schellekens Dammann, Elisabeth
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Goldie, Peter
    Philosophy and Conceptual Art2007Collection (editor) (Refereed)
    Abstract [en]

    The fourteen prominent analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's 'idea' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, 'In conceptual art the idea of the concept is the most important aspect of the work . . . and the execution is a perfunctory affair'. Given this so-called 'dematerialization' of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on.

  • 37.
    Schellekens Dammann, Elisabeth
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Goldie, Peter
    The Aesthetic Mind: Philosophy and Psychology2011Collection (editor) (Refereed)
    Abstract [en]

    The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art. An eminent international team of experts presents new research in philosophy, psychology, neuroscience, and social anthropology: they explore the roles of emotion, imagination, empathy, and beauty in this realm of human experience, ranging over visual and literary art, music, and dance. Among the questions discussed are: Why do we engage with things aesthetically and why do we create art? Does art or aesthetic experience have a function or functions? Which characteristics distinguish aesthetic mental states? Which skills or abilities do we put to use when we engage aesthetically with an object and how does that compare with non-aesthetic experiences? What does our ability to create art and engage aesthetically with things tell us about what it is to be a human being? This ambitious and far-reaching volume is essential reading for anyone investigating the aesthetic and the artistic.

1 - 37 of 37
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