Background
Lopes was born on July 3, 1964 in Aberdeen, Scotland. He is the son of Anthony D. Lopes and Anita C. Macfarlane.
(Artworks potentially convey two kinds of knowledge: knowl...)
Artworks potentially convey two kinds of knowledge: knowledge of art itself as well as general empirical knowledge, especially knowledge of human psychology. This book collects ten essays written by leading philosophers who distill and build upon recent work at the intersection of aesthetics and epistemology. The volume also explores the challenges that art poses for theories of knowledge as well as the challenges that artistic knowledge poses to traditional views about art.
http://www.amazon.com/gp/product/1402067852/?tag=2022091-20
2007
(There is not one but many ways to picture the world--Aust...)
There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars.
http://www.amazon.com/gp/product/0199272034/?tag=2022091-20
(Four Arts of Photography explores the history of photogra...)
Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland
http://www.amazon.com/gp/product/111905317X/?tag=2022091-20
(Philosophers say what art is and then scientists and then...)
Philosophers say what art is and then scientists and then other scholars study how we are equipped, cognitively and socially, to make art and appreciate it. This time-honoured approach will not work. Recent science reveals that we have poor intuitive access to artistic and aesthetic phenomena. Dominic McIver Lopes argues for a new approach that mandates closer integration, from the start, between aesthetics and the human sciences. In these eleven essays he proposes a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. Aesthetics on the Edge opens with a four essays outlining the methodology and its potential. The following essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.
http://www.amazon.com/gp/product/019879665X/?tag=2022091-20
(No values figure as pervasively and intimately in our liv...)
No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty's significance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes's 'network theory' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance of disagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.
http://www.amazon.com/gp/product/0198827210/?tag=2022091-20
(Dominic McIver Lopes articulates and defends a 'buck pass...)
Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.
http://www.amazon.com/gp/product/0199591555/?tag=2022091-20
(Looking at pictures, we see in them the scenes they depic...)
Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face--his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures is emotional expressions, his book also develops a theory of expression especially tailored to pictures. Not all evaluations of pictures as opportunities for seeing-in are aesthetic--others are cognitive or moral. Lopes argues that these evaluations interact, for some imply others. His argument entails novel conceptions of aesthetic and cognitive evaluation, such that aesthetic evaluation is distinguished from art evaluation as essentially tied to experience, and that cognitive evaluations assess cognitive capacities, including perceptual ones. Ultimately, Lopes defends images against the widespread criticism that they thwart serious thought, especially moral thought, because they merely replicate ordinary experience. He concludes by presenting detailed case studies of the contribution pictures can make to moral reflection. Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives.
http://www.amazon.com/gp/product/0199230447/?tag=2022091-20
Lopes was born on July 3, 1964 in Aberdeen, Scotland. He is the son of Anthony D. Lopes and Anita C. Macfarlane.
Lopes graduated from McGill University with Bachelor of Arts degree in 1986. He received Doctor of Philosophy degree from Oxford University in 1992.
Dominic Lopes worked as an associate professor at Indiana University since 1992.
During his career Lopes has conducted researches on various topics, which are very important. His researches focus on pictorial representation, the aesthetic and epistemic value of pictures, including scientific images, theories of art and its value, the ontology of art, computer art and new art forms and aesthetic value, wherever it may be found.
Nowadays he is a Distinguished University Scholar and Professor in the Department of Philosophy at the University of British Columbia.
He is a Distinguished Scholar at the Peter Wall Institute for Advanced Studies, and Leverhulme Visiting Research Professor at the University of Warwick, in addition to holding visiting positions at Ritsumeikan University, the University of Modena and Reggio Emilia, the École des Hautes Études en Sciences Sociales, and the University of Miami.
Lopes is also a member of the editorial boards of the Journal of the American Philosophical Association, the Journal of Aesthetics and Art Criticism, Estetika, Cognitive Semiotics, and Imaginations: Journal of Cross-Cultural Image Studies.
(There is not one but many ways to picture the world--Aust...)
(Four Arts of Photography explores the history of photogra...)
(Artworks potentially convey two kinds of knowledge: knowl...)
2007(Philosophers say what art is and then scientists and then...)
(Dominic McIver Lopes articulates and defends a 'buck pass...)
(Looking at pictures, we see in them the scenes they depic...)
(No values figure as pervasively and intimately in our liv...)
Lopes is past president of the American Society for Aesthetics, a member of the editorial boards of the Journal of the American Philosophical Association, the Journal of Aesthetics and Art Criticism, Estetika, Cognitive Semiotics, and Imaginations: Journal of Cross-Cultural Image Studies.
He is a fellow of the Royal Society of Canada, as well as a fellow of the National Humanities Center.
Lopes married Anne M. Blackburn in August, 1988. They divorced in 1995.