Mark Windsor
Biographic Data
| ID | 1070051 |
|---|---|
| NAME | Mark Windsor |
| GIVEN NAMES | Mark |
| FAMILY NAME | Windsor |
| SIGNATURE | WINDSOR M |
| AFFILIATIONS | Uppsala University |
| ORCID | 0000-0001-8666-426X |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Authenticity in Aesthetics
Authenticity is an important and widely used concept in aesthetics. Yet it is also a contested and elusive one. In this article, we clarify the concept of authenticity as it is used in aesthetic discourse. Authenticity, we argue, is a term used to assert the truth of something possessing some contextually relevant feature that it is purported to have. Typically, however, this has an evaluative or normative dimension: the feature that an authentic…
Collingwood's Everyday Aesthetics
Any adequate account of aesthetic experience must be able to accommodate the pervasiveness of aesthetic experiences in everyday life. While writers on everyday aesthetics have frequently taken inspiration from John Dewey's Art as Experience , my aim in this article is to show that there is another work in the history of the discipline that provides a much better account of the diversity of everyday aesthetic experiences: R. G. Collingwood's The P…
Imagining the Past of the Present
Some objects we value because they afford a felt connection with people, events or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket's blood was spilled gives the past event a sense of tangible reality. One feels 'in touch with' the past; history seems to 'come alive…
Remote Art and Aesthetics
This introduction to the special issue of the British Journal of Aesthetics, 'Remote Art: Engaging with Art from Distant Times and Cultures', presents the notion of art's remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship
Masculinities
Masculinities: Liberation through Photography Masculinities: Liberation through PhotographyBarbican Art Gallery, 20 February–17 May 2020. Mark Windsor Mark Windsor New College of the Humanities [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 60, Issue 3, July 2020, Pages 359–362, https://doi.org/10.1093/aesthj/ayaa017 Published: 06 August 2020
What is the Uncanny
I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state (a kind of anxiety) directed towards particular objects in the world which are characteristically eerie, creepy, and weird.…
What is the Uncanny
I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state (a kind of anxiety) directed towards particular objects in the world which are characteristically eerie, creepy, and weird.…
Imagining the Past of the Present
Some objects we value because they afford a felt connection with people, events or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket's blood was spilled gives the past event a sense of tangible reality. One feels 'in touch with' the past; history seems to 'come alive…
Masculinities
Masculinities: Liberation through Photography Masculinities: Liberation through PhotographyBarbican Art Gallery, 20 February–17 May 2020. Mark Windsor Mark Windsor New College of the Humanities [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 60, Issue 3, July 2020, Pages 359–362, https://doi.org/10.1093/aesthj/ayaa017 Published: 06 August 2020
Remote Art and Aesthetics
This introduction to the special issue of the British Journal of Aesthetics, 'Remote Art: Engaging with Art from Distant Times and Cultures', presents the notion of art's remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship
What is the Uncanny
I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state (a kind of anxiety) directed towards particular objects in the world which are characteristically eerie, creepy, and weird.…
Masculinities
Masculinities: Liberation through Photography Masculinities: Liberation through PhotographyBarbican Art Gallery, 20 February–17 May 2020. Mark Windsor Mark Windsor New College of the Humanities [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 60, Issue 3, July 2020, Pages 359–362, https://doi.org/10.1093/aesthj/ayaa017 Published: 06 August 2020
Imagining the Past of the Present
Some objects we value because they afford a felt connection with people, events or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket's blood was spilled gives the past event a sense of tangible reality. One feels 'in touch with' the past; history seems to 'come alive…
Remote Art and Aesthetics
This introduction to the special issue of the British Journal of Aesthetics, 'Remote Art: Engaging with Art from Distant Times and Cultures', presents the notion of art's remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship
Authenticity in Aesthetics
Authenticity is an important and widely used concept in aesthetics. Yet it is also a contested and elusive one. In this article, we clarify the concept of authenticity as it is used in aesthetic discourse. Authenticity, we argue, is a term used to assert the truth of something possessing some contextually relevant feature that it is purported to have. Typically, however, this has an evaluative or normative dimension: the feature that an authentic…
Collingwood's Everyday Aesthetics
Any adequate account of aesthetic experience must be able to accommodate the pervasiveness of aesthetic experiences in everyday life. While writers on everyday aesthetics have frequently taken inspiration from John Dewey's Art as Experience , my aim in this article is to show that there is another work in the history of the discipline that provides a much better account of the diversity of everyday aesthetic experiences: R. G. Collingwood's The P…
Art (4 works) · Aesthetics (3 works) · Aesthetic Perception and Analysis (2 works) · Environmental Philosophy and Ethics (2 works) · Epistemology (2 works) · Ethics, Aesthetics, and Art (2 works) · Philosophy (2 works) · Philosophy (2 works) · Aesthetic experience (1 works) · Aesthetic value (1 works)