A J Ridley
Biographic Data
| ID | 4514993 |
|---|---|
| NAME | A J Ridley |
| GIVEN NAMES | A J |
| FAMILY NAME | Ridley |
| SIGNATURE | RIDLEY A J |
| AFFILIATIONS | University of Southampton |
| ORCID | 0000-0001-6933-8534 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 15 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Singularities
These essays, six of them appearing here for the first time, address issues concerning the two key singularities that Kant identified in aesthetics: artistic creativity and aesthetic judgement. Ranging from Kant himself to contemporary debates, from song to conceptual art, from ethics to atheism, from function to failure, this collection explores the ways in which the one-off character of creativity and judgement may defy our ordinary expectation…
On the Musically Possible
It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot…
Relational Theories of Art
Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reason…
Congratulations, It's a Tragedy
This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story a…
Music, Value and the Passions
For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a cohere…
MR Mew on Music
Journal Article MR MEW ON MUSIC Get access Aaron Ridley Aaron Ridley Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 26, Issue 1, WINTER 1986, Pages 69–70, https://doi.org/10.1093/bjaesthetics/26.1.69 Published: 01 January 1986
Music, Value and the Passions
For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a cohere…
Relational Theories of Art
Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reason…
Congratulations, It's a Tragedy
This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story a…
On the Musically Possible
It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot…
MR Mew on Music
Journal Article MR MEW ON MUSIC Get access Aaron Ridley Aaron Ridley Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 26, Issue 1, WINTER 1986, Pages 69–70, https://doi.org/10.1093/bjaesthetics/26.1.69 Published: 01 January 1986
Music, Value and the Passions
For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a cohere…
Congratulations, It's a Tragedy
This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story a…
Relational Theories of Art
Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reason…
On the Musically Possible
It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot…
Singularities
These essays, six of them appearing here for the first time, address issues concerning the two key singularities that Kant identified in aesthetics: artistic creativity and aesthetic judgement. Ranging from Kant himself to contemporary debates, from song to conceptual art, from ethics to atheism, from function to failure, this collection explores the ways in which the one-off character of creativity and judgement may defy our ordinary expectation…
Art (5 works) · Epistemology (4 works) · Philosophy (4 works) · Psychology (4 works) · Aesthetics (3 works) · Literature (3 works) · Philosophy (3 works) · Creativity (2 works) · Mathematics (2 works) · Music Technology and Sound Studies (2 works)