Ontologese and Musical Nihilism
A Reply to Cameron
Bibliographic Data
| ID | 11513319 |
|---|---|
| Authors | Stefano Predelli (0000-0002-8375-4611, University of Nottingham, corresponding author) |
| Year | 2009 |
| Volume | 49 |
| Issue | 2 |
| Pages | 179-183 |
| Publication date | 2009-04-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | The British Journal of Aesthetics (JOURNAL) |
| Journal identifiers | ISSN: 0007-0904 • E-ISSN: 1468-2842 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/aesthj/ayp004 |
| OpenAlex | W1991481220 |
| Language | EN |
In a recent essay in this journal, Ross Cameron presents a novel solution to the problem of musical creation.1 The solution is of the ‘using a sledgehammer to crack a nut’ variety, since side by side with a dissolution of the problem of musical creation, his approach, if successful, would yield a swift answer to pretty much every central question in the ontology of art, and, for that matter, to a wide variety of perennial metaphysical difficulties. Nothing of this magnitude should be nonchalantly swept aside. Unfortunately, Cameron's approach does not survive close scrutiny
Art · Art history · Aside · Epistemology · Linguistics · Literature · Metaphysics · Musical · Nihilism · Nothing · Scrutiny · Swift · Theology · Variety (cybernetics · Aesthetic Perception and Analysis · Artificial Intelligence · Computer Science · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy
| Citation velocity | historical |
|---|---|
| Highly cited | No |