Please click on the links to read the material. If you are interested in reading drafts of papers in progress, please do get in contact.
FORTHCOMING. "Creative Agency as Executive Agency: Grounding the Artistic Significance of Automatic Images." [Winner of the John Fisher Memorial Prize] The Journal of Aesthetics and Art Criticism
2021. “Visibility, Creativity, and Collective Working Practices in Art and Science.” European Journal for Philosophy of Science 11 (5)
2020. "Commentary on 'Photography and Causation: Responding to Scruton's Scepticism." British Journal of Aesthetics 60th Anniversary Virtual Issue
2020. “Antony Gormley Royal Academy of Arts 21 September – 3 December 2019." British Journal of Aesthetics 60 (1): 89-92
2019. "Photography, Digital Techology, and Hybrid Art Forms." Proceedings of the European Society for Aesthetics 11: 43-59
2018. “The Epistemic Value of Photographs in the Age of New Theory.” Proceedings of the European Society for Aesthetics 10: 1-18.
2018. "A Portrait of Philosophy: The Photographs of Steve Pyke and the Conversations of Hans Maes." Portraits and Philosophy: A Conversation Exhibition Catalogue 2-10.
2017. “Does a Mechanistic Etiology Reduce Artistic Agency?” Proceedings of the European Society for Aesthetics 9: 1-14.
Work in Progress
Beautiful Experiments in Art and Science:
Experimentation forms a crucial part of both artistic and scientific practice. In this work, I survey the convergences and divergences between different forms of experimentation in art and science in order to compare the aesthetic qualities that are valued in these practices.
Creating Art with AI:
Computers are working more autonomously than every before to generate visual outputs, thanks to recent advances in Artificial Intelligence (AI). In this paper, I explore how attributions of creativity to the humans and machines involved in computer-generated art practice are impacted by a pluralistic conception of artistic value.
Appreciating Hybrid Arts:
To account for the different ways that arts are developed and manifested in other arts, in this paper I develop a classificatory framework that describes how arts may be hybridized through medium and social practices, pertaining to display for example. In doing so, I demonstrate why such an account is vital for proper appreciation of certain arts.
Photography and the Feeling of Contact:
Many philosophers have formulated arguments to counter Walton’s proposal that agents actually, albeit indirectly, perceive the object of a photograph. Yet, even philosophers who disagree with the realist basis of Walton’s theory have defended the idea that viewers may experience a sense of contact with the object of a photograph. To account for this sense of contact, I suggest a hybrid explanation, based on realist and psychological factors, including the sub-doxastic state of alief.
Creative Curating? Displaying Installation Art:
Installation art confers artists with the authority to determine the display of their work. Given then, that installation artworks have explicit directions for display, what is the creative scope of agents who curate installation art? In this paper, I assess whether and how curators of installation art can be artistically creative.