Please click on the links to read the papers. If you are interested in reading drafts of papers in progress, please do get in contact.


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.



Papers in Progress

The Correct Attribution of Creative Agency in the Visual Arts:

Agents frequently work together in different capacities to produce visual artworks, which can make it difficult to identify and credit the agent, or agents, who are creatively responsible for what is valuable in an artwork. In this paper, I try to determine the conditions in which it is appropriate that an agent should receive creative credit for their role in the production of an artwork.

Creative Agency and Co-Working in Art and Science:

In this paper, I suggest that there are parallels between the different working dynamics that are instantiated in the production of cooperatively produced artworks and collectively produced scientific research. I investigate how different co-working arrangements affect the creative potential of individuals involved in artistic and scientific practices and indicate why there are aesthetic and epistemic reasons to ensure that creative contributions are credited.

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.

Automatic Image-Making Processes and Creativity in Art Production:

By engaging with new developments in the philosophy of creativity, where creativity is examined as an agential disposition, in this paper I construct an account of intentionality in art production that can accommodate the aesthetic relevance of the use of automatic image-making techniques, such as photography, which, by the sceptical conception of intentional control, appear to constrain the production of artworks.

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.




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