Cover
Halftitle page
Series page
Title page
Copyright page
Image
Contents
Figures
Tables
Acknowledgements
Introduction
1 Notes on Philosophical Method
1.1 Philosophy as a discipline
1.2 The standard philosophical method
1.3 Scepticism about Asian philosophy
1.4 Scepticism about Southeast Asian philosophy
1.5 The possibility of Southeast Asian philosophy
2 Notes on Southeast Asian Art
2.1 Southeast Asia
2.2 Scepticism about Southeast Asian art
3 Art, Truth, Knowledge and Danger
3.1 Ang ku kueh and a hypothetical tale

3.2 Art as imitation
3.3 The dangers of bovarysme
3.4 The no-expertise argument
3.5 Incorrect information
3.6 The poetic licence argument
3.7 The institutional argument
3.8 Art as inspiration
3.9 Two constructive dilemmas
3.10 The tripartite theory of the soul
3.11 Banishing the poets
4 Modes of Aesthetic Knowledge
4.1 Revisiting the argument in favour of the dangers of art
4.2 Denying P3
4.3 Imaginative resistance
4.4 Denying P1
4.5 Modes of aesthetic knowledge
4.6 Aesthetic anti-cognitivism
4.7 Argument in favour of aesthetic anti-cognitivism

5 Art, Merit and Taste
5.1 Aesthetic merit
5.2 The century of taste
5.3 The paradox of taste
5.4 Resolving the paradox
5.5 The Ogilby-Milton phenomenon
5.6 The joint verdict of true judges
5.7 The canon and the real problem of taste
6 Kant's Response to Hume
6.1 Kant's critical project
6.2 The analogy between logical judgement and aesthetic judgement
6.3 Aesthetic judgement and its moments
6.4 The Kantian denial
6.5 Two further Kantian claims
6.6 Concluding remarks about Kant and dissent
7 The Ontology of Artworks
7.1 Ontological questions

7.2 The simple physical object hypothesis
7.3 The imaginary entity hypothesis
7.4 The abstract entity hypothesis
7.5 Goodman's ontology of artworks
7.6 Symptoms of the aesthetic
7.7 The allographic-autographic distinction
7.8 Critical evaluation of Goodman
8 Forgery
8.1 Case study: Chen Wen Hsi
8.2 What is a forgery?
8.3 Perceptual indistinguishability and aesthetic formalism
8.4 Caveats about forgery
8.5 What is wrong about forgery?
8.6 Gunarsa's trial and dealing with the perfect fake
9 Conceptual Art
9.1 Perceptual art
9.2 Conceptual art

9.3 Two views of conceptual art
9.4 Weak and strong conceptual art
9.5 Mathematical proofs and literary works
9.6 Shelley's trilemma
10 Art and Creativity
10.1 Creativity
10.2 Creativity as an understudied phenomenon
10.3 Creativity and originality
10.4 Different types of creativity
10.5 Criteria for creativity
10.6 Philosophical accounts of creativity
10.7 Are machines capable of creative art?
10.8 Examples of machine art
11 Ambiguity, Interpretation and Meaning
11.1 Verbal ambiguity
11.2 Visual ambiguity
11.3 Caveats about visual ambiguity