Some conceptual frameworks are oppressive.
What, then, is conceptual art really good for?
Conceptual art, it seems, is something that we either love or hate.
Now, these conceptual objects serve as the content of intentionally directed acts.
Whether al-Ghazālī accepts this implication of his conceptual argument is unclear (Druart 2006).
I shall not try to distinguish between conceptual relativism and conceptual pluralism.
A particularly clear version of this picture of conceptual analysis is offered by Robert Brandom (2001).
Under current societal conditions, thought can only have access to the nonidentical via conceptual criticisms of false identifications.
True freedom from conceptual constructs lies outside of the scope of conceptual thought, and is therefore inexpressible.
Intuitive Conceptual also has an advantage over Strong Mixed: the latter commits one to metaphysical as well as conceptual modality.
Indeed, for many physicists the measurement problem is not merely one conceptual difficulty of quantum mechanics; it is the conceptual difficulty.
It could turn out that PIT is true but phenomenal consciousness reduces to conceptual role or tracking, making both PIT and the tracking or conceptual role theory true.
Warren argues that the five features of an oppressive conceptual framework spotlight some of the shared conceptual roots of the unjustified dominations of women, nonhuman animals, and nature.
Since Kant often characterizes experience as a complex state consisting of both intuition and judgment, it may be that experience possesses conceptual content simply in virtue of being partly constituted by a conceptual judgment.
One central problem with Strong Conceptual is that it claims that for every instantiated ethical property, there is a base property such that: it is a conceptual truth that anything that has this base property also has the ethical property.
The threefold typology met with above, which distinguishes between conceptual and non-conceptual mental events, and among the latter between erroneous and non-erroneous ones, is generally accepted, but not its correspondence with a threefold typology of apprehended objects.
Davidson’s argument hinges on his rejection of what he calls “The third dogma of empiricism”, namely, that we can meaningfully distinguish conceptual schemes from an uninterpreted reality—taken as “a neutral ground” or “coordinate system”—by means of which we could compare and contrast differing conceptual schemes.
If we are to sidestep such an intrinsic division between conceptual art on the one hand, and other kinds of art on the other, then theories concerned mainly with art that is not conceptual will have to make many significant concessions in order to incorporate the problematic case that conceptual artworks present.
Nevertheless, in the midst of this deliberately produced uncertainty about the nature of conceptual art, a handful of characteristics and general aims do seem to recur, and although they should not be seen as criteria for conceptual art strictly speaking, they may be considered tenets fundamental to (most) conceptual art.
Central to the philosophy of conceptual art is thus the provocative spirit of the project under investigation – conceptual art throws down the gauntlet by challenging us to reconsider every aspect of artistic experience, and it may well be up to philosophy to pick it up and address some of the questions conceptual art makes its business to raise.
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Central to the philosophy of conceptual art is thus the provocative spirit of the project under investigation – conceptual art throws down the gauntlet by challenging us to reconsider every aspect of artistic experience and it may well be up to philosophy to pick it up and address some of the questions conceptual art makes its business to raise