Fans pick 100 books like Art

Aristotle was the world’s first story expert.

As a story consultant myself, it was incredible to have a man from 2,300 years ago talk to me about story theory! And more than that… everything he says is spot on. 

The real meaning of much of what Aristotle said has been debated for millennia. However, when I used his principles as story dynamics in real stories, they became very clear to me; so, in my own work, I have distilled Aristotle’s principles into a modern three-part interpretation, and I give examples of them working in classical and popular modern stories.

Aristotle’s principles are not only applicable today, but they are still better than almost any other new thinking of the last 100 years. Aristotle is amazing. I love him! 

Originally published in 1958 as a textbook, when Aesthetics was updated, it was recognized as the “summa” of the aesthetic theory of art. This is the view that something is art just in case it is made with the intention to afford a certain magnitude of aesthetic experience. Because of his emphasis on aesthetic experience, Beardsley defended the notion of the autonomy of art – the idea that art is essentially independent of all other social practices. Using this lens, Beardsley explores an impressive range of topics including literature, fiction, pictorial representation, criticism, and interpretation.

Because of his prior reputation as a metaphysician and epistemologist, when Nelson Goodman turned his attention to the philosophy of art, he lent unprecedented prestige to aesthetics. In his book, Goodman treats art as a matter of symbol systems whose major structures include representation, exemplification, and expression. Given his emphasis on symbolism, Goodman regarded artistic projects, like picturing, as conventional and he maintained that our conviction of the realism of pictorial representations was merely an affair of our habituation to various styles. Languages of Art is a book noteworthy for its bold and bracing literary style.

This book is an amazing combination of the philosophy of art, the philosophy of art history, and art criticism. The late Arthur Danto was not only a distinguished philosopher but also an award-winning art critic. In this book, Danto tracks the decline and fall of Modernism (which he describes as “the end of art”) and the advent of our present artistic moment which can be critically characterized as an era of post-historical pluralism. Danto, following GFW Hegel, proposes a partial definition of the artwork as an embodied meaning – thereby addressing the challenge to say what art is -- as it was posed by Clive Bell.

I don’t know how many times I referred to chapters of this book in my lectures. And I don’t know how many times my students asked for more. But this is not an academia-only kind of affair.

Taylor’s book is an intelligent, curious, and meticulous investigation into all there is to love, appreciate, and discover about black aesthetics. He moves from black hair and Black Panther to questions of identity and intersectional debates. I’ll keep assigning it, and I’ll keep reading it.

Nehamas’s lucid prose and lovely illustrations take us away from politics to a very different topic, our individual experience of art in all its many forms, from popular media to highfalutin forms, as an arena for the freedom of our imagination and taste.

I love Nehamas’s personal and personable voice, which cuts through centuries of theory to speak to the reader, one person to another. Few philosophy books are so accessible or have such beautiful pictures!

I love this book because it problematizes a popular assumption among contemporary Anglo-American authors who like to call themselves “analytic philosophers” and who only care to acknowledge the existence of a few past philosophers, e.g., Russell and Ryle. The assumption is that philosophers, such as the latter two, tackled in an apolitical “noble” fashion metaphysical matters.

Akehurst, by his turn, indicates how the likes of Russell and Ryle aligned themselves with a right-wing British policy whose “vulgar” propaganda is echoed throughout works published by British philosophers in the first half of the 20th century.

Also, I appreciate Akehurst’s way of showing that while contributing to the creation of the so-called “analytic-continental gap,” this attitude helped to naturalize the attribution of the shortness of logos to German philosophers like Hegel, Marx, and Nietzsche. 

Mysticism and Logic is a significant work written by British philosopher Bertrand Russell. It has always been a favorite of mine as it engages two seemingly contradictory aspects of human thought: mysticism and logic.

He delves into the nature of mystical experiences and attempts to analyze them with the principles of logical reasoning. By exploring these contrasting perspectives, Russell invites readers to question and critically examine different ways of understanding the world and reality. While acknowledging the profound influence of mystical experiences on human thought and culture, he subjects mystical beliefs and experiences to logical scrutiny.

By applying principles of rationality, he challenges the coherence and evidential basis of mystical claims. This critical evaluation encourages us to approach mystical experiences with a balanced and critical mindset that I feel is at the heart of neurotheology.

Far too many math books are written in a style so terse and ungenerous that all but the most mathematically gifted readers hardly have a fair chance of understanding.

On the other hand, the discursive style of much philosophy of mathematics gains readability at the expense of formal rigor. Button and Walsh strike the perfect balance in this exceptionally rich introduction to model theory from a distinctively philosophical perspective.

There’s no getting around the fact that the mathematics of model theory is hard going. But this book works through all the relevant proofs in clear and detailed terms (no lazy “we leave this as an exercise for the reader”), and the authors are always careful to motivate each section with well-chosen philosophical concerns right up front.

An Everest, but worth it.

Perhaps my favourite philosophy book of all time. Humans have the unique ability to take a detached view of our lives and actions. Call this an objective perspective. Thomas Nagel argues that many of our philosophical problems – such as the attempt to understand free will, or consciousness – stem from a clash between the subjective and objective standpoints. For example, we believe (subjectively), that we are free, that we have free will, that we can raise our right arm, or choose whether or not to go to shopping. But from an objective perspective we might reflect that, like everything else in the universe, we are governed by causal laws. A beautiful writer, Nagel can make the most complex issues seem simple.  He will make you feel cleverer than you are! The View From Nowhere is my model for how philosophy books should be written.