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  1. Not All Art is Beautiful (and That’s Good).Venkat Ramanan - 2022 - Blue Labyrinths 1.
    Is aesthetics only about art that is beautiful as conventionally understood? If not, what purpose does art that may not be so serve?
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  2. Paintings of Music.Michelle Liu - 2022 - Journal of Aesthetics and Art Criticism 80 (2):151-163.
    Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.
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  3. My Delicate Taste: Aesthetic Deference Revisited.Iskra Fileva - forthcoming - Philosophers' Imprint.
    I suggest that none of the arguments for pessimism about aesthetic testimony succeeds against a plausible version of optimism. However, I claim also that pessimist intuitions have a certain pull that optimists must account for. My second task is to explain the force of pessimist intuitions by shedding new light on their source.
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  4. A Conversation on a Paradise on Earth in Eight Frames.Tordis Berstrand, Amir Djalali, Yiping Dong, Jiawen Han, Teresa Hoskyns, Siti Balkish Roslan, Glen Wash Ivanovic & Claudia Westermann - 2022 - East Asian Journal of Philosophy 1 (3):95-116.
    Once known as the city of silk, Suzhou 苏州 has become the centre of wedding dress production, selling paradise on earth for one day, including copies of the last royal wedding dress, out of shops at the foot of mythic Tiger Hill. Suzhou is also the host of what is known as the Silicon Valley of the East. It has attracted millions of migrants searching for a better future; millions of tourists visit every year to experience the past, strolling through (...)
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  5. Black “Reconstruction”; or the Afrocentric Home Repair Manual Philosophical Reflections on Paul C. Taylor’s “Black Reconstruction in Aesthetics”.James Haile Iii - 2020 - Debates in Aesthetics 15 (2):63-77.
    Paul C. Taylor’s essay, Black Reconstruction in Aesthetics, is concerned with the relationship between language—in particular, what Taylor refers to as “terms”—and how we construct and live in the world. Following theorist Fred Moten, Taylor argues that “terms” are the “tools” through which we put ourselves and things into “play”. That is, “terms” help to shape how, when, and why we enter into social space with others. The “term” that Taylor is concerned with is “reconstruction”. In particular, Taylor is concerned (...)
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  6. The Contemplative Walking in Light Somaesthetic Experience in the Projects of Ann Veronica Janssens and Olafur Eliasson.Marta Risco Ruiz - 2021 - Debates in Aesthetics 17 (1):51-65.
    In the present essay, we are going to develop a concept of contemplative walking in light as an aesthetic attitude that can be linked to somaesthetics. My understanding of this type of aesthetic activity is underpinned by the broader framework developed in my PhD thesis, which is based on the poetics of light, to explain how the spectator experiences light installations. So, we are going to analyse what we understand by contemplative walking in light and how it is made possible (...)
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  7. Fiction, Poetry and Translation: A Critique of Opacity.Eliza Ives - 2021 - Debates in Aesthetics 16 (1):31-46.
    This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated in (...)
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  8. I Laugh Because It's Absurd: Humor as Error Detection.Chris A. Kramer - 2021 - In Jennifer Marra Henrigillis and Steven Gimbel (ed.), It's Funny 'Cause It's True: The Lighthearted Philosophers Society's Introduction to Philosophy through Humor. pp. 82-93.
    “ A man orders a whole pizza pie for himself and is asked whether he would like it cut into eight or four slices. He responds, ‘Four, I’m on a diet ”’ (Noël Carroll) -/- While not hilarious --so funny that it induces chortling punctuated with outrageous vomiting--this little gem is amusing. We recognize that something has gone wrong. On a first reading it might not compute, something doesn’t quite make sense. Then, aha! , we understand the hapless dieter has (...)
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  9. Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello.Ioannis Trisokkas - 2020 - Con-Textos Kantianos 12:226-247.
    Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...)
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  10. An Intergenerational Approach to Urban Futures: Introducing the Concept of Aesthetic Sustainability.Sanna Lehtinen - 2020 - In Arto Haapala, Beata Frydrykczak & Mateusz Salwa (eds.), Moving From Landscapes To Cityscapes And Back: Theoretical And Applied Approaches To Human Environments. Łódź, Poland: pp. 111–119.
    The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...)
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  11. La estética y el arte de la Academia a la Academia.Eliecer Eduardo Alejo Herrera & José Ramón Fabelo Corzo (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Con este volumen de la serie Academia y egresados, la Colección La Fuente ofrece una selección de los trabajos presentados en junio de 2014 en el III Encuentro de Egresados de la Maestría en Estética y Arte de la BUAP. El encuentro resultó ser inter-académico, por las diversas procedencias institucionales tanto de los conferencistas invitados, como de los propios exalumnos. De ahí el título general del libro, que también busca expresar la circularidad total de un movimiento que nace en la (...)
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  12. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  13. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  14. Enriching Arts Education Through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
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  15. Pragmatist Aesthetics and the Experience of Technology.David L. Hildebrand - 2018 - In Anders Buch & Theodore Schatzki (eds.), Questions of Practice in Philosophy and Social Theory. New York, NY, USA: pp. 114-135.
    Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s analysis (...)
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  16. Andrea Mecacci, "Kitsch y Neokitsch" - Traducción de Facundo Bey.Andrea Mecacci & Facundo Bey - 2018 - Boletín de Estética 44:7-32.
    El kitsch no es solo una categoría que ha definido una de las posibles gramáticas estéticas de la modernidad, sino también una dimensión antropológica que ha tenido diferentes configuraciones en el curso de los procesos históricos. El ensayo ofrece una mirada histórico-crítica sobre las transformaciones que condujeron desde el kitsch de principios del siglo XX hasta el neokitsch contemporáneo: desde la génesis del kitsch hasta su afirmación como una de las manifestaciones más tangibles de la cultura de masas. Integrándose con (...)
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  17. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
    Recensione del testo di Giorgio Agamben, "Gusto".
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  18. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  19. CPHL504 Philosophy of Art I Photocopy Packet (Edited by V.I. Burke).Victoria I. Burke (ed.) - 2014 - Toronto, anada: Ryerson University.
    This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.
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  20. Philosophy of Games.C. Thi Nguyen - 2017 - Philosophy Compass 12 (8):e12426.
    What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...)
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  21. Truly, Madly, Deeply. On What It is to Love a Work of Art.Hans Maes - 2017 - The Philosophers' Magazine 78:53-57.
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  22. The Aesthetics of Rock Climbing.C. Thi Nguyen - 2017 - The Philosophers' Magazine 78:37-43.
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  23. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  24. The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder.Maria Brincker - 2015 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  25. Aesthetic Supervenience Vs. Aesthetic Grounding.Jiri Benovsky - 2012 - Estetika: The European Journal of Aesthetics 49 (2):166–178.
    The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim that the more-and-more-popular relation (...)
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Aesthetics, General Works
  1. Understanding the Role of Thai Aesthetics in Religion, and the Potentiality of a Thai Christian Aesthetic.L. Keith Neigenfind - 2020 - Religion and Social Communication 1 (18):49-66.
    Thailand has a rich history of using aesthetics as a means of communication. This is seen not only in the communication of basic ideas, but aesthetics are also used to communicate the cultural values of the nation. Aesthetical images in Thailand have the tendency to dwell both in the realm of the mundane and the supernatural, in the daily and the esoteric. Historically, many faith traditions have used aesthetics as an effective form of communication, including Buddhism, Brahmanism, as well as (...)
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  2. Strategies of Irreproducibility.Emanuele Arielli - 2019 - Proceedings of the European Society for Aesthetics 11:60-76.
    In this paper I focus on the topic of reproducibility (and irreproducibility) of aesthetic experience and effects, distinguishing it from the traditional subject of artifact reproducibility. The main aim is to outline a typology of the various kind of irreproducibility of aesthetic experience and to draw some implications for the aesthetic discussion concerning contemporary art. Depending on the type of artwork, we can define the difference (or the “ratio”) between aesthetic experience in the presence of the artwork and aesthetic experience (...)
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  3. What Makes a Kind an Art-Kind?Michel-Antoine Xhignesse - 2020 - British Journal of Aesthetics 60 (4):471-88.
    The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...)
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  4. Review of 'The Aesthetics and Ethics of Copying'. Hick, Darren Hudson and Reinhold Schmücker, Eds. London: Bloomsbury Academic, 2016, XX + 408 Pp., 1 B&W Illus., £28.99 Paper. [REVIEW]Lee Walters - 2019 - Journal of Aesthetics and Art Criticism 77 (3):345-349.
    A review of 'The aesthetics and ethics of copying'. Hick, Darren Hudson and Reinhold Schmücker, eds.
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  5. Art For Art’s Sake In The Old Stone Age.Gregory Currie - 2009 - Postgraduate Journal of Aesthetics 6 (1):1-23.
    Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for art’s (...)
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  6. How Can There Be Works Of Art?Michael Morris - 2008 - Postgraduate Journal of Aesthetics 5 (3):1-18.
    Interested in art, we tend to be interested in works of art. We seem to encounter works of art all the time, and—setting aside certain relatively abstruse problems in ontology—we seem to have little difficulty in recognizing them for what they are. That there are works of art seems obvious and unproblematic. Quite so, I think. But reflection on what has to be the case if there are to be works of art shows that some quite demanding conditions have to (...)
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  7. Can Aesthetic Theories Of Art Be Rescued From The Problem Of Avant-Garde And Other Non-Perceptual Artworks? – An Exploration Of Non-Perceptual Aesthetic Properties.Angharad Shaw - 2007 - Postgraduate Journal of Aesthetics 4 (1):28-38.
    Proponents of the aesthetic theory of art advocate that the aesthetic domain encompasses all artworks. However, there is a belief that although much art falls under the aesthetic, there are some artworks that do not. Avant-garde artworks are offered as counterexamples to the aesthetic theory as they are artworks that reject the very idea of the aesthetic. This paper explains the idea of non-perceptual aesthetic properties and explores whether it can incorporate avant-garde artworks into the domain of the aesthetic.
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  8. There’s A Nice Knockdown Argument For You: Donald Davidson And Modest Intentionalism.Kalle Puolakka - 2006 - Postgraduate Journal of Aesthetics 3 (1):15-24.
    It might come as a surprise for someone who has only a superficial knowledge of Donald Davidson’s philosophy that he has claimed literary language to be ‘a prime test of the adequacy of any view on the nature of language’.1 The claim, however, captures well the transformation that has happened in Davidson’s thinking on language since he began in the 1960’s to develop a truth-conditional semantic theory for natural languages in the lines of Alfred Tarski’s semantic conception of truth. About (...)
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  9. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  10. A Layered, Bounded, Integrated Approach to Research on the Arts Across Disciplines.Dominic McIver Lopes - 2020 - Leonardo 53 (5):537-541.
    Cooperation among arts scholars is thought to be hampered by the division of research on the arts into two cultures, one scientific, one humanistic. This paper proposes an alternative model for research into the arts wherein multiple levels of explanation focussed on well-bounded phenomena integrate research across academic disciplines. Two case studies of research that fits the model are presented.
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  11. Re-Discovering Aesthetics.Francis Halsall, Julia Jansen & Tony O'Connor - 2004 - Postgraduate Journal of Aesthetics 1 (3):77-85.
    The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments.
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  12. The Development of the Sense of 'the End of Art’ in Arthur Danto.Raquel Cascales - 2018 - Rivista di Estetica 68 (2):131-148.
    The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...)
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  13. In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying unifying (...)
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  14. Understanding Art: A Checklist of the Three Most Basic Categories of Crafted Material.Jakob Zaaiman - 2016 - Alldaynight.Info.
    One of the difficulties standing in the way of a straightforward understanding of art is caused by the confusion that arises at a very basic level between the purposes and functions of various types of crafted material. In fact, there are only three major types – covering all eventualities – and being able to differentiate between them very much helps to pinpoint exactly what the special nature of ‘art’ is.
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  15. According to the Fiction. A Metaexpressivist Account.Daniel Dohrn - 2015 - Proceedings of the European Society of Aesthetics 7.
    Abstract. I outline the standard picture of fiction. According to this picture, fiction is centred on making believe some truth-apt content. I take a closer look at everyday usage of the expressions ‘according to the fiction’ and ‘in the fiction’ to countervail the streamlining tendencies that come with the standard picture. Having outlined highly variegated use patterns, I argue for a metaexpressivist picture: ‘according to the fiction’ does not primarily report fictional truth but a complex pattern of reactions the fiction (...)
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  16. Sensuous Presencing and Artistic Creation: The Aesthetic Legacy of Merleau-Ponty’s Thought [on Emmanuel Alloa & Adnen Jdey, Du Sensible À L'Oeuvre. Esthétiques de Merleau-Ponty, 2012]. [REVIEW]Véronique M. Fóti - 2014 - Comparative and Continental Philosophy 6 (2):203-210.
    While the French phenomenologist Maurice Merleau-Ponty remained engaged with artistic creation throughout his entire work, which continues to inspire artists today in manifold ways, no systematic and artistically inclusive study of this dimension of his thought has existed so far. Du sensible à l’œuvre fills this gap by offering not only an in-depth study of Merleau-Ponty’s aesthesiology and aesthetics by international Merleau-Ponty scholars spanning three generations, but also a rich selection of essays by art critics and theorists who assess the (...)
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  17. Beauty.Jennifer A. McMahon - 2019 - Oxford Bibliographies Online: Philosophy.
    This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...)
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  18. The Sympathy of Things: Ruskin and the Ecology of Design.Lars Spuybroek - 2011/2016 - V2_NAI Publishers/Bloomsbury.
    The revised and expanded edition of The Sympathy of Things with Bloomsbury Academic, which appeared in 2016. The pdf sample contains the new preface to the second edition and the foreword by Brian Massumi.
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  19. The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values.Lars Spuybroek - 2012 - In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. pp. 32-63.
    This long essay was published in Vital Beauty, a collection including Wendy Steiner and Tim Ingold, which investigates the possibility of new ways toward beauty. This is my first encounter with Hartshorne’s Diagram of Aesthetic Values, a mandala-like structure explaining the relations between aesthetic experiences. The essay looks into the awkward history of the diagram in Hartshorne’s philosophy, its connection to Max Dessoir’s work, to Whitehead’s chapter on beauty in Adventures of Ideas and the notion of creativity in Schelling.
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  20. Charis and Radiance: The Ontological Dimensions of Beauty.Lars Spuybroek - 2014 - In S. Van Tuinen (ed.), Giving and Taking: Antidotes to a Culture of Greed. Rotterdam: V2_Publishing. pp. 119–49.
    This essay developed out of the final chapter of The Sympathy of Things where I related beauty to a notion of radical generosity. Tracing generosity back to the ancient Greeks brought me to a whole new world of grace and “charis”, the etymological root of words like charisma and charity. The essay establishes a fundamental connection between grace and beauty, deeply interrelating movement and object. In the second part the argument develops into an ontology based on the concept of radiance, (...)
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  21. That Obscure Object of Desire: Pleasure in Painful Art.Jonathan Gilmore - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  22. Minimal Authorship (of Sorts).Christy Mag Uidhir - 2011 - Philosophical Studies 154 (3):373 - 387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.
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  23. Sensation as Participation in Visual Art.Clive Cazeaux - 2012 - Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  24. Colour Spectral Counterpoints. Case Study on Aestetic Judgement in the Experimental Sciences.Olaf L. Müller - 2009 - In Ingo Nussbaumer & Galerie Hubert Winter (eds.), Restraint versus Intervention: Painting as Alignment. Verlag für moderne Kunst.
    When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...)
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  25. The Classic and the Romantic in Neohellenic Aesthetics.Athanasia Glycofrydi-Leontsini - 1996 - Annals of Aesthetics 36:191-210.
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