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  1. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  2. The Conquest of Time: The Forgotten Power of Art.Derek Allan - manuscript
    It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...)
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  3. Dionysus in India: A Multifaceted Examination Across Past and Present Scholarship.Wesley De Sena - manuscript
    In this paper, I argue that the quest for identifying Dionysus' Indian counterpart is a challenging endeavor, one that can only bear fruit when we shift our focus towards understanding Dionysus as a divine force of nature, which manifests in various ways, aligning with the essence conveyed in the Rig Veda verse mentioned earlier. Drawing from Nietzsche's perspective, where he perceives the Dionysian as an inherent force of nature within humanity, it becomes a more plausible hypothesis to establish a connection (...)
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  4. Ethics and Aesthetics: Alfredo Jaar and the Role of Art in Political Critique.Carolina Drake - manuscript
    Art has a major role in political critique and in the contemporary world of art, ethics, politics, and aesthetics intersect. Using the work of Alfredo Jaar as an example of these intersections, I argue through my reading of Judith Butler, that his art can provide us with better, more egalitarian versions of populations to be perceived as grievable. Once we apprehend grievability, we can affectively apprehend that lives in the context of war and violence are precarious. Here lies the power (...)
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  5. How did the arts originate? The group demarcation and the scientific account.Terence Rajivan Edward - manuscript
    Why did human beings first begin making art? In this paper, I present two accounts of its origins, one of which connects the arts to the desire for group demarcation and another to scientific impulses.
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  6. Decadence & Aesthetics.Sacha Golob - forthcoming - In Desmarais & Weir (eds.), Decadence. Cambridge University Press.
    he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...)
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  7. ‘In a Witches’ World’: Hegel and the Symbolic Grotesque.Beatriz de Almeida Rodrigues - forthcoming - Hegel Bulletin:1-24.
    In his Lectures on Fine Art (1835), Hegel emphasizes the grotesque character of Indian art. Grotesqueness results, in his view, from a contradiction between meaning and shape due to the incongruous combination of spiritual and material elements. Since Hegel's history of art is teeming with examples of inadequacy between meaning and shape, this paper aims to distinguish the grotesque from other types of artistic dissonance and to problematize Hegel's ascriptions of grotesqueness to ancient Indian art. In the first part of (...)
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  8. The Compass of Beauty: A Search for the Middle.Lars Spuybroek - forthcoming - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it a competitor of Heidegger’s fourfold.
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  9. A Rhythmic Process of Harmonization: Whitehead’s Concept of Aesthetic Experience. [REVIEW]Botond Csuka - 2023 - Espes. The Slovak Journal of Aesthetics 12 (1):138-141.
    Book review of Dadejík, O., Kaplický, M., Ševčík, M., and Zuska, V. (2021) Process and Aesthetics: An Outline of Whiteheadian Aesthetics and Beyond. Prague: Karolinum Press. ISBN 978-80-246-4726-5.
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  10. Introduction to Philosophy: Aesthetic Theory and Practice, edited by Valery Vino. [REVIEW]Lona Gaikis - 2023 - Teaching Philosophy 46 (1):122-124.
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  11. Art and Ethics: Formalism, in James Harold (ed.) The Oxford Handbook of Ethics and Art.Michalle Gal (ed.) - 2023 - London: Oxford University Press.
    This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...)
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  12. The significance of Nichtigkeit in Schopenhauer’s account of the sublime.Patrick Hassan - 2023 - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian Mind.
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  13. ‘The way to the head must be opened through the heart’: Enlightenment and Herzensbildung in Schiller.Till Neuhaus & Alexandre Alves - 2023 - Studia Theodisca 30:5-27.
    The following paper discusses Schiller’s interpretation of the German concept of Bildung. Bildung appears to be a central term in Germany’s culture, especially (but not limited to) the educational realm. As Bildung underwent massive transformations and has been re-interpreted multiple times throughout German history, this paper will start with a definitory exercise trying to organize the dynamics surrounding the term. Secondly, a two-fold historical context – firstly regarding the wider political and social dynamics of the time and secondly, a more (...)
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  14. Art as a Shelter from Science.C. Thi Nguyen - 2023 - Aristotelian Society Supplementary Volume 97 (1):172-201.
    In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a game. (...)
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  15. Kant and the Claims of the Empirical World (by Ido Geiger). [REVIEW]Lorenzo Spagnesi - 2023 - Society of German Idealism and Romanticism Review 6 (1):109-114.
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  16. Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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  17. Not Circular: Hume's "Of the Standard of Taste".Mark Windsor - 2023 - Hume Studies 48 (1):7-29.
    One of the gravest charges that has been brought against Hume’s essay “Of the Standard of Taste” is that of circularity. Hume is accused of defining good art in terms of “true judges,” and of defining true judges in terms of their ability to judge good art. First, I argue that Hume avoids circularity since he offers a way of identifying good art that is logically independent of the verdict of true judges. Second, I argue that this clarifies an enduring (...)
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  18. Schopenhauer's Aesthetic Ideology.Michel-Antoine Xhignesse - 2023 - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian Mind. New York: Routledge. pp. 127-40.
    Schopenhauer’s aesthetics is perhaps the best-known aspect of his thinking, but much of that impact has been the indirect result of his influence on particular artists such as Mahler and Wagner. This chapter traces the foundations of Schopenhauer’s aesthetics in Plato’s doctrine of Forms (Ideas). Despite the tension between Plato’s pluralist and Schopenhauer’s monist ontologies, Schopenhauer’s aesthetics is permeated with concern for the role of Platonic Ideas in shaping our creation and engagement with art, from his distinction between subjective and (...)
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  19. On Wittgenstein’s Notion of a Surveyable Representation: Rituals, Aesthetics, and Aspect-Perception.Nir Ben-Moshe - 2022 - Australasian Journal of Philosophy 100 (4):825-838.
    I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the solution (...)
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  20. Espacio semiotizado de la Verdadera relación de la Conquista del Perú (1534) de Francisco de Xerez.Jesús Miguel Delgado Del Aguila - 2022 - Espergesia. Revista Literaria y de Investigación 9 (2):29-33.
    Este trabajo se enfoca en examinar el espacio de la Plaza de Cajamarca (Perú) para someterlo al análisis semiótico que propone el autor Jacques Fontanille. Este abordaje permitirá designar la correspondencia que existe entre la historia colonial que se halla documentada en el texto Verdadera relación de la Conquista del Perú (1534) de Francisco de Xerez con su valor simbólico (sacralización), que se obtiene al efectuar la interpretación adecuada de los conceptos de Mircea Eliade al referirse a lo sagrado, en (...)
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  21. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  22. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...)
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  23. The Inauguration of Formalism: Aestheticism and the Productive Opacity Principle.Michalle Gal - 2022 - Journal of Comparative Literature and Aesthetics 2 (24):20-30.
    This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...)
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  24. Aesthetic Humility: A Kantian Model.Samantha Matherne - 2022 - Mind (fzac010):452-478.
    Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...)
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  25. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  26. Intelligible Beauty.James Shelley - 2022 - Aristotelian Society Supplementary Volume 96 (1):147-164.
    Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...)
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  27. Margaret Macdonald on the Definition of Art.Daniel Whiting - 2022 - British Journal for the History of Philosophy 30 (6):1074-1095.
    In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...)
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  28. Attention and the Free Play of the Faculties.Jessica J. Williams - 2022 - Kantian Review 27 (1):43-59.
    The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to objects in (...)
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  29. Deleuze’s The Logic of Sense - Irfan Ajvazi.Irfan Ajvazi - 2021 - Idea Books.
    Deleuze’s The Logic of Sense- Irfan Ajvazi.
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  30. Peter Lamarque.Filippo Contesi - 2021 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. Bloomsbury. pp. 301–308.
    Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has been to integrate (...)
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  31. Poetry and the Possibility of Paraphrase.Gregory Currie & Jacopo Frascaroli - 2021 - The Journal of Aesthetics and Art Criticism 79 (4):428-439.
    Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...)
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  32. In defense of Forsey’s Aesthetics of Design.Monika Favara-Kurkowski - 2021 - Avant: Trends in Interdisciplinary Studies 12 (3):1-10.
    In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty (...)
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  33. Na tropach współczesnej estetyki fenomenologicznej.Andrzej Krawiec - 2021 - Argument: Biannual Philosophical Journal 11 (1):141-156.
    Interest in “the flesh” (Leib, la chair) in phenomenological research leads to revealing the original (ursprünglich) and non-phenomenal essence of the very appearance. Contemporary phenomenological aesthetics is heading in the same direction. While describing the intentional content of particular, i.e. subjectively “embodied” aesthetic objects, it reveals the ultimate origin (Ursprung) thanks to which the appearance of phenomena is possible at all. At the same time, revealing the ultimate origin — differently named but always meaning the furthest horizon of the possibility (...)
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  34. Hanslick's Formalism as the Beginning of Contemporary Aesthetics of Music.Sanja Sreckovic - 2021 - Kritika 2 (2):299-314.
    The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...)
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  35. The Stubbornness of Nature in Art: A Reading of §§556, 558 and 560 of Hegel's Encyclopedia.Ioannis Trisokkas - 2021 - In Joshua Wretzel & Sebastian Stein (eds.), Hegel’s Encyclopedia of the Philosophical Sciences: A Critical Guide. Cambridge: Cambridge University Press. pp. 232-250.
    Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements of nature (...)
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  36. ‘That They Point Is All There Is to It’: Wittgenstein’s Romanticist Aesthetics.Clinton Peter Verdonschot - 2021 - Estetika: The European Journal of Aesthetics 58 (1):72–88.
    Why is aesthetics important to Wittgenstein? What, according to him, is the function of the aesthetic? My answer consists of three parts: first, I argue that Wittgenstein finds himself in an aporia of normative consciousness – that is to say, a problem with regard to our awareness of the world in terms of its relation to a norm. Second, I argue that the function of Wittgenstein’s aesthetic writings is to deal with this aporia. Third, through a comparison with Friedrich Schlegel’s (...)
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  37. Wittgenstein, Loos, and the Critique of Ornament.Andreas Vrahimis - 2021 - Estetika: The Central European Journal of Aestetics 58 (2):144–159.
    Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between (...)
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  38. Kant on Aesthetic Attention.Jessica J. Williams - 2021 - British Journal of Aesthetics 61 (4):421-435.
    In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...)
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  39. From the Sympathetic Principle to the Nerve Fibres and Back. Revisiting Edmund Burke’s Solutions to the ‘Paradox of Negative Emotions’.Botond Csuka - 2020 - In Piroska Balogh & Gergely Fórizs (eds.), Angewandte anthropologische Ästhetik. Konzepte und Praktiken 1700–1900/ Applied Anthropological Aesthetics. Concepts and Practices 1700–1900. (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 11). Hannover: Wehrhahn Verlag. pp. 139–173.
    The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human body and (...)
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  40. Ecos de 60: Impossibilidade macroestrutural, possibilidades microestruturais. Com Júlia M. Rebouças.Gustavo Ruiz da Silva & Mariana Slerca - 2020 - Revista Avesso: Pensamento, Memória E Sociedade 1 (1):160-171.
    Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.
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  41. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  42. Grace and Gravity: Architectures of the Figure.Lars Spuybroek - 2020 - London, UK: Bloomsbury.
    A pdf sample that contains the cover, contents page, preface and the back cover with endorsements and blurb.
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  43. Figurate and Spectral Architecture: Of the Lithic, Ferric, and Plastic.Lars Spuybroek - 2020 - In Grace and Gravity: Architectures of the Figure. London: Bloomsbury. pp. 115–59.
    The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.
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  44. 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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  45. Spur, Zeugnis und Imagination: Der Erkenntniswert von Dokumentarfilmen.Ingrid Vendrell Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1):147-167.
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  46. Wittgenstein and Heidegger against a Science of Aesthetics.Andreas Vrahimis - 2020 - Estetika: The European Journal of Aesthetics 57 (1):64-85.
    Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, (...)
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  47. Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
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  48. Kierkegaard on the Value of Art: An Indirect Method of Communication.Antony Aumann - 2019 - In Patrick Stokes, Eleanor Helms & Adam Buben (eds.), The Kierkegaardian Mind. New York: pp. 166-176.
    Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...)
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  49. Signatures and Taste: Hume’s Mortal Leavings and Lucian.Babette Babich - 2019 - In Reading David Hume’s » Of the Standard of Taste «. Berlin, Germany: De Gruyter. pp. 3-22.
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  50. Arthur Danto and the End of Art.Raquel Cascales - 2019 - Newcastle upon Tyne, Reino Unido: Cambridge Scholar Publishing.
    To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system. -/- .
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