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  1. What Does ‘New Wave’ Mean?Peter Groff - forthcoming - In Andrew Krivine (ed.), Reversing into the Future: New Wave Graphics. London, UK: Pavilion Books.
    A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.
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  2. Pornography and Melancholy.Hans Maes - forthcoming - Apa Newsletter on Feminism and Philosophy.
    Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.
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  3. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  4. Artistas mecánicos: Una mirada a la capacidad estética de máquinas y algoritmos desde la música pop y el pop art.Leonardo Arriagada - 2021 - Calle 14 Revista De Investigación En El Campo Del Arte 16 (29):54-66.
    A pesar de los enormes avances que ha tenido la inteligencia artificial (IA) y la robótica, aún es polémico afirmar que una máquina pueda crear arte. Contrario a esta visión, propongo que tras la negación de las capacidades estéticas de las máquinas subyace un sesgo antropocéntrico. Para ilustrar lo anterior tomo ejemplos sobre el rol de las máquinas en la música y arte pop. He seleccionado estos géneros pues históricamente han incorporado de buena forma las novedades tecnológicas. En definitiva, este (...)
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  5. 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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  6. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  7. Art Works for Isolates.Paul O'Halloran - 2020 - Dissertation, University of Melbourne
    In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...)
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  8. La encrucijada axiológica de la reproductibilidad técnica del arte.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 227-244.
    La obra de arte en la época de su reproductibilidad técnica es, sin dudas, la más emblemática aportación de Walter Benjamin a la estética y la teoría del arte. Un aspecto problemático que aflora en su lectura es el del impacto axiológico que el teórico marxista judío-alemán le atribuía a la nueva época. Es significativo el hecho de que, mientras para unos, este texto alberga una crítica negativa a la reproductibilidad técnica y una mirada nostálgica al pasado, para otros, la (...)
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  9. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
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  10. Spierig Brothers' Jigsaw (2017) - Torture Porn Rebooted?Steve Jones - 2019 - In Simon Bacon (ed.), Horror: A Companion. Oxford, UK: Peter Lang. pp. 85-92.
    After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.
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  11. El Infierno y Salvando al soldado Pérez. Entre el realismo macabro y el ridículo mágico.Mario Edmundo Chávez Tortolero - 2019 - In Carlos Oliva Mendoza & Luis Guillermo Martínez Gutiérrez (eds.), Cine mexicano y filosofía. Editorial Itaca.
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  12. There's No Place Like Home: Dwelling and Being at Home in Digital Games.Daniel Vella - 2019 - In Espen Aarseth & Stephan Günzel (eds.), Ludotopia: Spaces, Places and Territories in Computer Games. Bielefeld, Germany: pp. 141-166.
    This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality in the (...)
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  13. Post- i transhumanizm w kontekście wybranych zjawisk artystycznych technokultury.Przemysław Zawadzki & Agnieszka K. Adamczyk - 2019 - Avant: Trends in Interdisciplinary Studies 10 (3).
    Creations of many contemporary artists indicate the emergence of technoculture. Although artistic manifestations of technoculture may appear to be a provocation, they encourage fundamental ontological questions, such as whether a person has unchanging nature; what was and is our relationship to the Other, and what it should be; to what extent can body and mind be altered before they stop being “human”; what is the future of our species. To properly understand the works of technoculture artists, it appears necessary to (...)
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  14. On Superhero Stories: The Marvel Cinematic Universe as Tolkienesque Fantasy.A. G. Holdier - 2018 - Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature 36 (2):Article 6.
    By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...)
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  15. Sex and Horror.Steve Jones - 2018 - In Feona Attwood, Clarissa Smith & Brian McNair (eds.), The Routledge Companion to Media, Sex and Sexuality. New York: Routledge. pp. 290-299.
    The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...)
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  16. Outline of a Theory of Scientific Aesthetics.Gustavo Romero - 2018 - Foundations of Science 23 (4):795-807.
    I offer a theory of art that is based on science. I maintain that, as any other human activity, art can be studied with the tools of science. This does not mean that art is scientific, but aesthetics, the theory of art, can be formulated in accord with our scientific knowledge. I present elucidations of the concepts of aesthetic experience, art, work of art, artistic movement, and I discuss the ontological status of artworks from the point of view of scientific (...)
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  17. Othered Body, Obscene Self(Ie): A Sartrean Reading of Kim Kardashian-West.Elese Dowden - 2017 - Hecate 43 (2):117-130.
    In this existential reading of Kim Kardashian-West's International Women's Day selfie of 2016, I focus on the rise of selfie culture and public discourse around emerging digital representations of women's bodies. The selfie is a relatively new phenomenon, and is particularly curious because of the subject/object paradox it creates; in taking a selfie, a person asserts control over their own image, but at the same time, becomes object in their own gaze. My argument is that selfies, like other assertions of (...)
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  18. Holograms: The Story of a Word and its Cultural Uses.Sean F. Johnston - 2017 - Leonardo 50 (5):493-499.
    Holograms reached popular consciousness during the 1960s and have since left audiences alternately fascinated, bemused or inspired. Their impact was conditioned by earlier cultural associations and successive reimaginings by wider publics. Attaining peak public visibility during the 1980s, holograms have been found more in our pockets (as identity documents) and in our minds (as video-gaming fantasies and “faux hologram” performers) than in front of our eyes. The most enduring, popular interpretations of the word “hologram” evoke the traditional allure of magic (...)
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  19. Signs of Morality in David Bowie's "Black Star" Video Clip.May Kokkidou & Elvina Paschali - 2017 - Philosophy Study 7 (12).
    “Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...)
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  20. Living-Into, Living-With: A Schutzian Account of the Player/Character Relationship.Rebecca A. Hardesty - 2016 - Glimpse 17:27-34.
    Games Studies reveals the performative nature of playing a character in a virtual-game-world (Nitsche 2008, p.205; Pearce 2006, p.1; Taylor 2002, p.48). Tbe Player/Character relationship is typically understood in terms of the player’s in-game “presence” (Boellstorff 2008, p.89; Schroeder 2002, p.6). This gives the appearance that living-into a game-world is an all-or- nothing affair: either the player is “present” in the game-world, or they are not. I argue that, in fact, a constitutive phenomenology reveals the Player/Character relationship to be a (...)
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  21. Presentación. Arte e identidad. Entre lo corporal y lo imaginario.José Ramón Fabelo Corzo - 2015 - In José Ramón Fabelo Corzo & Jaime Torija Aguilar (eds.), Arte e identidad. Entre lo corporal y lo imaginario. Puebla, Pue., México: pp. 11-13.
    La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...)
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  22. Presentación. La estética y el arte de regreso a la academia.José Ramón Fabelo Corzo - 2015 - In José Ramón Fabelo Corzo & Bertha Laura Álvarez Sánchez (eds.), La estética y el arte de regreso a la academia. Puebla, Pue., México: pp. 11-13.
    Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...)
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  23. Budaya Media Sosial dan Game Online Dalam Pandangan Filsafat Teknologi Don Ihde.Mahendra Wibawa - 2015 - In Anik Juwariyah & Prima Vidya Asteria (eds.), Konstelasi Kebudayaan Indonesia 1. Bintang Surabaya. pp. 298-310.
    Berbagai macam aktifitas manusia tidak bisa dipisahkan dari teknologi sebagai wujud alat bantu untuk melaksanakan tugas-tugasnya dengan lebih efektif dan efisien dan terobosan teknologi di bidang informatika telah menghasilkan bentukan teknologi yang berbasis komunikasi yang selain efektif juga bersifat menyenangkan. Media sosial dan game online adalah dua diantara berbagai macam produk hasil pengembangan teknologi di bidang tersebut. Dalam kedua media ini manusia mengalami sebuah perpindahan realitas dari dunia nyata ke dalam dunia virtual. Filsafat teknologi yang dicetuskan oleh Don Ihde digunakan (...)
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  24. Traditional Kitsch and the Janus-Head of Comfort.C. E. Emmer - 2014 - In Justyna Stępień (ed.), Redefining Kitsch and Camp in Literature and Culture. Cambridge Scholars Publishing. pp. 23-38.
    "C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...)
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  25. The Cultural Landscape of Three-Dimensional Imaging.Sean F. Johnston - 2013 - In Martin Richardson (ed.), Techniques and Principles in Three-Dimensional Imaging: An Introductory Approach. Hershey, PA, USA: pp. 212-232.
    This article explores the cultural contexts in which three-dimensional imaging has been developed, disseminated and used. It surveys the diverse technologies and intellectual domains that have contributed to spatial imaging, and argues that it is an important example of an interdisciplinary subject. Over the past century-and-a-half, specialists from distinct fields have devised explanations and systems for the experience of 3-D imagery. Successive audiences have found these visual experiences compelling, adapting quickly to new technical possibilities and seeking new ones. These complementary (...)
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  26. Rooting for the Fascists in James Cameron’s Avatar.John Marmysz - 2012 - Film and Philosophy 16:101-120.
    Conservative critics have united in attacking James Cameron’s newest blockbuster Avatar for its “liberal” political message. But underneath all of the manifest liberalism of Avatar there is also a latent message. In his valorization of the organic, primal, interconnectedness of Na’vi culture and his denigration of the mechanical, modern, disconnectedness of human culture, Cameron runs very close to advocating a form of fascism. -/- In this paper I describe the overarching philosophical perspective of fascism, and then I draw on the (...)
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  27. What is Art ? A Philosophical Definition.Jakob Zaaiman - 2012 - Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
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  28. The Common Vernacular of Power Relations in Heavy Metal and Christian Fundamentalist Performances.Christine James - 2010 - In Rosemary Hill Karl Spracklen (ed.), Heavy Fundametalisms: Music, Metal and Politics. Inter-Disciplinary Press.
    Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian (...)
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  29. The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch.C. E. Emmer - 2007 - International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...)
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  30. The Beauty of the Game.Peg Zeglin Brand Weiser & Myles Brand - 2007 - In Jerry Walls (ed.), Basketball and Philosophy. Lexington: The University Press of Kentucky. pp. 94-103.
    Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!
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  31. American Pie’ and the Self-Critique of Rock ‘N’ Roll.Michael Baur - 2006 - In William Irwin & Jorge J. E. Gracia (eds.), Philosophy and the Interpretation of Popular Culture. Lanham, MD: pp. 255-273.
    More than thirty-five years after its first release in 1971, Don McLean’s “American Pie” still resonates deeply with music listeners and consumers of popular culture. In a 2001 public poll sponsored by the National Endowment for the Arts and the Recording Industry Association of America, McLean’s eight-and-a-half-minute masterpiece was ranked number 5 among the 365 “most memorable” songs of the twentieth century. In 2002, the song was voted into the Grammy Hall of Fame. In 1997, Garth brooks performed “American Pie” (...)
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  32. And the Time Will Come When You See We’Re All One: The Beatles and Idealistic Monism.Michael Baur - 2006 - In Michael Baur & Steven Baur (eds.), The Beatles and Philosophy: Nothing You Can Think That Can’t Be Thunk. Chicago, IL, USA: pp. 13-24.
    In spite of their lack of interest in traditional philosophy and their explicit disavowals about the deeper meaning of their songs, there are also good reasons to approach and interpret the Beatles and their work from a philosophical point of view. In his Playboy interview from September of 1980, John praised Paul for the philosophical significance of the song, “The End,” which appeared on the Abbey Road album: “That’s Paul again. . . . he had a line in it – (...)
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  33. The Benefits of Comedy: Teaching Ethics Through Shared Laughter.Christine James - 2005 - Academic Exchange Extra (April).
    Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...)
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  34. "Hegelian Buddhist Hypertextual Media Inhabitation, or, Criticism in the Age of Electronic Immersion".David Kolb - 2002 - Bucknell Review 46 (2):90--108.
    What can it mean to criticize when you are inside the work itself? In a immersive electronic or digital environment critic is not distanced on a platform based on firm principles. Yet criticism self-awareness and commentary remain possible. This essay examines various techniques for dealing with immersive environments critically.
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  35. Kitsch Against Modernity.C. E. Emmer - 1998 - Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  36. From Night to Day: Nihilism and the Living Dead.John Marmysz - 1996 - Film & Philosophy (Society for the Philosophic Study of the Contemporary Visual Arts) 3:138-143.
    Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.
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  37. The Critical Aesthetics of Disney World.Arnold Berleant - 1994 - Journal of Applied Philosophy 11 (2):171-180.
    It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...)
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