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  1. Mental Imagery and Poetry.Michelle Liu - 2023 - Journal of Aesthetics and Art Criticism 81 (1):24-34.
    Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot be captured by prosaic paraphrase, but (...)
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  2. Emoções Musicais.Federico Lauria - 2023 - Compêndio Em Linha de Problemas de Filosofia Analítica, Ricardo Santos e David Yates (Eds.), Lisboa: Centro de Filosofia da Universidade de Lisboa.
    A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...)
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  3. 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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  4. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  5. Framing the Ethical Boundaries of Humor.David Poplar - 2022 - The Philosophy of Humor Yearbook 3 (1):153-178.
    Humor is unlike other forms of communication because its content is not meant literally. Like acts of play, humor is not intended to be taken at face value. As a consequence, the assumptions and rules that govern normal conversation do not apply. Humor therefore depends upon both the speaker and the audience fully understanding that what was communicated should be treated in this unique way. The play frame refers to this shared understanding about the nature of the communication. Analyzing whether (...)
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  6. Philosophical Humor: Featuring Physicists.Haikel Mubarek - manuscript
    What follows is a whole new package of philosophical humor. But the question is: Is it possible to extract an abstract out of humor? I don’t think so. So let’s go to the little smiles directly. -/- .
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  7. The Truthful Portrait: Can Posing Be a Tool for Authenticity in Portraiture?Aurélie J. Debaene - 2021 - The Journal of Aesthetics and Art Criticism 79 (4):440-451.
    This article explores the compatibility of posing and authenticity in portraiture. Often understood as a source of inauthenticity, I propose that posing in fact functions as an artistic tool that can support a truthful portrayal. My argument first discusses authenticity in relation to portraiture through the lens of Bernard Williams’s idea of “truthfulness,” which relies on his notions of “accuracy” and “sincerity.” Second, I introduce a phenomenology of posing. I identify two aspects of posing that can be present in the (...)
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  8. Acting and the Self.Sara Bizarro - 2014 - In Alexander Gerner & Jorge Gonçalves (eds.), Altered Self and Altered Self-Experience. pp. 59-73.
    In this paper, Douglas Hofstadter’s view of the self as a “strange loop” is used in order to understand how several acting techniques work. As examples of acting techniques I will use the work of Lee Strasberg, Constantin Stanislavski, Stella Adler and Sanford Meisner. I will argue that Douglas Hofstadter’s view of the self as a strange loop allows us to understand how acting works. I will furthermore argue that because Douglas Hofstadter’s view is successful in explaining how different acting (...)
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  9. L’estetica tra sensorialità e affettività.Roberta Guccinelli - 2007 - Materiali di Estetica 14:237-272.
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  10. La intuición en la filosofía de Arthur Schopenhauer.Clara Zimmermann - 2021 - Logos Revista de Filosofía 137:6-29.
    In the present work, we will analyze the concept of intuition mainly in relation to the epistemological and the metaphysical theses of Schopenhauerian theory. In the first section, we will discuss the central axes of Schopenhauer’s metaphysical system, especially regarding the concept of will (Wille) and the relationship that this entails with his theory of knowledge. Then, we will examine the difference that the German philosopher establishes between representative —or mediated— rational knowledge and direct —or immediate— intuitive knowledge. Likewise, we (...)
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  11. Del muro al grafiti en la obra de Antoni Tàpies.Raquel Cascales - 2019 - Arte, Individuo y Sociedad 3 (31):625-641.
    El estudio de los grafitis de Antoni Tàpies que se lleva a cabo en este artículo pretende profundizar en un aspecto poco considerado de la obra del autor y, sin embargo, crucial para comprender el conjunto de su obra. Esta perspectiva permite destacar el interés del artista por superar la separación entre arte y vida, recontextualizándolo más allá de la corriente informalista en las que se le ha encasillado y acercándolo a los movimientos internacionales del arte de acción. Para explicar (...)
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  12. Aleatory Aesthetics: Appraising the Aesthetics of “Chance” in Gerhard Richter’s Cage Paintings.Ekin Erkan - 2021 - AEQAI.
    Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.
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  13. Cervantes’s “Republic”: On Representation, Imitation, and Unreason.Rolando Perez - 2021 - eHumanista 47:89-111.
    ABSTRACT This essay deals with the relation between representation, imitation, and the affects in Don Quixote. In so doing, it focuses on Cervantes’s Platonist poetics and his own views of imitation and the books of knighthood. Although most readers, translators, and critics have until now deemed Cervantes’s use of the word “republic” in Don Quixote unimportant, the word “república” or republic is in fact the entry point to Cervantes’ Platonist critique of the novels of knighthood, and his notions of writing, (...)
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  14. Fictional Creations.Maarten Steenhagen - 2021 - Journal of Aesthetics and Art Criticism.
    Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I will call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, (...)
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  15. 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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  16. Exploring the Deduction of the Category of Totality from within the Analytic of the Sublime.Levi Haeck - 2020 - Con-Textos Kantianos 1 (12):381-401.
    I defend an interpretation of the first Critique’s category of totality based on Kant’s analysis of totality in the third Critique’s Analytic of the mathematical sublime. I show, firstly, that in the latter Kant delineates the category of totality — however general it may be — in relation to the essentially singular standpoint of the subject. Despite the fact that sublime and categorial totality have a significantly different scope and function, they do share such a singular baseline. Secondly, I argue (...)
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  17. Art, Intention, and Everyday Psychology.Joshua Landy - 2020 - Nonsite 1 (32).
    Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...)
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  18. Where Human and Divine Intimacy Meet: an Insight into the Theodicy of Marilyn McCord Adams.Ionut Untea - 2020 - Sophia 59 (3):525-547.
    Marilyn McCord Adams’s perspective on the intimacy with God as a way of defeating horrendous evils in the course of a human being’s existence has been met with a series of objections in contemporary scholarship. This is due to the fact that the critiques formulated have focused more on the debilitating impact of suffering on the sufferer’s body and mind, on intimacy as mere intermittent relationships between God and humans, or on what is lost or gained from the presence or (...)
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  19. La estética y el arte de la Academia a la Academia.José Ramón Fabelo Corzo & Eliecer Eduardo Alejo Herrera (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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  20. 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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  21. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  22. The Return of the Translator : from the edge of meaning to the edge of sense.Srajana Kaikini - 2017 - In Marianna Maruyama (ed.), Kunstlicht Special Issue : Translation as Method. Amsterdam, Netherlands: pp. 10 - 25.
    "Translation, as with any practice, is something to return to again and again. Opening this issue, curator and poet Srajana Kaikini’s multi-layered article, ‘The Return of the Translator’ underlines the relevance of translation as a critical process, available to anyone, in any field. Bringing in references to philosopher Sundar Sarukkai, poet Gangadhar Chittal, and Buddhist philosophical principles, she locates the place of translation. Kaikini looks closely at the ways “language and the world are in strange relation with each other,” to (...)
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  23. 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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  24. Games and the art of agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  25. Beyond the Imagery: The Encounters of Kierkegaard and Dostoevsky with an Image of the Dead Christ.Wojciech Kaftanski - 2014 - Dostoevsky Journal. An Independent Review 14 (1): 110–129.
    Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.
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  26. Portraits of Philosophers.Hans Maes - forthcoming - In Portraits and Philosophy. Routledge.
    This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s portraits in particular, this (...)
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  27. Tecnología de la experiencia. Trata de personas.Francisco Barrón - 2019 - Estudios Del Discurso 5 (2):40-65.
    This article is an attempt to approach what is currently called human trafficking among legal circles and journalistic discourses, from an aesthetic-technological perspective, as a technology that seeks to produce an experience of the obliteration of bodies. Firstly, we make a characterization of the way these discourses operate, as well as of their effects in order to indicate just how incapable of pondering aesthetic-technological functioning they are, as far as the technology experience postulated herein. In the final part the article, (...)
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  28. Merleau-Ponty’s Aesthetic Interworld.Anya Daly - 2018 - Philosophy Today 62 (3):847-867.
    The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...)
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  29. 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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  30. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
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  31. PHIL4230 Photocopy Packet Surrealism (edited by V.I. Burke).Victoria I. Burke (ed.) - 2011 - Guelph: University of Guelph.
    This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.
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  32. 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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  33. The aesthetics of rock climbing.C. Thi Nguyen - 2017 - The Philosophers' Magazine 78:37-43.
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  34. Can Wine Be Beautiful?Christopher Grau & Douglas Maclean - 2007 - The World of Fine Wine 17:120-125.
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  35. WHAT IS ART (classificatory disputes, aesthetic judgements, contemporary art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...)
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  36. Philosophy & Architecture.Tomás N. Castro & Maribel Mendes Sobreira (eds.) - 2016 - Centro de Filosofia da Universidade de Lisboa.
    Philosophy & Architecture special number of [email protected] (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.
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  37. Time, Music, and Gardens.John Powell - 2012 - Philosophy and Music Conference.
    This conference paper contests the validity of some traditional concepts of gardens. It introduces the possibility of considering the passage of time in gardens as a musical, rhythmic phenomonen.
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  38. 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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  39. Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  40. Stephen Davies, The Artful Species: Aesthetics, Art, and Evolution (2013).John Powell - 2013 - Literature & Aesthetics 23 (2):1-1.
    This review article critiques Stephen Davies' The Artful Species: Aesthetics, Art, and Evolution.
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  41. The Acrobatics of the Figure: Piranesi and Magnificence.Lars Spuybroek - 2015 - In Dr J. G. Wallis de Vries (ed.), ARCHESCAPE: The Piranesi Flights. Amsterdam: 1001 Publishers. pp. 5-11.
    An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.
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  42. The Digital Nature of Gothic.Lars Spuybroek - 2011 - In L. Spuybroek (ed.), Research & Design: Textile Tectonics. pp. 8-41.
    The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...)
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  43. Flooded Valleys and Exploded Escarpments: Sydney harbour's new landscapes.Scott Hawken - 2008 - Topos 63:48-57.
    This paper outlines a brief ecological and industrial history of Sydney Harbour before evaluating the different design strategies for post-industrial landscape architecture. Four recent projects by Sydney based landscape architects are critiqued in relation to the traditions of the Sydney Landscape School. Each project seeks to celebrate the topographic drama of Sydney Harbor with distinctive and innovative design approaches. This new Sydney Landscape School adopts a more complex approach to landscape palimpsests then the Sydney School of the 1970s.
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  44. 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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  45. Different Kinds of Perfect: The Pursuit of Excellence in Nature-Based Sports.Leslie A. Howe - 2012 - Sport, Ethics and Philosophy 6 (3):353-368.
    Excellence in sport performance is normally taken to be a matter of superior performance of physical movements or quantitative outcomes of movements. This paper considers whether a wider conception can be afforded by certain kinds of nature based sport. The interplay between technical skill and aesthetic experience in nature based sports is explored, and the extent to which it contributes to a distinction between different sport-based approaches to natural environments. The potential for aesthetic appreciation of environmental engagement is found to (...)
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  46. Art or Porn: Clear division or false dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  47. Chaos as the Inchoate: The Early Chinese Aesthetic of Spontaneity.Brian Bruya - 2002 - In Grazia Marchianò (ed.), Aesthetics & Chaos: Investigating a Creative Complicity.
    Can we conceive of disorder in a positive sense? We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our lives. Going all the way back to Hesiod, we see chaos as a cosmogonic state of utter confusion inevitably reigned in by laws of regularity, in a transition from fearful unpredictability to calm stability. In contrast to a similar early Chinese notion of (...)
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  48. Li Zehou's Aesthetics as a Marxist Philosophy of Freedom.Brian Bruya - 2003 - Dialogue and Universalism 13 (11-12):133-140.
    After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive faculties. In (...)
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Aesthetic Education
  1. 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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  2. Aesthetics in Motion. On György Szerdahely’s Dynamic Aesthetics.Botond Csuka - 2018 - In Anthropologische Ästhetik in Mitteleuropa (1750–1850). Anthropological Aesthetics in Central Europe (1750–1850). (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 9). Hannover, Németország: pp. 153-180.
    György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...)
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