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The artworld

Problemos 82:184-193 (2012)

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  1. La estética y el arte más allá de la academia.José Ramón Fabelo Corzo & Berenize Galicia Isasmendi (eds.) - 2012 - Puebla, Pue., México: Colección L a Fuente, BUAP.
    Los materiales que nutren este libro parten de un inédito encuentro que los profesores, colaboradores y estudiantes actuales de la Maestría en Estética y Arte (MEYA) de la BUAP sostuvieron con los egresados del programa, ubicados hoy en espacios profesionales que se encuentran “más allá de la Academia” que los formó como maestros en estética y arte. Es el testimonio gráfico de los aportes académicos, investigativos y artísticos que el encuentro condensó entre el 22 y el 25 de junio de (...)
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  • Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  • Lo concreto y lo complejo en la interpretación del valor del arte.José Ramón Fabelo Corzo - 2017 - Revista Cubana de Ciencias Sociales 47 (47):99-111.
    El trabajo argumenta la necesidad de interpretar el valor del arte, por un lado, de manera concreta, como síntesis de múltiples determinaciones y tomando en consideración las condiciones de la época y lugar en las que la obra artística se inserta; y por otro lado, como producto complejo poseedor de múltiples dimensiones, diferentes pero interconectadas entre sí.
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  • Para una lectura crítica de la filosofía del arte de Arthur C. Danto.José Ramón Fabelo Corzo - 2012 - In José Ramón Fabelo Corzo & Berenize Galicia Isasmendi (eds.), La estética y el arte más allá de la academia. Puebla, Pue., México: pp. 73-89.
    Se fundamentan las razones por las cuales debe asumirse una actitud crítica ante la filosofía del arte de Arthur C. Danto, tomando algunas de sus tesis y al mismo tiempo rechazando críticamente otras. Para ello se muestra la unilateralidad con que el filósofo norteamericano aborda las relaciones del arte con su contexto histórico. En particular se valora críticamente la tesis sobre el fin del arte.
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  • What Makes a Kind an Art-Kind?Michel-Antoine Xhignesse - forthcoming - British Journal of Aesthetics:ayaa027.
    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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  • Beyond the Visible : Prolegomenon to an Aesthetics of Designed Landscapes.Rudi Etteger - unknown
    In this thesis the appropriate aesthetic evaluation of designed landscapes is explored. The overarching research question for this thesis is: What is an appropriate appreciation of a designed landscape as a designed landscape? This overarching research question is split into sub-questions. The first sub-question is: What is the current theoretical basis for the aesthetic evaluation of designed landscapes and does it provide appropriate arguments for aesthetic evaluations? Two important points about the aesthetic evaluation of designed landscapes were found in the (...)
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  • In Defense of Happiness: Presidential Address to the Florida Philosophical Association.Shelley M. Park - 2005 - Florida Philosophical Review 5 (1):1-15.
    In this address, I defend happiness as a disposition conducive to, or at least compatible with, a view of the world that is both cognitively and politically valuable, that is, both conducive to truth and ethically appropriate.
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  • Ejecución, Implementación y Activación: Aportes Goodmanianos Al Problema de la Definición Del Arte En la Estética Analítica.Mariano O. Martínez Atencio - 2017 - Análisis Filosófico 37 (1):27-53.
    La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...)
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  • Od definice ke kritice [From Definition to Criticism].David Skalický - 2019 - Espes 8 (2):20-26.
    What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art, encompassing all artifacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artifacts and our evaluation and understanding of them. It also recalls reflections (...)
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  • Police Adjective and Attunement to the Significance of Things.Craig Fox - 2020 - Aesthetic Investigations 3 (2):185-199.
    In this paper I consider Corneliu Porumboiu’s ‘Police, Adjective’ (Romania, 2009) as an instance of a puzzling work of art. Part of what is puzzling about it is the range of extreme responses to it, both positive and negative. I make sense of this puzzlement and try to alleviate it, while considering the film alongside Ludwig Wittgenstein’s arguably puzzling “Lectures on Aesthetics” (from 1938). I use each work to illuminate possible understandings of the other. The upshot is that it is (...)
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  • Ästhetische Erfahrung und die Macht der Besitzergreifung.Richard Shusterman - 2020 - Deutsche Zeitschrift für Philosophie 68 (3):327-357.
    After briefly noting key contemporary critiques of aesthetic experience, this article revisits its original account in Plato’s theory of aesthetic experience as the madness of divine possession and then Aristotle’s response of defending art’s rationality as poiesis, which largely dominates the ensuing aesthetic tradition. I subsequently explore how the mysterious notion of possession continues to surface in important modern accounts of aesthetic experience and explain how the supernatural idea of possession could find a naturalistic explanation that integrates the concepts of (...)
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  • Can Unmodified Food Be Culinary Art?Sara Bernstein - 2020 - Argumenta 2 (5):185-198.
    You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...)
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  • Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...)
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  • Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  • An Image of Power in Transition: St. George Slaying Diocletian and the War of Images.Stephen Snyder - 2019 - Eidos. A Journal for Philosophy of Culture 3 (4):67-100.
    This essay discusses the mounted image of St. George slaying an emperor within the broader context of how and why early Christian images were transformed and adapted to the early Byzantine religious style. The representational framework of Arthur Danto’s philosophical system is used to tie together the threads of this research. By drawing parallels between changes in contemporary art and culture – often referred to as the modern/postmodern shift – and the transition of the Hellenistic to the Byzantine era, structures (...)
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  • Authorship, Aesthetics and the Artworld: Reforming Copyright’s Joint Authorship Doctrine.Laura Biron & Elena Cooper - 2016 - Law and Philosophy 35 (1):55-85.
    This article considers the extent to which insights from the philosophy of art can assist copyright law in identifying the author or authors of works to which many have contributed. In doing so, it looks to institutional theories of art, which go beyond a simple bifurcation of ‘author’ and ‘work’, and focus instead on broader determinants of an art work’s production, such as the ‘artworld’. It puts forward a framework focusing on three components of authorship supported by these theories: role, (...)
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  • Dancing with Time: The Garden as Art.Isis Brook - 2020 - British Journal of Aesthetics 60 (2):231-234.
    Dancing with Time: The Garden as ArtJohn PowellPeter Lang. 2019. pp. 204. £45.00.
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  • Essays in Literary Aesthetics.Kalle Puolakka - 2020 - British Journal of Aesthetics 60 (2):229-231.
    Essays in Literary Aesthetics Ranjan K. Ghosh Springer. 2018. pp. XIII + 82. £49.99.
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  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • Science-Art: Neuronaturalism Beyond the Decentred Spectator.Steve Klee - 2017 - Eidos. A Journal for Philosophy of Culture 1 (2):78-93.
    Science-art collaborations are a growth area. An example is the Wellcome Collection exhibition “States of Mind”. I focus on one work yellowbluepink by Ann Veronica Janssens. As framed within the exhibition this piece is understood to present a model of spectatorship in which the art-encounter prompts an awareness of the p o s s i b i l i t y of neuroscientific self-understanding. I take it that science-art projects want to spread this celebration of “objective thought”; this is their (...)
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  • Rewolucja w nauce i sztuce T.S. Danto.Leszek Sosnowski - forthcoming - Estetyka I Krytyka 9 (9/10):224-242.
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  • Art, World, Artworld.Horvath Gizela - 2016 - Synthesis Philosophica 31 (1):117-127.
    Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...)
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  • Narración y autoconciencia. Una lectura crítica a los postulados dantianos sobre el fin del arte.Pablo Olvera & Mariano Martínez - 2015 - Ideas Y Valores 64 (157):171-189.
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  • Books Articles Review s Papers Presented.Paul Crowther - unknown
    This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...)
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  • O institucijskoj teoriji umjetnosti.Ivan Paraščić - 2008 - Prolegomena 7 (2):181-203.
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  • Experiencing Art: Austrian Aesthetics Between Psychology and Psychologism.Wolfgang Huemer - 2009 - In B. Centi & W. Huemer (eds.), Value and Ontology. Ontos. pp. 12--267.
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  • La contienda mundo-tierra en la fundación heideggeriana de la obra de arte. Análisis y valoración de su actualidad conceptual.Mariano Martinez Atencio - 2018 - Páginas de Filosofía (Universidad Nacional del Comahue) 18 (21):87-107.
    La pregunta y el planteo por el Ser encuentran un relieve particular al interior del análisis heideggeriano de la obra de arte. Su análisis en términos de una contienda entre la “instalación” de un Mundo y la “elaboración” de la Tierra, fundado en un acontecer de la verdad en la obra como esencia del arte, resulta sustancial para interés que la estética y la filosofía del arte prestan a la caracterización de la naturaleza propia de lo artístico. A partir de (...)
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  • Educating the Design Stance: Issues of Coherence and Transgression. Commentary on Bullot & Reber.Norman H. Freeman & Melissa L. Allen - forthcoming - Behavioral and Brain Sciences.
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  • History and the Philosophy of Art.Noël Carroll - 2011 - Journal of the Philosophy of History 5 (3):370-382.
    In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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  • Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art.Simon Fokt - 2013 - Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  • Peter Lamarque’s Aesthetic Essentialism.Mona Roxana Shields - 2017 - Dissertation, University of Reading
    This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...)
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  • Tomándose la historia en serio. Danto, esencialismo histórico e indiscernibles.Veronica Tozzi - 2007 - Revista de Filosofía (Madrid) 32 (2):109-126.
    The place that Arthur Danto gives to history, as constitutive to as and our world, as well as a discipline able to produce knowledge of the past, reach its cenit with his philosophy of art. In “the End of Art”, Danto announces an end of the history of the search of the philosophical definition of art and the beginning of the era of pluralism. It is in this account where essencialism and historicism are combined in a way that estimules a (...)
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  • The Feminist Art Project (TFAP) and its Significance for Aesthetics.Peg Zeglin Brand Weiser - forthcoming - In Feminist Aesthetics and Philosophy of Art: Critical Visions, Creative Engagements. Springer Press.
    In 1970, art critic Linda Nochlin articulated the radical question, "Why are there no great women artists?" The Feminist Art Project (http://feministartproject.rutgers.edu) is engaged in a national and international re-assessment of that question, complete with a long overdue commemoration and celebration of women artists. Given TFAP's stated emphasis on recognizing the aesthetic impact of women on the visual arts and culture, questions arise within our own philosophical community about the potential impact of TFAP, the significance of women artists, and the (...)
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  • The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge.Stephen Snyder - 2015 - CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...)
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  • Art and its History.Risto Pitkänen - 2010 - Nordic Journal of Aesthetics 21 (39).
    The paper argues that something is art only if (i) it belongs to a special kind of internal history and (ii) needs to be understood and appreciated in the light of such history. This goes against both the traditional view that art has a timeless, ahistorical essence and the historicist view that there can be no ahistorical perspective for understanding art. The paper draws on Hegel’s view that art needs to be understood through its history, but rejects the idea that (...)
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  • Aesthetic Histories.Evental Aesthetics - 2013 - Evental Aesthetics 2 (3):1-86.
    In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.
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  • Normative Dualism and the Definition of Art.Isabela Quevedo - unknown
    Defining art has been one of philosophy of art’s biggest projects. However, no definition offered has achieved to account for all objects we consider art. In this paper, I argue that normative dualism, an unjustifiable Western prejudice for the mental, plays a big part in this failure. The division between fine art and utilitarian and “low” art has been perpetuated because the former is associated with the mental processes involved in its appreciation and, thus, considered more valuable. Theories of art (...)
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  • After Contemporary Art: Actualization and Anachrony.Karlholm Dan - 2016 - Nordic Journal of Aesthetics 25 (51).
    Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...)
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  • The Woman-and-Tree Motif in the Ancient and Contemporary India.Marzenna Jakbczak - 2017 - In Retracing the Past: Historical Continuity in Aesthetics from a Global Perspective. Santa Cruz: International Association for Aesthetics. pp. 79-93.
    The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and philosophy (...)
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  • Feminism and Tradition in Aesthetics.Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...)
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  • A Kantian Theory of Art Criticism.Emine Hande Tuna - 2016 - Dissertation, University of Alberta
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...)
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  • Mundo del arte y ontología del arte.Paulo Velez Leon - 2015 - Analysis. Documentos de Investigación 18 (1):1-18.
    [ES] En este trabajo, ofreceré una reconstrucción sucinta de los argumentos sobre el significado de la noción de mundo del arte, así como de sus implicaciones en la ontología del arte. En primer lugar, describiré de manera esquemática los principios básicos de la noción de mundo del arte de Danto, y a partir de estos principios delinearé su influencia en la teoría institucional del arte de George Dickie. Sobre esta base, apoyado en la crítica al rol de la teoría en (...)
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  • Introduction to the Forum.D. Timothy Goering - 2016 - Journal of the Philosophy of History 10 (2):163-169.
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  • What Is Art Good For? The Socio-Epistemic Value of Art.Aleksandra Sherman & Clair Morrissey - 2017 - Frontiers in Human Neuroscience 11.
    Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...)
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  • The Necessity of Art, Ernst Fischer, with an Introduction by John Berger, London: Verso, 2010.Jeffrey Petts - 2012 - Historical Materialism 20 (2):195-209.
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  • Autopoietic Art Systems and Aesthetic Swarms: Notes on Polyphonic Purity and Algorithmic Emergence.Jason Hoelscher - 2013 - Evental Aesthetics 2 (3):15-39.
    This paper proposes a prolegomenal model for the mechanisms through which new styles and schools of art – Cubism or conceptual art, for example – undergo the catalytic, evental transition from potential to actual. The model proposed herein, of fine art as a complex adaptive system that emerges and grows in a manner analogous to that of certain specific forms of biological organization, is predicated on a shift from the residual traces of Greenbergian disciplinary and mediumistic differentiation – grounded in (...)
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  • Beauty, The Social Network.Dominic McIver Lopes - 2017 - Canadian Journal of Philosophy 47 (4):437-453.
    Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...)
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  • A Complex of Pleasures: Comment on ‘The Pleasure of Art’ by Mohan Matthen.Paul Guyer - 2017 - Australasian Philosophical Review 1 (1):40-49.
    ABSTRACTMatthen's functionalist account of art and his activity-centred account of aesthetic pleasure are on the right track, but he should recognize the importance of emotional as well as cognitive engagement with art.
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  • Interpretation and the “Investigative” Concept of Criticism.Daniel A. Kaufman - 2012 - Angelaki 17 (1):3 - 12.
    Angelaki, Volume 17, Issue 1, Page 3-12, March 2012.
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  • Arts and Cognition: Performance, Criticism and Aesthetics.Curtis Carter - unknown
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