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  1. Aesthetic Experts.Tereza Hadravová - 2019 - ESPES 8 (1):27-36.
    In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments (...)
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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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  • The Default Theory of Aesthetic Value.James Shelley - 2019 - British Journal of Aesthetics 59 (1):1-12.
    The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...)
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  • Sentimentalism and the Intersubjectivity of Aesthetic Evaluations.Fabian Dorsch - 2007 - Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to aesthetic epistemology cannot (...)
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  • From Kantianism to Aesthetic Hedonism: Aesthetic Pleasure Revised.Jennifer A. McMahon - 2017 - Australasian Philosophical Review 1 (1):1-5.
    No matter how unintuitive it might seem that aesthetic pleasure should be the point where art and morality meet, this is a noteworthy possibility that has been overshadowed by aestheticians’ more visible concerns. Here I briefly survey relevant strands in the literature over the past century, before introducing themes covered in this inaugural issue of Australasian Philosophical Review.
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  • The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  • The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...)
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  • Intrinsic Aesthetic Value Revisted.Norman Kreitman - 2011 - Metaphilosophy 42 (4):470-478.
    Abstract: Every sentient organism needs constantly to re-assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may (...)
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  • Artistic Value is Attributive Goodness.Louise Hanson - 2017 - Journal of Aesthetics and Art Criticism 75 (4):415-427.
    It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.
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