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  1. Psychologizing Aesthetic Attention.Elisabeth Schellekens Dammann - 2019 - Estetika: The European Journal of Aesthetics 56 (1):110-117.
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  • Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives.Tone Roald & Simon Høffding - 2019 - Journal of Aesthetics and Phenomenology 6 (1):1-20.
    ABSTRACTThis paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...)
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  • Attention.Christopher Mole - 2010 - Stanford Encyclopedia of Philosophy.
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  • The 'I' of the Beholder: Toward a Character Theory of Aesthetic Engagement.Patrick Hayes - unknown
    Within the field of aesthetics, there are several approaches to answering what affects how and whether an individual engages with a particular art or aesthetic object. Two theories that attempt to come to a solution on this issue are theories of attunement and attachment which respectively argue that one’s engagement is primarily affected by one’s attunement or attachment, through a system of values, beliefs, and associations, to an object. While these theories are successful in responding to a variety of cases, (...)
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  • Remember the Medium! Film, Medium Specificity, and Response-Dependence.Clotilde Torregrossa - 2020 - Dissertation, University of St. Andrews
    Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...)
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  • Aesthetics as Philosophy of Perception Bence Nanay Oxford University Press, 2016; XI + 214 Pp.; $65.00. [REVIEW]David Collins - 2019 - Dialogue 58 (1):187-189.
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  • The Nature of Aesthetic Experience and the Role of the Sciences in Aesthetic Theorizing.Sherri Irvin - 2019 - Estetika: The European Journal of Aesthetics 56 (1):100-109.
    Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...)
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  • Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
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  • On the Essence of Aesthetic Attention.Foteini Charalampidou - unknown
    Bence Nanay holds, that attention which is focused on one object, and distributed acrossits properties, gives rise to disinterestedness in phenomenal experience, and it therefore is involved in the occurence of the most paradigmatic kind of aesthetic experience.It is for this reason, that Nanay defines this sort of attention as "aesthetic attention". In this thesis, I point out, that Nanay's doctrine does justice to facts and phenomena,and that it succeeds in specifiying one of the necessary conditions, of what he takes (...)
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  • Visual Attention in Pictorial Perception.Gabriele Ferretti & Francesco Marchi - 2020 - Synthese 199 (1-2):2077-2101.
    According to the received view in the philosophical literature on pictorial perception, when perceiving an object in a picture, we perceive both the picture’s surface and the depicted object, but the surface is only unconsciously represented. Furthermore, it is suggested, such unconscious representation does not need attention. This poses a crucial problem, as empirical research on visual attention shows that there can hardly be any visual representation, conscious or unconscious, without attention. Secondly, according to such a received view, when looking (...)
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  • How Artworks Modify Our Perception of the World.Alfredo Vernazzani - 2021 - Phenomenology and the Cognitive Sciences:1-22.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...)
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  • “Something Fruitful for All of Us”: Social Annotation as a Signature Pedagogy for Literature Education.Jeffrey Clapp, Matthew DeCoursey, Sze Wah Sarah Lee & Kris Li - 2020 - Arts and Humanities in Higher Education 20 (3):295-319.
    New social annotation practices have the potential to become a “signature pedagogy” for educators in literary studies, because social annotation encapsulates both the expected learning outcomes and...
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  • The Value of Consciousness.Uriah Kriegel - 2019 - Analysis 79 (3):503-520.
    Recent work within such disparate research areas as the epistemology of perception, theories of well-being, animal and medical ethics, the philosophy of consciousness, and theories of understanding in philosophy of science and epistemology has featured disconnected discussions of what is arguably a single underlying question: What is the value of consciousness? The purpose of this paper is to review some of this work and place it within a unified theoretical framework that makes contributions (and contributors) from these disparate areas more (...)
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  • Attention Is Amplification, Not Selection.Peter Fazekas & Bence Nanay - 2021 - British Journal for the Philosophy of Science 72 (1):299-324.
    We argue that recent empirical findings and theoretical models shed new light on the nature of attention. According to the resulting amplification view, attentional phenomena can be unified at the neural level as the consequence of the amplification of certain input signals of attention-independent perceptual computations. This way of identifying the core realizer of attention evades standard criticisms often raised against sub-personal accounts of attention. Moreover, this approach also reframes our thinking about the function of attention by shifting the focus (...)
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  • Degrees of Attention in Experiencing Art.Ancuta Mortu - 2018 - Estetika: The European Journal of Aesthetics 55 (1):45-66.
    This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed (...)
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  • Shared Musical Experiences.Brandon Polite - 2019 - British Journal of Aesthetics 59 (4):429-447.
    In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...)
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  • Aesthetic Attention: A Proposal to Pay It More Attention.Kathrine Cuccuru - 2018 - Estetika: The European Journal of Aesthetics 55 (2):155-179.
    Whether it is consciously focusing on a painting’s intricate layers of pigment or spontaneously being drawn to new layers of voices in a choral performance, attention appears essential to aesthetic experience. It is surprising, then, that the actual nature of attention is little discussed in aesthetic theory. Conversely, attention is currently one of the most vibrantly discussed topics in the philosophy of perception and in cognitive science. My aim is to demonstrate the need for and the value of aestheticians considering (...)
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