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  1. Moderate moralism.Noël Carroll - 1996 - British Journal of Aesthetics 36 (3):223-238.
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  • Moderate autonomism.James C. Anderson & Jeffrey T. Dean - 1998 - British Journal of Aesthetics 38 (2):150-166.
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  • The Possibility of Aesthetic Realism.Philip Pettit - 1983 - In Eva Schaper (ed.), Pleasure, preference, and value: studies in philosophical aesthetics. New York: Cambridge University Press. pp. 17-38.
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  • Art, Emotion and Ethics.Berys Gaut - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199-201.
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  • Contemporary Environmental Aesthetics and the Requirements of Environmentalism.Allen Carlson - 2010 - Environmental Values 19 (3):289 - 314.
    Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective and (...)
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  • The Varieties of Intrinsic Value.John O’Neill - 1992 - The Monist 75 (2):119-137.
    To hold an environmental ethic is to hold that non-human beings and states of affairs in the natural world have intrinsic value. This seemingly straightforward claim has been the focus of much recent philosophical discussion of environmental issues. Its clarity is, however, illusory. The term ‘intrinsic value’ has a variety of senses and many arguments on environmental ethics suffer from a conflation of these different senses: specimen hunters for the fallacy of equivocation will find rich pickings in the area. This (...)
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  • Autonomism Reconsidered.James Harold - 2011 - British Journal of Aesthetics 51 (2):137-147.
    This paper has three aims: to define autonomism clearly and charitably, to offer a positive argument in its favour, and to defend a larger view about what is at stake in the debate between autonomism and its critics. Autonomism is here understood as the claim that a valuer does not make an error in failing to bring her moral and aesthetic judgements together, unless she herself values doing so. The paper goes on to argue that reason does not require the (...)
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  • In Praise of Immoral Art.Daniel Jacobson - 1997 - Philosophical Topics 25 (1):155-199.
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  • The vice of snobbery: Aesthetic knowledge, justification and virtue in art appreciation.Matthew Kieran - 2010 - Philosophical Quarterly 60 (239):243-263.
    Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...)
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  • Aesthetic testimony: What can we learn from others about beauty and art?Aaron Meskin - 2004 - Philosophy and Phenomenological Research 69 (1):65–91.
    The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...)
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  • The correct and the appropriate in the appreciation of nature.Robert Stecker - 1997 - British Journal of Aesthetics 37 (4):393-402.
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  • Aesthetic and nonaesthetic.Frank Sibley - 1965 - Philosophical Review 74 (2):135-159.
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  • (1 other version)Merit, Aesthetic and Ethical.Marcia Muelder Eaton - 2002 - Journal of Aesthetics and Art Criticism 60 (3):280-282.
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  • A Perfect Moral Storm: Climate Change, Intergenerational Ethics and the Problem of Moral Corruption.Stephen M. Gardiner - 2006 - Environmental Values 15 (3):397 - 413.
    The peculiar features of the climate change problem pose substantial obstacles to our ability to make the hard choices necessary to address it. Climate change involves the convergence of a set of global, intergenerational and theoretical problems. This convergence justifies calling it a 'perfect moral storm'. One consequence of this storm is that, even if the other difficult ethical questions surrounding climate change could be answered, we might still find it difficult to act. For the storm makes us extremely vulnerable (...)
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  • Aesthetic experience and aesthetic value.Robert Stecker - 2006 - Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  • Environmental Aesthetics and the Dilemma of Aesthetic Education.Allen Carlson - 1976 - The Journal of Aesthetic Education 10 (2):69.
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  • The acquaintance principle.Malcolm Budd - 2003 - British Journal of Aesthetics 43 (4):386-392.
    The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...)
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  • The Aesthetics of Sky and Space 1.Ronald W. Hepburn - 2010 - Environmental Values 19 (3):273-288.
    How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract idea does (...)
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  • Does Nature matter? The place of the non-human in the ethics of climate change.Clare Palmer - 2011 - In Denis G. Arnold (ed.), The Ethics of Global Climate Change. Cambridge University Press. pp. 272-291.
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  • Aesthetic concepts: essays after Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - New York: Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  • (2 other versions)Art as Experience. [REVIEW]I. E. - 1934 - Journal of Philosophy 31 (10):275-276.
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  • (1 other version)Faking Nature: The Ethics of Environmental Restoration.Robert Elliot - 1997 - Ethics and the Environment 3 (2):201-205.
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  • Aesthetic Disillusionment: Environment, Ethics, Art.Cheryl Foster - 1992 - Environmental Values 1 (3):205 - 215.
    What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this paper (...)
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  • The Uselessness of Art.Peter Lamarque - 2010 - Journal of Aesthetics and Art Criticism 68 (3):205-214.
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