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  1. How We Understand Art: A Cognitive Development Account of Aesthetic Experience.Michael J. Parsons - 1991 - British Journal of Educational Studies 39 (4):466-467.
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  • A Virtue Epistemology: Apt Belief And Reflective Knowledge, Volume I. [REVIEW]Ernest Sosa - 2007 - Analysis 69 (2):382-385.
    Ernest Sosa's A Virtue Epistemology, Vol. I is arguably the single-most important monograph to be published in analytic epistemology in the last ten years. Sosa, the first in the field to employ the notion of intellectual virtue – in his ground-breaking ‘The Raft and the Pyramid’– is the leading proponent of reliabilist versions of virtue epistemology. In A Virtue Epistemology, he deftly defends an externalist account of animal knowledge as apt belief, argues for a distinction between animal and reflective knowledge, (...)
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  • Meaning.H. Paul Grice - 1957 - Philosophical Review 66 (3):377-388.
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  • Eugene Delacroix's Theory of Art.George P. Mras - 1968 - Journal of Aesthetics and Art Criticism 26 (4):548-548.
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  • The Clockwork Muse: The Predictability of Artistic Change.Colin Martindale - 1992 - Journal of Aesthetics and Art Criticism 50 (2):171-173.
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  • A Virtue Epistemology: Apt Belief and Reflective Knowledge, Volume I.Ernest Sosa - 2009 - Oxford University Press.
    Ernest Sosa presents a new approach to the problems of knowledge and scepticism. He argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment. Sosa's virtue epistemology illuminates different varieties of scepticism, the nature and status of intuitions, and epistemic normativity.
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  • Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  • Art and Agency: An Anthropological Theory.Alfred Gell - 1998 - Clarendon Press.
    Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency (...)
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  • Sight and Sensibility: Evaluating Pictures.Dominic McIver Lopes - 2005 - Clarendon Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...)
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  • Creating Consilience: Integrating the Sciences and the Humanities.Edward Slingerland & Mark Collard (eds.) - 2012 - Oup Usa.
    This volume takes a new approach to bridging the cultures of science and the humanities. The editors and contributors formulate how to develop a new shared framework of consilience beyond mere interdisciplinarity, in a way that both sides can accept.
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  • Experimental Philosophy.Joshua Knobe & Shaun Nichols (eds.) - 2008 - Oxford University Press.
    The present volume provides an introduction to the major themes of work in experimental philosophy, bringing together some of the most influential articles in ...
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  • Reason, Truth and History.Hilary Putnam - 1981 - Cambridge University Press.
    Hilary Putnam deals in this book with some of the most fundamental persistent problems in philosophy: the nature of truth, knowledge and rationality. His aim is to break down the fixed categories of thought which have always appeared to define and constrain the permissible solutions to these problems.
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  • The Forger's Art: Forgery and the Philosophy of Art.Reuben Abel - 1984 - Journal of Aesthetics and Art Criticism 42 (3):330-332.
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  • Toward an Aesthetic Account of the Nature of Art.William Tolhurst - 1984 - Journal of Aesthetics and Art Criticism 42 (3):261-269.
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  • Arthur C. Danto, Beyond The Brillo Box: The Visual Arts in A Post-Historical Perspective, Mark Tansey: Visions and Revisions.David Carrier & Arthur C. Danto - 1993 - Journal of Aesthetics and Art Criticism 51 (3):513.
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  • Danto and His Critics.Francis Sparshott - 1994 - Journal of Aesthetics and Art Criticism 52 (4):482-483.
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  • The Aesthetic Relevance of Authors' and Painters' Intentions.Stephen Davies - 1982 - Journal of Aesthetics and Art Criticism 41 (1):65-76.
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  • Tribal Art and Artifact.Denis Dutton - 1993 - Journal of Aesthetics and Art Criticism 51 (1):13-21.
    Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...)
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  • Style as a Gestalt Problem.Rudolf Arnheim - 1981 - Journal of Aesthetics and Art Criticism 39 (3):281-289.
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  • An Ontology of Art.Nicholas Wolterstorff - 1991 - Journal of Aesthetics and Art Criticism 49 (1):79-81.
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  • After the End of Art: Contemporary Art and the Pale of History.Marcia Muelder Eaton - 1998 - Journal of Aesthetics and Art Criticism 56 (3):309-311.
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  • The Transfiguration of the Commonplace.Arthur C. Danto - 1974 - Journal of Aesthetics and Art Criticism 33 (2):139-148.
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  • The Pleasures of Aesthetics: Philosophical Essays.Stephen Davies - 1996 - Journal of Aesthetics and Art Criticism 57 (3):371-374.
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  • Values of Art: Pictures, Poetry, and Music.Eileen John - 1999 - Journal of Aesthetics and Art Criticism 57 (1):76-78.
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  • Farewell to an Idea: Episodes From a History of ModernismModernism's History: A Study in Twentieth-Century Art.Elizabeth Mansfield, T. J. Clark & Bernard Smith - 2000 - Journal of Aesthetics and Art Criticism 58 (4):411.
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  • Aesthetics as Science: Its Development in America.Thomas Munro - 1951 - Journal of Aesthetics and Art Criticism 9 (3):161-207.
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  • Art and the Language of the Emotions.C. J. Ducasse - 1964 - Journal of Aesthetics and Art Criticism 23 (1):109-112.
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  • Art and Interaction.Noel Carroll - 1986 - Journal of Aesthetics and Art Criticism 45 (1):57-68.
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  • Comparing and Sharing Taste: Reflections on Critical Advice.Stephanie Ross - 2012 - Journal of Aesthetics and Art Criticism 70 (4):363-371.
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  • A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  • Functional Beauty.Larry Shiner - 2009 - Journal of Aesthetics and Art Criticism 67 (3):341-343.
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  • The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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  • Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading.Amy Coplan - 2008 - Journal of Aesthetics and Art Criticism 66 (1):94-97.
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  • What Monet Meant: Intention and Attention in Understanding Art.Mark Rollins - 2004 - Journal of Aesthetics and Art Criticism 62 (2):175–188.
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  • Art and Human Nature.Noël Carroll - 2004 - Journal of Aesthetics and Art Criticism 62 (2):95-107.
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  • Directive Pictures.Dominic Mciver Lopes - 2004 - Journal of Aesthetics and Art Criticism 62 (2):189–196.
    Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...)
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  • The Art of Distancing: How Formal Devices Manage Our Emotional Responses to Literature.Jenefer Robinson - 2004 - Journal of Aesthetics and Art Criticism 62 (2):153–162.
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  • Vorschule der Aesthetik.Gustav Theodor Fechner - 1876 - Breitkopf & Härtel.
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  • A Field Guide to a New Meta-Field: Bridging the Humanities-Neurosciences Divide.Barbara Maria Stafford (ed.) - 2011 - University of Chicago Press.
    Barbara Stafford is a pioneering art historian whose research has long helped to bridge the divide between the humanities and cognitive sciences. In _A Field Guide to a New Meta-Field_, she marshals a distinguished group of thinkers to forge a ground-breaking dialogue between the emerging brain sciences, the liberal arts, and social sciences. Stafford’s book examines meaning and mental function from this dual experimental perspective. The wide-ranging essays included here—from Frank Echenhofer’s foray into shamanist hallucinogenic visions to David Bashwiner’s analysis (...)
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  • Inference to the Best Explanation.Peter Lipton - 2003 - Routledge.
    How do we go about weighing evidence, testing hypotheses, and making inferences? According to the model of _Inference to the Best Explanation_, we work out what to infer from the evidence by thinking about what would actually explain that evidence, and we take the ability of a hypothesis to explain the evidence as a sign that the hypothesis is correct. In _Inference to the Best Explanation_, Peter Lipton gives this important and influential idea the development and assessment it deserves. The (...)
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  • Descartes' Error: Emotion, Reason, and the Human Brain.Antonio R. Damasio - 1994 - Putnam.
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  • The Epistemic Status of Processing Fluency as Source for Judgments of Truth.Rolf Reber & Christian Unkelbach - 2010 - Review of Philosophy and Psychology 1 (4):563-581.
    This article combines findings from cognitive psychology on the role of processing fluency in truth judgments with epistemological theory on justification of belief. We first review evidence that repeated exposure to a statement increases the subjective ease with which that statement is processed. This increased processing fluency, in turn, increases the probability that the statement is judged to be true. The basic question discussed here is whether the use of processing fluency as a cue to truth is epistemically justified. In (...)
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  • Situated Aesthetics: Art Beyond the Skin.Riccardo Manzotti (ed.) - 2011 - Imprint Academic.
    This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive (...)
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  • The Importance of Being Understood: Folk Psychology as Ethics.Adam Morton - 2002 - L8ndon: Routledge.
    I discussed the ways in which folk psychology is influenced by the need for small-scale cooperation between people. I argue that considerations about cooperation and mutual benefit can be found in the everyday concepts of belief, desire, and motivation. I describe what I call "solution thinking", where a person anticipates another person's actions by first determining the solution to the cooperative problem that the person faces and then reasoning backwards to a prediction of individual action.
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  • Epistemology: Internalism and Externalism.Hilary Kornblith (ed.) - 2001 - Wiley-Blackwell.
    This anthology brings together ten papers which have defined and advanced the debate between internalism and externalism in epistemology.
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  • The Artful Species: Aesthetics, Art, and Evolution.Stephen Davies - 2012 - Oxford University Press.
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  • The Abuse of Beauty: Aesthetics and the Concept of Art.Arthur C. Danto - 2003
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  • The Preference for the Primitive Episodes in the History of Western Taste and Art.E. H. Gombrich - 2002
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  • The Epistemology of Testimony.Jennifer Lackey & Ernest Sosa (eds.) - 2006 - Oxford University Press.
    Testimony is a crucial source of knowledge: we are to a large extent reliant upon what others tell us. It has been the subject of much recent interest in epistemology, and this volume collects twelve original essays on the topic by some of the world's leading philosophers. It will be the starting point for future research in this fertile field. Contributors include Robert Audi, C. A. J. Coady, Elizabeth Fricker, Richard Fumerton, Sanford C. Goldberg, Peter Graham, Jennifer Lackey, Keith Lehrer, (...)
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  • Echo Objects: The Cognitive Work of Images.Barbara Maria Stafford - 2008 - University of Chicago Press.
    Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In _Echo Objects,_ she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. As a result, _Echo Objects_ is (...)
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