Results for 'Art, Aesthetics, Beauty'

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  1. Not all art is beautiful (and that’s good).Venkat Ramanan - 2022 - Blue Labyrinths 1.
    Is aesthetics only about art that is beautiful as conventionally understood? If not, what purpose does art that may not be so serve?
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  2. The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity.Joerg Fingerhut, Javier Gomez-Lavin, Claudia Winklmayr & Jesse J. Prinz - 2021 - Frontiers in Psychology 11:577703.
    To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...)
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  3. Feminist Criticism: On Disturbatory Art and Beauty.Peg Brand Weiser - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 344-353.
    Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...)
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  4. Aesthetic experience of beautiful and ugly persons: a critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of (...)
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  5. On the Permanent Immaturity of Art: Aesthetic Modernism with Apologies to Kant.Eric Dayton - 2008 - Æ: Canadian Aesthetics Journal / Revue Canadienne D'Esthétique 14 (Fall/Automne 2008):1-9.
    I offer an interpretation of the puzzle posed by Greenberg’s failure to come to terms with the explosion of postmodernist experimentation in the 1960’s. Greenberg, one of the most influential critics of the immediately preceding period and a strong supporter of New York abstract expressionism and color field painting, is indelibly associated with modernist schools of painting. His short essay, “Modernist Painting”, valorized precisely these movements and was a tour de force catapulting Greenberg into critic superstar status; it is still (...)
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  6. Beauty and Aesthetic Properties: Taking Inspiration from Kant.Sonia Sedivy - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty: New Essays in Aesthetics and the Philosophy of Art. München, Deutschland: Philosophia. pp. 25 - 41.
    This paper examines the relationship between beauty and aesthetic properties to argue that aesthetic properties are connected to a work’s content, to what a work conveys or expresses. I turn to Kant’s Critique of Judgement to make the case. My argument highlights two parts of Kant’s approach. Kant argues that pure aesthetic judgements of beauty are grounded in a harmonious yet free play of the imagination and understanding. Such free play is pleasurable and intimates that the power or (...)
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  7. the beauty in art and the notion of proportion.Saida Seddik - manuscript
    Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of (...)
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  8. Understanding Aesthetics, Creativity and the Arts.Jay Friedenberg - 2020 - Amazon Direct.
    What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and (...)
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  9. The Birth and Death of Beauty in Western Art.Derek Allan - manuscript
    Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.
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  10. Art, Beauty and Morality.Chiara Brozzo & Andy Hamilton - 2022 - In Silvia Caprioglio Panizza & Mark Hopwood (eds.), The Murdochian Mind. New York, NY: Routledge.
    In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian (...)
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  11. Aesthetics and the Experience of Beauty.William Hirstein & Melinda Campbell - 2009 - In William Banks (ed.), The Elsevier Encyclopedia of Consciousness. Elsevier. pp. 1-7.
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  12. Review of Denis Dutton's The Art Instinct: Beauty, Pleasure, and Human Evolution. [REVIEW]Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
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  13.  97
    Vitality Semiotics: The Ever Beautiful and Its Potential for an Intercultural Approach. In Atmospheric Design and Everyday Aesthetics, edited by David Brubaker & Zhuofei Wang [Contemporary Aesthetics, Special Volume 12, 2024): 1-11.Martina Sauer - 2024 - Contemporary Aesthetics, Special Volume 12, 2024 12 (Atmospheric Design and Everyday):1-11.
    Intercultural Approaches between Europe and China via Art? -/- Two landscapes from different cultures, Europe and China, that are both considered masterpieces are the focus of a study by Martina Sauer. To what extent are they each perceived as beautiful? Can the differences in aesthetic understanding tell us something about the respective cultures? Do the results have the potential to contribute to intercultural rapprochement between Europe and China? The possibility that these ideas can be fruitful for intercultural connections and understanding, (...)
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  14. The Destinies of the Work of Art: Aesthetic Theories in Hölderlin and Adorno.John Thomas Giordano - 1995 - Dissertation, Duquesne University
    For Hölderlin and Adorno, the power to transcend one’s being-in-nature in order to capture nature in an image, is both the most dangerous and the most beautiful aspect of the human being. Hölderlin develops a model of reconciliation of man with nature where the transcendental power, as soon as it achieves a vision of nature, violates true nature by virtue of its finitude and so must pay for this “hybris” through self-sacrifice. Adorno appropriates this model for the work of art. (...)
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  15. What is Art? The Role of Intention, Beauty, and Institutional Recognition.Elzė Sigutė Mikalonytė & Markus Kneer - 2023 - Proceedings of the Annual Meeting of the Cognitive Science Society 45:3039-3047.
    In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...)
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  16. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty: New Essays in Aesthetics and the Philosophy of Art. München, Deutschland: Philosophia.
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  17. The Art of Willing: The Impact of Kant’s Aesthetics on Schopenhauer’s Conception of the Will.Alistair Welchman - 2013 - In Stefano Bacin, Alfredo Ferrarin, Claudio La Rocca & Margit Ruffing (eds.), Kant und die Philosophie in weltbürgerlicher Absicht. Akten des XI. Internationalen Kant-Kongresses. Boston: de Gruyter. pp. 627-638.
    Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...)
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  18. Delighting in natural beauty: Joint attention and the phenomenology of nature aesthetics.Johan De Smedt & Helen De Cruz - 2013 - European Journal for Philosophy of Religion 5 (4):167-186.
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an (...)
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  19. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  20. Is there an Aesthetic Brain? A brief Essay on the Neuroaesthetic Quantification of beauty.Paulo Alexandre E. Castro - 2021 - In Joaquim Braga & Simone Guidi (eds.), Quantifying Bodies and Health. Interdisciplinary Approaches. Coimbra: Instituto de Estudos Filosóficos. pp. 127-138.
    It is possible today to determine, with some precision (according to the most recent studies in neuroscience and evolutionary psychology), the areas of the brain and the neural networks involved when an individual contemplates art, when feeling pleasure, or when judging about aesthetic experience. However, many questions remain open. First, the philosophical question about the subjective nature of this kind of judgments. Then, what happens in the mind (or should it be said, in the brain?) of the beholder when contemplating (...)
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  21. Beauty Matters.Peg Zeglin Brand (ed.) - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled (...)
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  22. Aesthetic Dissonance. On Behavior, Values, and Experience through New Media.Adrian Mróz - 2019 - Hybris 47:1-21.
    Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and (...)
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  23.  33
    Bolzano - Essays on Beauty & the Arts. [REVIEW]K. Chan - 2025 - British Journal of Aesthetics:1-4.
    In Essays on Beauty & the Arts (2023) (‘Essays’), Dominic McIver Lopes has unearthed something of a champion for his ongoing mission to rejuvenate analytic aesthetics. ‘The history of analytic aesthetics’, Lopes declares, ‘is dominated by writing on Kant and, to a lesser extent, David Hume. … We badly need to excavate alternatives to the tradition of Hume and Kant’ (p. xvi). As tall of an order this already is, the height of Lopes’s hopes for Bolzano appears to reach (...)
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  24. Aesthetics in Motion. On György Szerdahely’s Dynamic Aesthetics.Botond Csuka - 2018 - In Anthropologische Ästhetik in Mitteleuropa (1750–1850). Anthropological Aesthetics in Central Europe (1750–1850). (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 9). Hannover, Németország: pp. 153-180.
    György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...)
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  25. Intelligible Beauty.James Shelley - 2022 - Aristotelian Society Supplementary Volume 96 (1):147-164.
    Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...)
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  26. Symposium: Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1-10.
    The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, (...)
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  27. Ethics and Aesthetics: Alfredo Jaar and the Role of Art in Political Critique.Carolina Drake - manuscript
    Art has a major role in political critique and in the contemporary world of art, ethics, politics, and aesthetics intersect. Using the work of Alfredo Jaar as an example of these intersections, I argue through my reading of Judith Butler, that his art can provide us with better, more egalitarian versions of populations to be perceived as grievable. Once we apprehend grievability, we can affectively apprehend that lives in the context of war and violence are precarious. Here lies the power (...)
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  28.  27
    AHXIOM theory on beauty, aesthetics phiolosphy, survival and the principle of least action.José Antonio Palos Cárdenas - 2025 - Ahxiom Theory Axiomatical and Semiotical Fundamentation Documents.
    En este ensayo se plantea y propone que: La Belleza es origen de la Estética filosófica y que la filosofía es hija de la belleza clásica y su analogía llamada proporción o: La divina proporción, sección áurea o número de oro, "divina analogía", para el autor, expresada numéricamente con la ecuacion: Phi= ½+½√5 Phi is equal to a half plus a half of the square rooth of five. Así entonces, en y para este ensayo: La belleza clásica está ligada y (...)
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  29. Austrian Aesthetics.Maria E. Reicher - 2006 - In Markus Textor (ed.), The Austrian contribution to analytic philosophy. New York: Routledge. pp. 293–323.
    Thinking of problems of aesthetics has a long and strong tradition in Austrian Philosophy. It starts with Bernard Bolzano (1781-1848); it is famously represented by the critic and musicologist Eduard Hanslick (1825-1904); and it is continued within the school of Alexius Meinong (1853-1920), in particular by Christian von Ehrenfels (1859-1932) and Stephan Witasek (1870-1915). Nowadays the aesthetic writings of Bolzano, Ehrenfels, and Witasek are hardly known, particularly not in the Anglo-Saxon world. Austrian aesthetics is surely less known than Austrian contributions (...)
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  30. In Praise of a Strategic Beauty. Mario Perniola's Aesthetics between Stoicism, the Baroque and the Avant-Gardes.Enea Bianchi - 2020 - Polish Journal of Aesthetics 4 (59):29-42.
    Several scholars (Bartoloni 2019, Bukdahl 2017, Vogt 2019) focused on Mario Perniola's perspective on art, post-human sexuality and political theory. Yet little has been written on the philosophical and literary sources - specifically Stoicism, the Baroque and the Avant-Gardes - which influenced his standpoint. The objective of this paper is to develop Perniola's conception of a strategically oriented beauty, which implies a connection between the aesthetic element and the political-effectual one.
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  31. Can art become theoretical?Clinton Peter Verdonschot - 2021 - Internationales Jahrbuch für Philosophische Anthropologie 11 (1):109-126.
    Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...)
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  32. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  33. Kantian Beauty, Fractals, and Universal Community.C. E. Emmer - 2019 - Dialogue and Universalism 29 (2):65-80.
    Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense (...)
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  34. Beauty as a Symbol of Morality.Zhengmi Zhouhuang - 2019 - In Das Selbst und die Welt - Denken, Handeln und Hoffen in der Klassischen Deutschen Philosophie. pp. 113-134.
    Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s (...)
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  35. How Beauty Matters (4th edition).Peg Zeglin Brand Weiser - 2017 - In David Goldblatt & Stephanie Patridge (eds.), Aesthetics: A Reader in Philosophy of the Arts. New York: Routledge. pp. 94-97.
    How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous (...)
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  36. VIRTUAL BEAUTY: Orlan and Morimura.Peg Zeglin Brand Weiser - 2001 - L and B (Lier En Boog) 16:92-104.
    This essay offers some thoughts on the editors' (Annette w. Balkema and Henk Slager) project "Exploding Aesthetics" with the goal of extending aesthetics based on a specific type of artistic output. Both artists--Orlan and Morimura--have already expanded the normal parameters of artistic inquiry and the resulting critical discourse. As an aesthetician, I merely offer some elaboration and philosophical backdrop to their creative enterprise. They constitute the paradigm of the avant-garde artist extraordinaire leading us into the uncharted realm of cyberspace and (...)
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  37. Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...)
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  38. The Aesthetic Value of the World.Tom Cochrane - 2021 - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
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  39. Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with (...)
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  40. The Singing Voice’s Charms. Aesthetic and Transformative Aspects of Singing in Literature, Art, and Philosophy.Małgorzata A. Szyszkowska - 2022 - Eidos. A Journal for Philosophy of Culture 6 (2):26-36.
    Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...)
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  41. 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. (...)
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  42. "I like how it looks but it is not beautiful" -- Sensory appeal beyond beauty.Claudia Muth, Jochen Briesen & Claus-Christian Carbon - 2020 - Poetics 79.
    Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...)
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  43.  50
    L'Arte Crea Spazi Vuoti.Alessio Montagner - unknown
    Articolo divulgativo pubblicato su L'Indiscreto il 13 aprile 2022. Le opere d'arte sono analizzabili semioticamente: sono qualcosa che sta per qualcos'altro, oggetti che comunicano del significato. Analizzando le loro proprietà, concludo che le opere d'arte, per definizione, sono a metà via tra le icone e i simboli, e sono caratterizzate da un doppio rimando: l'oggetto artistico rimanda ad una qualche entità, che a sua volta viene reinterpreata e usata per comunicare qualcosa di universale. Si discute quindi l'aspetto cognitivo dell'opera d'arte: (...)
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  44. On Beauty: All Roads Disgorge to Black Decay.Francisco Valdez - manuscript
    When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium (...)
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  45. Introduction: Feminism and Aesthetics.Peg Zeglin Brand Weiser & Mary Devereaux - 2003 - Hypatia 18 (4):ix-xx.
    This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. (...)
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  46. Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  47. Connecting Beauty and Love.Nick Riggle - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a (...)
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  48. Epistemic and Aesthetic Conflict.Zoe Jenkin - 2023 - British Journal of Aesthetics 63 (4):457-479.
    Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of (...)
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  49. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  50. Generative Disgust, Aesthetic Engagement, and Community.Erin Bradfield - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge. pp. 175-187.
    How do individuals and communities respond to negative aesthetic experience? Historically, philosophical aesthetics has devoted much thought to positive aesthetic experience, including the beautiful, agreeable, charming, and tasteful. But this is only a partial picture. Some aesthetic experience displeases: the ugly, disgusting, and horrific are but a few examples with which aestheticians have grappled in recent decades. The aversive and visceral nature of disgust has generated particular interest. But as Carolyn Korsmeyer points out in _Savoring Disgust: The Foul & the (...)
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