Results for 'aesthetic criticism'

977 found
Order:
See also
  1. (1 other version)Must Reasons be Either Theoretical or Practical? Aesthetic Criticism and Appreciative Reasons.Keren Gorodeisky - 2021 - Australasian Journal of Philosophy 100 (2):313-329.
    A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  2. Toward a Science of Criticism: Aesthetic Values, Human Nature, and the Standard of Taste.Collier Mark - 2014 - In Mark Collier (ed.), Cognition, Literature, and History. pp. 229-242.
    The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason (...)
    Download  
     
    Export citation  
     
    Bookmark  
  3. The Limits of Aesthetic Empiricism.Fabian Dorsch - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press. pp. 75-100.
    In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  4. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room (...)
    Download  
     
    Export citation  
     
    Bookmark   20 citations  
  5. The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  6. Aesthetic Archaeology.Jakub Stejskal - 2021 - Critical Inquiry 48 (1):144-166.
    The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  7. Aesthetics in the Age of Austerity: Building the Creative Class.Christine James - 2015 - In Anthology of Philosophical Studies 9. Athens Institute for Education and Research. pp. 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative (...)
    Download  
     
    Export citation  
     
    Bookmark  
  8. Feminist Aesthetics.Gemma Arguello - 2019 - International Lexicon of Aesthetics 2 (Autumn).
    Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) were (...)
    Download  
     
    Export citation  
     
    Bookmark  
  9. Counterfactual Reasoning in Art Criticism.Angela Sun - 2022 - Journal of Aesthetics and Art Criticism 80 (3):276-285.
    When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  10. Defending Aesthetic Internalism: Liking, Loving, and Wholeheartedness.James Harold - forthcoming - Philosophical Quarterly.
    Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  11. Aesthetic knowledge.Keren Gorodeisky & Eric Marcus - 2022 - Philosophical Studies 179 (8):2507-2535.
    What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  12. Rich perceptual content and aesthetic properties.Dustin Stokes - 2018 - In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford, United Kingdom: Oxford University Press.
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent (...)
    Download  
     
    Export citation  
     
    Bookmark   24 citations  
  13. Engineered Niches and Naturalized Aesthetics.Richard A. Richards - 2017 - Journal of Aesthetics and Art Criticism 75 (4):465-477.
    Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  14. Atmospheric Architectures: The Aesthetics of Felt Spaces.Gernot Böhme - 2017 - Bloomsbury.
    There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  15. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  16. The Aesthetics of Creative Activism: Introduction.Nicholas Holm & Elspeth Tilley - 2023 - Journal of Aesthetics and Art Criticism 81 (2):131-140.
    In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17. Aesthetics, experience, and discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  18. Elucidating the Truth in Criticism.Stacie Friend - 2017 - Journal of Aesthetics and Art Criticism 75 (4):387-399.
    Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  19. Epicurus and Aesthetic Disinterestedness.Celkyte Aiste - 2017 - Mare Nostrum 7:56-74.
    ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had similar concepts, but also (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20. The Aesthetic Value of Diverse Beliefs.Chris Atkinson - forthcoming - Journal of Aesthetics and Art Criticism.
    This article has two aims. The first is to open up a line of inquiry into whether epistemic and aesthetic values interact, at the most general level. Does an overall increase in epistemic or aesthetic value in the world have an effect on the alternative value? The second, and more specific, aim is to argue that yes, it does. In particular, I argue that an increase in epistemic value would result in a decrease in aesthetic value, across (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. Re-thinking Aesthetics.Arnold Berleant - 1999 - Filozofski Vestnik 20 (2):25-33.
    This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  22. Aesthetics and the Private Realm.Sherri Irvin - 2009 - Journal of Aesthetics and Art Criticism 67 (2):226-230.
    I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  23. Engagement Account of Aesthetic Value.C. Thi Nguyen - 2023 - Journal of Aesthetics and Art Criticism 81 (1):91-93.
    I propose an account of aesthetic value, where aesthetic value lies in the process of aesthetic engagement: in our activity of perceiving, guiding our attention, interpreting, and otherwise wrestling with aesthetic objects. It also includes our social activities of engagement: arguing with each other, writing criticism, making top-ten lists. (This is a short summary of a view developed in greater detail elsewhere.).
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  24. Aesthetics in Biodiversity Conservation.Jukka Mikkonen & Kaisa J. Raatikainen - 2024 - Journal of Aesthetics and Art Criticism 82 (2):174-190.
    Biodiversity loss is an immense ecological crisis of our time. But while “biodiversity” has become a buzzword in media and policy, conservationists have found it difficult to build a common understanding on the nature and severity of biodiversity loss and the means to tackle it. Perhaps surprisingly, many biologists and philosophers have proposed that biodiversity might be best defended with reference to its aesthetic value. This article explores whether aesthetic values could provide strong support for biodiversity conservation. By (...)
    Download  
     
    Export citation  
     
    Bookmark  
  25. Aesthetic Value: Why Pleasure Counts.Mohan Matthen - 2023 - Journal of Aesthetics and Art Criticism 81 (1):89-90.
    An object has aesthetic value (henceforth: a-value) because a certain sort of cognitive engagement with it is beneficial. This grounding in mental activity expl.
    Download  
     
    Export citation  
     
    Bookmark  
  26. Naturalist trends in current aesthetics.Roberta Dreon & Carlos Vara Sánchez - 2022 - Studi di Estetica 22.
    In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...)
    Download  
     
    Export citation  
     
    Bookmark  
  27. Hazlitt on aesthetic democracy and artistic genius.Martin Lang - 2022 - The Hazlitt Review 14:25-36.
    This essay asks how Hazlitt’s notion of artistic genius stands up today, where connoisseurs are unfashionable, expertise is distrusted and popular opinion is often courted and highly valued in the generation and reception of art. It does this by analysing Hazlitt’s concepts of gusto and “aesthetic democracy”. First, Hazlitt’s concept of aesthetic democracy is applied to the painting of Thomas Kinkade, the reassessment of ‘slaver’ statues and a conceptual project by Komar and Melamid to highlight some problems with (...)
    Download  
     
    Export citation  
     
    Bookmark  
  28. Moral prejudice and aesthetic deformity: Rereading Hume's "of the standard of taste".Michelle Mason - 2001 - Journal of Aesthetics and Art Criticism 59 (1):59-71.
    Despite appeals to Hume in debates over moralism in art criticism, we lack an adequate account of Hume’s moralist aesthetics, as presented in “Of the Standard of Taste.” I illuminate that aesthetics by pursuing a problem, the moral prejudice dilemma, that arises from a tension between the “freedom from prejudice” Hume requires of aesthetic judges and what he says about the relevance of moral considerations to art evaluation. I disarm the dilemma by investigating the taxonomy of prejudices by (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  29. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  30. Non‐Inferentialism about Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and (...)
    Download  
     
    Export citation  
     
    Bookmark   15 citations  
  31. Aesthetic Disobedience.Jonathan A. Neufeld - 2015 - Journal of Aesthetics and Art Criticism 73 (2):115-125.
    This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  32. Appreciating Taylor’s Versions: An Aesthetic Love Story.Irene Martínez Marín - 2025 - In Brandon Polite (ed.), Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Internal coherence is of great importance for how we think about appreciating objects of aesthetic worth. A disagreement between what we judge to be worthy and what we affectively favor can prevent us from properly grasping its value. However, it is also assumed in the aesthetic domain that our taste changes over time, jeopardising such coherence constraint. These changes can lead to a mismatch between new aesthetic judgments and old aesthetic preferences. This chapter explores a number (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33. The Puzzle of Historical Criticism.Christopher Bartel - 2012 - Journal of Aesthetics and Art Criticism 70 (2):213-222.
    Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  34. Levinson on the Aesthetic Ideal.Nicholas Riggle - 2013 - Journal of Aesthetics and Art Criticism 71 (3):277-281.
    In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  35. Toward a Communitarian Theory of Aesthetic Value.Nick Riggle - 2022 - Journal of Aesthetics and Art Criticism 80 (1):16-30.
    Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature (...)
    Download  
     
    Export citation  
     
    Bookmark   32 citations  
  36. Testimony, Understanding, and Art Criticism.Allan Hazlett - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  37. Aesthetic Values Are Distal Versions of Practical Values.Tom Cochrane - 2022 - Journal of Aesthetics and Art Criticism 81 (1):83-84.
    I believe the first thing to say about value is that it is something that we do. We value things. There is no value out there independent of valuing beings. Thi.
    Download  
     
    Export citation  
     
    Bookmark  
  38. Film, Perception, Aesthetics: An interview with Bence Nanay.Mark Windsor - 2014 - Postgraduate Journal of Aesthetics 11 (1):2-17.
    Download  
     
    Export citation  
     
    Bookmark  
  39. Nietzsche’s Aesthetic Critique of Darwin.Charles H. Pence - 2011 - History and Philosophy of the Life Sciences 33 (2):165-190.
    Despite his position as one of the first philosophers to write in the “post- Darwinian” world, the critique of Darwin by Friedrich Nietzsche is often ignored for a host of unsatisfactory reasons. I argue that Nietzsche’s critique of Darwin is important to the study of both Nietzsche’s and Darwin’s impact on philosophy. Further, I show that the central claims of Nietzsche’s critique have been broadly misunderstood. I then present a new reading of Nietzsche’s core criticism of Darwin. An important (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  40. The Hope of Agreement: Against Vibing Accounts of Aesthetic Judgment.Nat Hansen & Zed Adams - 2023 - Mind (531):742-760.
    Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  41. What Makes Value Aesthetic?Antonia Peacocke - 2023 - Journal of Aesthetics and Art Criticism 81 (1):94-95.
    The aesthetic value of an object is fully grounded in the distinctive value of the proper experience of that object.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  42. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  43. Worldmaking: Property rights in aesthetic creations.Peter H. Karlen - 1986 - Journal of Aesthetics and Art Criticism 45 (2):183-192.
    This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to (...) creations is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  44. An autonomist view on the ethical criticism of architecture.Ricardo Miguel - 2016 - Philosophy@Lisbon (5):131-141.
    It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim (...)
    Download  
     
    Export citation  
     
    Bookmark  
  45. Remarks on Santayana's Influence on the Development of the Barnes Foundation's Aesthetics Theories.Laura Elizia Haubert & Claudio M. Viale - 2022 - Limbo: Boletín Internacional de Estudios Sobre Santayana 42:63-81.
    Although recent work has been done on the Barnes Foundation and its philosophical and pedagogical background, almost all the research effort has been focused on the friendship and intellectual link between John Dewey and Albert C. Barnes. Unfortunately, to the best of our knowledge, the impact of George Santayana’s philosophy on the Foundation has not been systematically examined. The hypothesis that we present and develop in this article is that Santayana’s thought is essential for the aesthetic theories elaborated within (...)
    Download  
     
    Export citation  
     
    Bookmark  
  46. Criticism.Jonathan Gilmore - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. New York: Routledge.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  47. Dewey, Second Nature, Social Criticism, and the Hegelian Heritage.Italo Testa - 2017 - European Journal of Pragmatism and American Philosophy 9 (1):1-23.
    Dewey’s notion of second nature is strictly connected with that of habit. I reconstruct the Hegelian heritage of this model and argue that habit qua second nature is understood by Dewey as a something which encompasses both the subjective and the objective dimension – individual dispositions and features of the objective natural and social environment.. Secondly, the notion of habit qua second nature is used by Dewey both in a descriptive and in a critical sense and is as such a (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  48. Political Representation from a Pragmatist Perspective: Aesthetic Democratic Representation.Michael I. Https://orcidorg733X Räber - 2019 - Contemporary Pragmatism 16 (1):84-103.
    In this article I discuss the advantages of a theory of political representation for a prag- matist theory of (global) democracy. I first outline Dewey’s disregard for political rep- resentation by analyzing the political, epistemological and aesthetic underpinnings of his criticism of the Enlightenment ideal of democracy and its trust in the power of the detached gaze. I then show that a theory of political representation is not only com- patible with a pragmatist Deweyan-pragmatist perspective on democratic politics (...)
    Download  
     
    Export citation  
     
    Bookmark  
  49. The Ethical Meaning of Foucault's Aesthetics of Existence.Cristian Iftode - 2015 - Cultura 12 (2):145-162.
    In order to grasp the true ethical meaning of Foucault's aesthetics of existence, I begin by explaining in what sense he was an anti-normativist, arguing that the most important thing about the "final" Foucault is his strong emphasis on the idea of human freedom. I go on with a brief discussion about Foucault's sources of inspiration and a criticism of Rorty's kindred plea for "aesthetic life". I strongly reject the interpretation of Foucault's aesthetics of existence in terms of (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  50. (1 other version)On the Ethics of Imagination and Ethical-Aesthetic Value Interaction in Fiction.Adriana Clavel-Vazquez - forthcoming - Ergo.
    Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 977