Results for 'aesthetic judgement'

1000+ found
Order:
  1.  23
    The Arbitrariness of Aesthetic Judgment.David Sackris - forthcoming - Journal of Value Inquiry:1-22.
    Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s (...)
    Download  
     
    Export citation  
     
    Bookmark  
  2. Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  3. Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  4.  45
    Against Aesthetic Judgments.Bence Nanay - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment. London: Routledge.
    Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5.  29
    'Until Art Once More Becomes Nature': Culture and the Unity of Kant's Critique of Judgment.Sabina Vaccarino Bremner - forthcoming - Archiv für Geschichte der Philosophie.
    Commentators have turned increasing attention to the question of how the two halves of the Critique of Judgment fit together. Yet Kant’s account of culture has so far gone overlooked, despite the role it plays in both parts of the work in answering what Kant situates in the Introduction as the work's guiding concern: how the power of judgment thinks the transition between nature and freedom. Teleological judgment posits culture as the last empirically cognizable telos of nature prior to human (...)
    Download  
     
    Export citation  
     
    Bookmark  
  6.  40
    Can One Be A Quasi-Realist About The Aesthetic?Christopher Dowling - 2006 - Postgraduate Journal of Aesthetics 3 (3):100-109.
    For ordinary judgements it is often the case that it may be justifiable to change one's mind given that others agree in holding an opposing view. In the case of judgements of beauty this is never the case; these are autonomous. Robert Hopkins has discussed the following (familiar) explanation: Judgements of beauty are not genuine assertions at all; rather they are expressions of some response or experience. Since to acknowledge the disagreement of others is not to respond to objects as (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  7. The Classical Trinity and Kant's Aesthetic Formalism.Jennifer A. McMahon - 2010 - Critical Horizons 11 (3):419-441.
    I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these (...)
    Download  
     
    Export citation  
     
    Bookmark  
  8. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2014 - In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...)
    Download  
     
    Export citation  
     
    Bookmark   19 citations  
  9. Aristotle’s Aesthetic Ethics.John Milliken - 2006 - Southern Journal of Philosophy 44 (2):319-339.
    It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  10. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
    Download  
     
    Export citation  
     
    Bookmark  
  11. The Uses of Aesthetic Testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  12. 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   5 citations  
  13. Sentimentalism and the Intersubjectivity of Aesthetic Evaluations.Fabian Dorsch - 2007 - Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to (...) epistemology cannot accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  14. Responding to Aesthetic Reasons.Andrew McGonigal - forthcoming - Estetika.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  16. 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 investigations (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17. Aesthetics is the Grammar of Desire.Jennifer A. McMahon - 2015 - Aesthetic Investigations 1 (1):156-164.
    This essay presents the nature of aesthetic judgment, the significance of aesthetic judgment and finally, the relevance of art to understanding aesthetic judgment.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  18.  44
    "Identity and Judgment: Five Theses and a Program".David Kolb - 1994 - Nordic Journal of Architectural Research:37-40.
    The theses and program below ask about judgment and tradition in a self-consciously plural world. The little program points down a path I am exploring in a pair of texts, one on notions of identity in the history of philosophy, and one on the identity of buildings and places. The underlying issue of those texts is: what will replace the old notion of a particular identity? Places, persons, and communities do not and have never had such simple identities as our (...)
    Download  
     
    Export citation  
     
    Bookmark  
  19. The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  20. Review of The Significance of Beauty: Kant on Feeling and the System of the Mind. [REVIEW]Jennifer A. McMahon - 1999 - Philosophy in Review 19 (2):122-124.
    Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. The Aesthetic Appeal of Minimal Structures: Judging the Attractiveness of Solutions to Traveling Salesperson Problems.D. Vickers, M. Lee, M. Dry, P. Hughes & Jennifer A. McMahon - 2007 - Perception and Psychophysics 68 (1):32-42.
    Ormerod and Chronicle reported that optimal solutions to traveling salesperson problems were judged to be aesthetically more pleasing than poorer solutions and that solutions with more convex hull nodes were rated as better figures. To test these conclusions, solution regularity and the number of potential intersections were held constant, whereas solution optimality, the number of internal nodes, and the number of nearest neighbors in each solution were varied factorially. The results did not support the view that the convex hull is (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  22. Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
    Download  
     
    Export citation  
     
    Bookmark  
  23.  39
    Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  24. Expressing Aesthetic Judgments in Context.Isidora Stojanovic - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  25. Aesthetic Judgements and Motivation.Alfred Archer - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (6):1-22.
    Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  26. The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  27. Expressivism and Arguing About Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
    Download  
     
    Export citation  
     
    Bookmark  
  28. A Semantic Solution to the Problem with Aesthetic Testimony.James Andow - 2015 - Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  29. Intuition and Concrete Particularity in Kant's Transcendental Aesthetic.Adrian Margaret Smith Piper - 2006 - In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice. Stanford, CA: Stanford University Press. pp. 193-212.
    By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical (...)
    Download  
     
    Export citation  
     
    Bookmark  
  30. Beauty.Jennifer A. McMahon - 2019 - Oxford Bibliographies Online: Philosophy.
    This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  31.  66
    Schematizing Without a Concept? Imagine That!Keren Gorodeisky - 2013 - In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. pp. 59-70.
    The aim of this paper is to elucidate what Kant describes as the "free lawfulness of the imagination" in judgments of beauty in aesthetic terms, as called for by the distinctive nature of beauty. I argue that the aesthetic activity of the imagination differs from the theoretical activity of the imagination, and that the difference between the two has an aesthetic ground in terms of the special form of beautiful objects and the special value of beauty. In (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  32. Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  33. Review of Paul Crowther The Kantian Aesthetic[REVIEW]Jennifer A. McMahon - 2011 - British Journal of Aesthetics 51 (2):229-231.
    Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected sibling. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  34. The Aesthetic Dimension of Wittgenstein's Later Writings.William Day - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. pp. 3-29.
    In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  35. Unity in Variety: Theoretical, Practical and Aesthetic Reason in Kant.Keren Gorodeisky - forthcoming - In Konstantin Pollok & Gerad Gentry (eds.), The Imagination in German Idealism and Romanticism.
    The main task of the paper is to explore Kant’s understanding of what unites the three kinds of judgment that he regards as the signature judgments of the three fundamental faculties of the mind--theoretical, practical and aesthetic judgments--in a way that preserves their fundamental differences. I argue that these are differences in kind not only in degree; or, in the terms I motivate in the paper, differences in form. Thus, I aim to show that (1) the Romantic unity of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  36. In Defense of Comic Pluralism.Nathaniel Sharadin - 2017 - Ethical Theory and Moral Practice 20 (2):375-392.
    Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.
    Download  
     
    Export citation  
     
    Bookmark  
  37. Ogilby, Milton, Canary Wine, and the Red Scorpion: Another Look at Kant's Deduction of Taste.Andrew Chignell - 2013 - In Dina Emundts (ed.), Self, World, and Art. De Gruyter. pp. 261-282.
    An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .
    Download  
     
    Export citation  
     
    Bookmark  
  38. Die Grenzen des ästhetischen Empirismus.Fabian Dorsch - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):269-281.
    In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  39. Wittgenstein and the Aesthetic Robot's Handicap.Julian Friedland - 2005 - Philosophical Investigations 28 (2):177-192.
    Ask most any cognitive scientist working today if a digital computational system could develop aesthetic sensibility and you will likely receive the optimistic reply that this remains an open empirical question. However, I attempt to show, while drawing upon the later Wittgenstein, that the correct answer is in fact available. And it is a negative a priori. It would seem, for example, that recent computational successes in textual attribution, most notably those of Donald Foster (famed finder of Ted Kazinski (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  40.  85
    Review of Colin Lyas, Aesthetics (The Fundamentals of Philosophy), London; University College London Press, 1997. [REVIEW]Jennifer A. McMahon - 1998 - Australasian Journal of Philosophy 76 (4):647-649..
    The aim of this book is to promote understanding and enjoyment of the arts. With this aim in mind, Lyas introduces the key issues of philosophical aesthetics through examples drawn from high and popular culture, and from a variety of art forms, from music and painting to literature and poetry. The book is pitched as a springboard into undergraduate courses in aesthetics and as an introduction to philosophical aesthetics for the general reader. It is refreshing to read a book on (...)
    Download  
     
    Export citation  
     
    Bookmark  
  41. Konzinnität Und Kohärenz. Naturschönheit Und Natursystem in Kants "Kritik der Urteilskraft".Daniel Dohrn - 2004 - Berlin: Philo.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  42. Causation in Reflective Judgment.Michael Kurak - 2016 - Kant Studies Online (1):12-41.
    The existing body of scholarship on Kant’s Critique of Judgment is rife with disagreement. At the centre of much of this disagreement is the issue of precisely what Kant understands to be taking place in a harmonization of the cognitive faculties. Is aesthetic reflective judgment to be identified with, or separated from, this harmonious state of the faculties of imagination and understanding? If aesthetic judgment is identified with this state, as is argued herein, then upon what is a (...)
    Download  
     
    Export citation  
     
    Bookmark  
  43. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  44. New Prospects for Aesthetic Hedonism.Mohan Matthen - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge. pp. 13-33.
    Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  45. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos (...)
    Download  
     
    Export citation  
     
    Bookmark  
  46. Aesthetic Representation of Purposiveness and the Concept of Beauty in Kant’s Aesthetics. The Solution of the ‘Everything is Beautiful’ Problem.Mojca Küplen - 2016 - Philosophical Inquiries 4 (2):69-88.
    In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...)
    Download  
     
    Export citation  
     
    Bookmark  
  47.  87
    Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Küplen - 2018 - Itinera 15:39-56.
    In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible (...)
    Download  
     
    Export citation  
     
    Bookmark  
  48. Kunst, Kontext und Erkenntnis.Christoph Jäger - 2005 - In Christoph Jäger & Georg Meggle (eds.), Kunst und Erkenntnis. mentis. pp. 9-39.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  49.  90
    Imagination, Attitude, And Experience Inaesthetic Judgment.Cain Samuel Todd - 2004 - Postgraduate Journal of Aesthetics (1).
    In this paper I wish to defend a particular form of the traditional, and now almost wholly unfashionable, notion of an aesthetic attitude.
    Download  
     
    Export citation  
     
    Bookmark  
  50.  76
    Exploring Means of Transgender Agency Through Aesthetic Theory and Practice.Casey Robertson - 2019 - Antae 6 (2-3):159-170.
    This essay explores the complex relationship between gender and aesthetics, namely through the lens of the transgender movement. After a brief study of the challenges related to the history of gender variance and normativity, the essay will follow the trajectory of Kant’s Critique of Judgment, focusing primarily on the conception of the sublime, and move to explore connections with the work of gender theorist and public health advocate Benjamin T. Singer, whose work develops a rhizomatic model of the transgender sublime. (...)
    Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 1000