Results for 'appreciation'

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  1. Aesthetic Appreciation of Nature and the Global Environmental Crisis.Jukka Mikkonen - 2022 - Environmental Values 31 (1):47-66.
    Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and (...)
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  2. Aesthetic Appreciation of Silence.Erik Anderson - 2020 - Contemporary Aesthetics 18.
    We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence (...)
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  3. Admiration, Appreciation, and Aesthetic Worth.Daniel Whiting - 2023 - Australasian Journal of Philosophy 101 (2):375-389.
    What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning (...)
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  4. Trust and the appreciation of art.Daniel Abrahams & Gary Kemp - 2021 - Ratio 35 (2):133-145.
    Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...)
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  5. Appreciative Silencing in Communicative Exchange.Abraham Tobi - forthcoming - Episteme:1-15.
    Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that (...)
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  6. Appreciating covers.Cristyn Magnus, P. D. Magnus, Christy Mag Uidhir & Ron Mcclamrock - 2022 - Nordic Journal of Aesthetics 31 (63).
    A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the (...)
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  7. Nature appreciation, science, and positive aesthetics.Glenn Parsons - 2002 - British Journal of Aesthetics 42 (3):279-295.
    Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always (...)
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  8. Aesthetic appreciation of landscapes.Jiri Benovsky - 2016 - Journal of Value Inquiry 50 (2):325-340.
    In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense (...)
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  9. Emotion in the Appreciation of Fiction.Ingrid Vendrell Ferran - 2018 - Journal of Literary Theory 12.
    Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...)
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  10. Indignation, Appreciation, and the Unity of Moral Experience.Uriah Kriegel - 2021 - Ethical Theory and Moral Practice 25 (1):5-19.
    Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.
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  11. Dance Appreciation: The View from the Audience.Aili Bresnahan - 2017 - In David Goldblatt, Lee Brown & Stephanie Patridge (eds.), Aesthetics: A Reader in the Philosophy of the Arts, 4th edition. Routledge. pp. 347-350.
    Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...)
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  12. Counterpart and Appreciation Theodicies.Justin P. McBrayer - 2014 - In Justin P. McBrayer & Daniel Howard-Snyder (eds.), The Blackwell Companion to The Problem of Evil. Wiley. pp. 192–204.
    One popular theodicy says that good can’t exist without evil, and so God must allow evil in order to allow good. Call this the counterpart theodicy. The counterpart theodicy relies on a metaphysical claim about existence—good cannot exist without evil. A second popular theodicy says that we would be unable to know/recognize/appreciate the good without evil, and so God is forced to allow evil in order to allow for such appreciation. Call this the appreciation theodicy. The appreciation (...)
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  13. The Motivational Structure of Appreciation.Servaas van der Berg - 2019 - Philosophical Quarterly 69 (276):445-466.
    On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy (...)
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  14. The Phenomenal Appreciation of Reasons.Marilie Coetsee - 2020 - In Russ Shafer-Landau (ed.), Oxford Studies in Metaethics Volume 15. Oxford University Press. pp. 24-48.
    Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent like Huck (...)
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  15. Overcoming Epistemic Compositionalism by Appreciating Kant's Insight: Skepticism, Givenness, and Mind-Independence in the Transcendental Deduction.Maximilian Tegtmeyer - 2022 - Synthese 200 (1):1-37.
    Many interpretations of Kant’s first Critique fail to appreciate the revolutionary nature of his account of knowledge and its implications for skepticism, givenness and mind-independence, because they read Kant as holding a compositional account of knowledge. I contend that the reason for this is that this account is both naturally appealing in its own right, and fits an influential reading of Kant’s Transcendental Deduction. On this reading, the Deduction aims to respond to a skeptical worry which issues from the empiricist (...)
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  16. The World of Appreciation as Lebenswelt: The Value of Pre-scientific Experience in the Philosophy of Josiah Royce and Edmund Husserl.Massimo Cisternino - 2023 - The Pluralist 18 (2):66-79.
    The paper investigates the role played by pre-scientific experience in the philosophy of Josiah Royce and Edmund Husserl. Such a notion, generally associated with Husserl’s conception of the life-world (Lebenswelt) in the Crisis of European Sciences and Transcendental Phenomenology (1936), finds an equivalent and historical antecedent in Royce’s distinction between a world of description and a world of appreciation. The final goal is to show how, despite their different philosophical frameworks, Royce and Husserl agree on the idea that, through (...)
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  17. Robinson and Self-Conscious Emotions: Appreciation Beyond (Fellow) Feeling.Irene Martínez Marín - 2019 - Debates in Aesthetics 14 (1):74-94.
    Jenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how the tight (...)
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  18. The Perniciousness of Higher-Order Evidence on Aesthetic Appreciation.Sackris David & Larsen Rasmus - 2023 - Dialogue:1-20.
    We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...)
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  19. A Phenomenological Appreciation of Dancers’ Embodied Self- Consciousness.Camille Buttingsrud - 2016 - NOFOD Conference Proceedings 12 (2015):4.
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  20. Without Taste: Psychopaths and the Appreciation of Art.Heidi Maibom & James Harold - 2010 - Nouvelle Revue d'Esthétique 6:151-63.
    Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...)
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  21. 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 what to (...)
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  22. Belief and the Contemporary Scene: A Philosophical Appreciation of Joseph Ratzinger (Benedict XVI).Joshua Jose Ocon - 2022 - Theoria: The Academic Journal of the San Carlos Seminary Philosophy Department 6 (1):27-41.
    Even before he assumed the Petrine office as head of the Catholic Church, Joseph Ratzinger already carries the reputation of being one of the most important figures, not only of the Catholic intellectual tradition, but more so of the theological enterprise of the twentieth century. A closer appreciation of his thought which delves into the relevant discussions of the time, such as those that tackle pluralism and relativism, further reveals that more than a theologian, Ratzinger is a ‘thinker’ capable (...)
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  23. Learning to Appreciate the Gray Areas: A Critical Notice of Anil Gupta’s “Conscious Experience”. [REVIEW]Eric Hochstein - 2020 - Canadian Journal of Philosophy 50 (6):801-813.
    Anil Gupta’s Conscious Experience: A Logical Inquiry provides an impressive and novel account of rational justification based on conscious experience which is used as a foundation for a new theory of empiricism. In this critical notice, I argue that Gupta’s project is fascinating, but is often hampered by a lack of sufficient philosophical justification and clarity regarding some essential features of his project, as well as a lack of engagement with relevant scientific domains that would directly bear on it, such (...)
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  24. The Value of Being: Thoreau on Appreciating the Beauty of the World.Rick Anthony Furtak - 2012 - In Rick Anthony Furtak, Jonathan Ellsworth & James D. Reid (eds.), Thoreau's importance for philosophy. New York: Fordham University Press. pp. 112-126.
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  25. Principles, Virtues, or Detachment? Some Appreciative Reflections on Karen Stohr’s On Manners.Bryan W. Van Norden - 2016 - Dao: A Journal of Comparative Philosophy 15 (2):227-239.
    Karen Stohr’s book On Manners argues persuasively that rules of etiquette, though conventional, play an essential moral role, because they “serve as vehicles through which we express important moral values like respect and consideration for the needs, ideas, and opinions of others”. Stohr frequently invokes Kantian concepts and principles in order to make her point. In Part 2 of this essay, I shall argue that the significance of etiquette is better understood using a virtue ethics framework, like that of Confucianism, (...)
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  26. http://www.academia.edu/5681005/httpyoutu.be_PiCfrt8Sr3I_JOHN_KEATS_AS_A_THINKER_IN_RELATION_TO_CRITICAL_APPRECIATION_OF_HIS_ODE_TO_ANIGHTINGALE.Rituparna Ray Chaudhuri - 2015
    "Romanticism, when attains a fullness of complexity..there occurs of the supernatural unique". http://philpapers.org/profile/112741.
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  27. The Diversity of Sense: An Appreciation of Frege’s Theory of Sense.Dr Sanjit Chakraborty - 2011 - Indian Journal of Analytic Philosophy 4 (2):79-96.
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  28. Audre Lorde’s Erotic as Epistemic and Political Practice.Caleb Ward - 2023 - Hypatia 38 (4):896–917.
    Audre Lorde’s account of the erotic is one of her most widely celebrated contributions to political theory and feminist activism, but her explanation of the term in her brief essay “Uses of the Erotic” is famously oblique and ambiguous. This article develops a detailed, textually grounded interpretation of Lorde’s erotic, based on an analysis of how Lorde’s essay brings together commitments expressed across her work. I describe four integral elements of Lorde’s erotic: feeling, knowledge, power, and concerted action. The erotic (...)
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  29. The ontological interpretation of informational privacy.Luciano Floridi - 2005 - Ethics and Information Technology 7 (4):185–200.
    The paper outlines a new interpretation of informational privacy and of its moral value. The main theses defended are: (a) informational privacy is a function of the ontological friction in the infosphere, that is, of the forces that oppose the information flow within the space of information; (b) digital ICTs (information and communication technologies) affect the ontological friction by changing the nature of the infosphere (re-ontologization); (c) digital ICTs can therefore both decrease and protect informational privacy but, most importantly, they (...)
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  30. What is psychological explanation?William Bechtel & Cory Wright - 2009 - In Sarah Robins, John Symons & Paco Calvo (eds.), The Routledge Companion to Philosophy of Psychology. New York, NY: Routledge. pp. 113--130.
    Due to the wide array of phenomena that are of interest to them, psychologists offer highly diverse and heterogeneous types of explanations. Initially, this suggests that the question "What is psychological explanation?" has no single answer. To provide appreciation of this diversity, we begin by noting some of the more common types of explanations that psychologists provide, with particular focus on classical examples of explanations advanced in three different areas of psychology: psychophysics, physiological psychology, and information-processing psychology. To analyze (...)
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  31. The aesthetics of coming to know someone.James H. P. Lewis - 2023 - Philosophical Studies (5-6):1-16.
    This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the (...)
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  32. 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 aesthetic epistemology (...)
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  33. How to Explain Pleasure.M. Matthen - 2014 - British Journal of Aesthetics 54 (4):477-481.
    Stephen Davies’ book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use an object to satisfy a (...)
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  34. In Defence of Tourists.Michel-Antoine Xhignesse - 2023 - Estetika: The European Journal of Aesthetics 60 (2):176-92.
    It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...)
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  35. Adding Insult to Injury.Sebastien Bishop - 2024 - Journal of Ethics and Social Philosophy 27 (2).
    Should the government censor dangerous anti-vaccination propoganda? Should it restrict the praise of terrorist groups, or speech intended to promote discriminatory attitudes? In other words, should the government curb the advocacy of dangerous ideas and actions (i.e. 'harmful advocacy'), or should the government take a more permissive approach? Strong free speech supporters argue that citizens should be free to engage in and to hear harmful advocacy, arguing that restrictions are deeply objectionable at best, and, at worst, wholly impermissible. To support (...)
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  36.  84
    Distant dinosaurs and the aesthetics of remote art.Michel-Antoine Xhignesse - forthcoming - British Journal of Aesthetics.
    Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...)
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  37. In a Silent Way.Erik Anderson - 2020 - Journal of Aesthetics and Culture 12 (1).
    I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to (...)
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  38. Everyday Aesthetics, Happiness, and Depression.Ian James Kidd - forthcoming - In Helena Fox, Kathleen Galvin, Michael Musalek, Martin Poltrum & Yuriko Saito (eds.), Oxford Handbook of Mental Health and Contemporary Western Aesthetics. Oxford University Press.
    This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, depend on a phenomenologically (...)
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  39. The Opening of On Interpretation: Toward a More Literal Reading.Matthew Walz - 2006 - Phronesis 51 (3):230-251.
    Aristotle begins "On Interpretation" with an analysis of the existence of linguistic entities as both physical and meaningful. Two things have been lacking for a full appreciation of this analysis: a more literal translation of the passage and an ample understanding of the distinction between symbols and signs. In this article, therefore, I first offer a translation of this opening passage (16a1-9) that allows the import of Aristotle's thinking to strike the reader. Then I articulate the distinction between symbol (...)
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  40. The Concept of Motivation in Merleau-Ponty: Husserlian Sources, Intentionality, and Institution.Philip J. Walsh - 2022 - Journal of the History of Philosophy 60 (2):303-336.
    Merleau-Ponty’s relation to Husserl has been understood along a spectrum running from outright repudiation to deep appreciation. The aim of this paper is to clarify a significant and heretofore largely neglected unifying thread connecting Husserl and Merleau-Ponty, while also demonstrating its general philosophical import for phenomenological philosophy. On this account, the details of a programmatic philosophical continuity between these two phenomenologists can be structured around the concept of motivation. Merleau-Ponty sees in Husserl’s concept of motivation a necessary and innovative (...)
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  41. Artistic expression as interpretation.John Dilworth - 2004 - British Journal of Aesthetics 44 (1):162-174.
    According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...)
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  42. The dao of kongzi.Bryan W. van Norden - 2002 - Asian Philosophy 12 (3):157 – 171.
    This paper introduces the Analects of Kongzi (better known to English-speakers as 'Confucius') to non-specialist readers, and discusses two major lines of interpretation. According to one group of interpretations, the key to understanding the Analects is passage 4.15, in which a disciple says that 'loyalty' and 'reciprocity' together make up the 'one thread' of the Master's teachings. More recently, some interpreters have emphasised passage 13.3, which discusses 'correcting names': bringing words and things into proper alignment. This paper argues that both (...)
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  43. 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, (...)
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  44. Legg-Hutter universal intelligence implies classical music is better than pop music for intellectual training.Samuel Alexander - 2019 - The Reasoner 13 (11):71-72.
    In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent pop music. (...)
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  45. Non-Monotonic Theories of Aesthetic Value.Robbie Kubala - forthcoming - Australasian Journal of Philosophy.
    Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...)
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  46. The Vanity of Small Differences: Empirical Studies of Artistic Value and Extrinsic Factors.Shen-yi Liao, Aaron Meskin & Jade Fletcher - 2020 - Aesthetic Investigations 4 (1):412-427.
    To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...)
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  47. Paintings of Music.Michelle Liu - 2022 - Journal of Aesthetics and Art Criticism 80 (2):151-163.
    Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.
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  48. In defense of Forsey’s Aesthetics of Design.Monika Favara-Kurkowski - 2021 - Avant: Trends in Interdisciplinary Studies 12 (3):1-10.
    In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty (...)
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  49. Is Aesthetic Experience Possible?Sherri Irvin - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press. pp. 37-56.
    On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are (...)
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  50. Exemplification, Knowledge, and Education of the Emotions through Conceptual Art.Elisa Caldarola - 2021 - Discipline Filosofiche (1).
    In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...)
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