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  1. Bertinetto Alessandro (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema (3):105-126.
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...)
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  2. Karl Aschenbrenner (1964). Aesthetics and Logic: An Analogy. Journal of Aesthetics and Art Criticism 23 (1):63-79.
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  3. Vincent Bergeron & Dominic McIver Lopes (2011). Aesthetic Theory and Aesthetic Science: Prospects for Integration. In Steven Palmer & Arthur Shimamura (eds.), , with Vincent Bergeron, Aesthetic Science: Connecting Minds, Brains, and Experience. Oxford University Press.
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  4. Cameron Buckner (2012). Ordering Our Attributions of Order. Essays in Philosophy 13 (2):423-429.
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  5. Roberto Casati (2004). Methodological Issues in the Study of the Depiction of Cast Shadows: A Case Study in the Relationships Between Art and Cognition. Journal of Aesthetics and Art Criticism 62 (2):163–174.
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  6. Clive Cazeaux (2005). Phenomenology and Radio Drama. British Journal of Aesthetics 45 (2):157-174.
    Radio drama is often considered an incomplete or ‘blind’ artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression. However, alternative theories of sensation are offered by phenomenology and—of particular importance to this study—the restructuring of cognition that takes place in these theories plays a central role in phenomenology's account of artistic expression. The significance of this phenomenological link between (...)
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  7. Tom Cochrane (2012). The Emotional Experience of the Sublime. Canadian Journal of Philosophy 42 (2):125-148.
    The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that attraction, (...)
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  8. Rory J. Conces (1994). Aesthetic Alienation and the Art of Modernity. Southwest Philosophy Review 10 (2):149-64.
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  9. Kenneth Dorter (1990). Conceptual Truth and Aesthetic Truth. Journal of Aesthetics and Art Criticism 48 (1):37-51.
  10. Catherine Z. Elgin (2000). Reorienting Aesthetics, Reconceiving Cognition. Journal of Aesthetics and Art Criticism 58 (3):219-225.
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  11. Russell Epstein (2004). Consciousness, Art, and the Brain: Lessons From Marcel Proust. Consciousness and Cognition 13 (2):213-40.
  12. Anna Ghiglione (2009). Deception in Chinese Buddhist Thinking : Reflections From the Lotus Sutra and the Vimalakirti Sutra. In Leslie Anne Boldt-Irons, Corrado Federici & Ernesto Virgulti (eds.), Disguise, Deception, Trompe-L'oeil: Interdisciplinary Perspectives. Peter Lang. 99--285.
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  13. Mitchell S. Green (2005). &Quot;you Don't See with Your Eyes, You Perceive with Your Mind&Quot;: Knowledge and Perception. In D. Darby & T. Shelby (eds.), Hip Hop and Philosophy. Open Court.
    A major theme in rap lyrics is that the only way to survive is to use your head, be aware, know what’s going on around you. That simple idea packs a lot of background. The most obvious ideas about knowledge turn out if you look at them close up to be pretty questionable. For example: How do we get knowledge about the world? A natural and ancient answer to this question is that much if not all of our knowledge comes (...)
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  14. James R. Hamilton (2006). Understanding Plays. In Saltz Krasner (ed.), Staging Philosophy.
    Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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  15. Tomas Georg Hellström (2011). Aesthetic Creativity: Insights From Classical Literary Theory on Creative Learning. Educational Philosophy and Theory 43 (4):321-335.
    This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and (...)
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  16. Fiona Hughes (2009). Review: Kukla, Aesthetics and Cognition in Kant's Critical Philosophy. [REVIEW] European Journal of Philosophy 17 (3):455-460.
  17. Peter Kivy (2007). Music, Language, and Cognition: And Other Essays in the Aesthetics of Music. Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, and (...)
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  18. Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. 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 to which they can (...)
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  19. Kevin Melchionne (2011). A New Problem for Aesthetics. Contemporary Aesthetics 9.
    The essay introduces the problem of aesthetic unreliability, the variety of ways in which it is difficult to grasp our aesthetic experience and the consequent confusion and unreliability of what we take as our taste.
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  20. Harold Osborne (1976). The New Sensibility of the 1960s. British Journal of Aesthetics 16 (2):99-107.
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  21. Peter Osborne (ed.) (2000). From an Aesthetic Point of View: Philosophy, Art, and the Senses. Serpent's Tail.
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  22. Robin Smith (1970). On Eliminating the Art Object. Dialectica 24 (4):261-6.
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  23. Stephen Snyder (2006). The End of Art: Hegel's Appropriation of Artistotle's Nous. The Modern Schoolman 83 (4):301-316.
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  24. Kathleen Stock & Katherine Thomson-Jones (eds.) (2008). New Waves in Aesthetics. Palgrave Macmillan.
    Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.
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  25. Dustin Stokes (2008). A Metaphysics of Creativity. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. 105--124.
  26. Marcus Verhaegh (2007). Aesthetics and Cognition in Kant's Critical Philosophy. Journal of the History of Philosophy 45 (2):336-337.
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  27. Frederic Will Jr (1955). Cognition Through Beauty in Moses Mendelssohn's Early Aesthetics. Journal of Aesthetics and Art Criticism 14 (1):97-105.
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