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  1. Bertinetto Alessandro (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema: International Journal of Philosophy (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. Emmanuel Alloa (2015). Could Perspective Ever Be a Symbolic Form? Revisiting Panofsky with Cassirer. Journal of Aesthetics and Phenomenology 2 (1):51-72.
    Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...)
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  3. Karl Aschenbrenner (1964). Aesthetics and Logic: An Analogy. Journal of Aesthetics and Art Criticism 23 (1):63-79.
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  4. Christoph Baumberger (2013). Art and Understanding. In Defence of Aesthetic Cognitivism. In Marc Greenlee, Rainer Hammwöhner, Bernd Köber, Christoph Wagner & Christian Wolff (eds.), Bilder sehen. Perspektiven der Bildwissenschaft. Schnell + Steiner 41-67.
    Aesthetic cognitivism is best thought of as a conjunction of an epistemic and an aesthetic claim. The epistemic thesis is that artworks have cognitive functions, the aesthetic thesis that cognitive functions of artworks partly determine their artistic value. In this article, my first aim is to defend the epistemic thesis of aesthetic cognitivism. Since it seems undeniable that artworks have cognitive functions, yet less clear whether they have them as artworks, I will focus on cognitive functions that plausibly belong to (...)
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  5. Vincent Bergeron & Dominic McIver Lopes (2012). 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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  6. Guy Bouchard (1986). Henri Maldiney, Art et existence. [REVIEW] Philosophy in Review 6:505-507.
    Cet ouvrage se propose de "dire ce qu'est la présence de l'oeuvre d'art dans ce qu'elle a d'absolument propre et qui est son être même: sa façon d'être le 'là'". Dans cette entreprise, une métaphysique de la présence, associée à une ontologie du Rien, scande l'écoute de l'oeuvre d'art. Les autres types d'approche sont disqualifiés sans procès, "la" sémiotique, par exemple, n'étant représentée que par un article encyclopédique. Le propos de l'auteur, en fait, s'inscrit dans un espace fort voisin de (...)
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  7. Miro Brada, Chess Composition as an Art.
    The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.
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  8. Maria Brincker (2015). The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder. In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  9. Cameron Buckner (2012). Ordering Our Attributions of Order. Essays in Philosophy 13 (2):423-429.
    In her target article, Jennifer McMahon argues that we understand art not by explicitly interpreting “raw percepts,” but rather by engaging with our implicit tendencies to interpret complex stimuli in terms of culturally-engrained preconceptions and narratives. These attributions of order require a shared conceptual and cultural background, and thus one might worry that in denying access to raw percepts, the view dulls art’s critical edge. Against this worry, McMahon argues that art can continue to create and innovate by inviting us (...)
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  10. Roberto Casati (2003). 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.
    The relationships between art and cognition constitute a very wide set of largely unexplored and at times undefined or much too speculative problems. The field is narrowed down by imposing some constraints. It is proposed that the depiction of cast shadows, in its early history, could provide an ideal case study which conforms to the constraints. This paper addresses some methodological problems of the study of this case. A sample of relevant Renaissance images is discussed. A typology of depicted cast (...)
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  11. 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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  12. 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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  13. Rory J. Conces (1994). Aesthetic Alienation and the Art of Modernity. Southwest Philosophy Review 10 (2):149-64.
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  14. Andrés-Francisco Contreras (2015). Arte, Historia y Lenguaje: La Perspectiva Ontológica de Verdad y Método. In Daniel Jerónimo Tobón Giraldo (ed.), Arte, hermenéutica y cultura: homenaje a Javier Domínguez Hernández. Facultad de Artes, Universidad de Antioquia 82-92.
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  15. Kenneth Dorter (1990). Conceptual Truth and Aesthetic Truth. Journal of Aesthetics and Art Criticism 48 (1):37-51.
  16. Catherine Z. Elgin (2000). Reorienting Aesthetics, Reconceiving Cognition. Journal of Aesthetics and Art Criticism 58 (3):219-225.
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  17. Russell Epstein (2004). Consciousness, Art, and the Brain: Lessons From Marcel Proust. Consciousness and Cognition 13 (2):213-40.
    In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...)
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  18. Daan Evers & Natalja Deng (2016). Acknowledgement and the Paradox of Tragedy. Philosophical Studies 173 (2):337-350.
    We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.
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  19. 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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  20. Mitchell S. Green (2005). "You Don't See with Your Eyes, You Perceive with Your Mind": 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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  21. Susan Haack (1995). Vulgar Pragmatism. In Herman J. Saatkamp (ed.), Rorty & Pragmatism: The Philosopher Responds to His Critics. Vanderbilt University Press 136.
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  22. 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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  23. 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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  24. Fiona Hughes (2009). Review: Kukla, Aesthetics and Cognition in Kant's Critical Philosophy. [REVIEW] European Journal of Philosophy 17 (3):455-460.
  25. Christoph Jäger (2005). Kunst, Kontext und Erkenntnis. In Christoph Jäger & Georg Meggle (eds.), Kunst und Erkenntnis. Mentis 9-39.
  26. Pedro Karczmarczyk (2007). La subjetivización de la estética y el valor cognitivo del arte según Gadamer. Analogía Filosófica: Revista de Filosofía, Investigación y Difusión (1):127-173.
    En este trabajo analizamos la reivindicación gadameriana del valor cognitivo de arte como un ejemplo de un modo de conocimiento que permite concebir de mejor manera la comprensión que tiene lugar en las ciencias del espíritu. Dicha reivindicación presupone el desconocimiento del valor cognitivo del arte operado por la subjetivización de la estética con Kant y una vuelta a los presupuestos de la tradición humanista. Por ello en la introducción presentamos en esquema los conceptos humanistas de tacto, gusto, sentido común (...)
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  27. 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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  28. 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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  29. 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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  30. Harold Osborne (1976). The New Sensibility of the 1960s. British Journal of Aesthetics 16 (2):99-107.
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  31. Peter Osborne (ed.) (2000). From an Aesthetic Point of View: Philosophy, Art, and the Senses. Serpent's Tail.
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  32. Ray Scott Percival (2016). Does the New Classicism Need Evolutionary Theory? In Elizabeth Millán (ed.), After the Avant-Gardes: Reflections on the Future of the Fine Arts. Open Court Publishing Company 109 - 125.
    Drawing on work on modularity of mind and evolutionary psychology, I explore how evolutionary theory may support a return to classical artistic standards (the new classicism). At the same time, I argue for much that is admirable in the avant garde. I connect this question to the theory of epistemology and aesthetic biases, suggesting that aesthetics embody evolved knowledge.
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  33. Robin Smith (1970). On Eliminating the Art Object. Dialectica 24 (4):261-6.
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  34. Stephen Snyder (2006). The End of Art: Hegel's Appropriation of Artistotle's Nous. Modern Schoolman 83 (4):301-316.
    This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...)
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  35. Klaus Speidel (2014). Activer les concepts. Allers-retours entre art et philosophie. Rue Descartes 80 (1):62.
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  36. 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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  37. Dustin Stokes (2008). A Metaphysics of Creativity. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan 105--124.
  38. Małgorzata A. Szyszkowska (2011). Pojęcie idealnej granicy w estetyce dzieła muzycznego Romana Ingardena. Aspekty Muzyki 1:203-225.
    Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...)
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  39. Małgorzata A. Szyszkowska (1997). Uwagi na temat czasu i przestrzeni, ich przeżywania i doświadczania. Sztuka I Filozofia (Art and Philosophy) 14:127-141.
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  40. Marcus Verhaegh (2007). Aesthetics and Cognition in Kant's Critical Philosophy. Journal of the History of Philosophy 45 (2):336-337.
    Marcus Verhaegh - Aesthetics and Cognition in Kant's Critical Philosophy - Journal of the History of Philosophy 45:2 Journal of the History of Philosophy 45.2 336-337 Muse Search Journals This Journal Contents Reviewed by Marcus Verhaegh Grand Valley State University Rebecca Kukla, editor. Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge-New York: Cambridge University Press, 2006. Pp. xiii + 309. Cloth, $75.00. This collection of essays focuses on the Critique of Judgment, a work that offers material in aesthetics, but that (...)
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  41. Christian Helmut Wenzel (2016). Aesthetics and Rule Following. Contributions of the Austrian Ludwig Wittgenstein Society 24:260-262.
    In this essay I point out parallels between Kant’s theory of aesthetics and Wittgenstein’s discussion of rule following. Although Wittgenstein did not write an aesthetics and Kant did not discuss Wittgensteinian rule-following problems, and although both Kant and Wittgenstein begin at very different starting points and use different methods, they end up dealing with similar issues, namely issues about rules, particularity, exemplarity, objectivity, practice, and as-if statements.
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  42. 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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