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Aesthetic Cognition

Edited by Brandon Cooke (Minnesota State University, Mankato)
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  1. Paul Ardenne (2006). Extrême: Esthétiques de la Limites Dépassée. Flammarion.
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  2. D. Cavedon-Taylor (2013). The Aesthetic Mind: Philosophy and Psychology, by Elisabeth Schellekens and Peter Goldie (Eds). Mind 122 (485):319-324.
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  3. David Clowney (2012). Savoring Disgust: The Foul and the Fair in Aesthetics by Korsmeyer, Carolyn. Journal of Aesthetics and Art Criticism 70 (2):233-235.
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  4. A. E. Denham (2013). Attuned, Transcendent & Transfigured: Nietzsche's Aesthetic Psychology. In Daniel Came (ed.), Nietzsche on Art & Life. Oxford.
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  5. I͡U. S. Druzhkin (2011). Tekhnika Khudozhestvennogo Transa.
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  6. V. Dura-Vila (2014). Courage in Art Appreciation: A Humean Perspective. British Journal of Aesthetics 54 (1):77-95.
    In this article I argue that a high capacity for courage, in the sense of the strength of character that enables one to face distress, angst or psychological pain, is required of Hume’s ideal critics just as the other well-known five characteristics are. I also explore the implications of my proposal for several aspects of Hume’s aesthetics, including the one brought into relief by Shelley’s interpretation of Hume along the lines of distinguishing between the perceptual and affective stages in aesthetic (...)
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  7. Nigel Fabb (2014). The Verse-Line as a Whole Unit in Working Memory, Ease of Processing, and the Aesthetic Effects of Form. Royal Institute of Philosophy Supplement 75:29-50.
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  8. Michael Haworth (2014). Genius Is What Happens: Derrida and Kant on Genius, Rule-Following and the Event. British Journal of Aesthetics 54 (3):323-337.
    This essay examines the concept of genius in the work of Jacques Derrida and Immanuel Kant and argues that, despite Derrida’s arguments to the contrary, there is significant space for convergence between the two accounts. This convergence is sought in the complex, paradoxical relationship between the invention of the new and the contextual conditions, or ‘rules’, from which any work of genius must depart but without which no work of genius would be possible. It is my argument that Kant evades (...)
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  9. Norbert Herold (1987). Review: Kaulbach, Kant's Aesthetic Cognition. Philosophy and History 20 (1):19-21.
  10. Arnold Isenberg (1949). Critical Communication. Philosophical Review 58 (4):330-344.
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  11. C. Korsmeyer (2012). Touch and the Experience of the Genuine. British Journal of Aesthetics 52 (4):365-377.
    Genuineness is an important property of objects that are rare, old, or preserved as memorials. Being genuine enhances economic value for objects such as works of art, and it is obviously critical for historical purposes, such as assessing the artefacts from a past culture. Here I argue that genuineness is also an aesthetic property that delivers an experience of its own. I contend that the sense of touch covertly operates in such experiences, as this sense conveys the impression of being (...)
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  12. Rafe Mcgregor (2012). Narrative, Emotion, and Insight Edited by Carroll, Noël and John Gibson. [REVIEW] Journal of Aesthetics and Art Criticism 70 (3):319-321.
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  13. Mina Ryōke (2009). Dentō Kōgei to Kansei Hyōka. Jaist Press.
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  14. R. Shusterman (2013). Body and the Arts: The Need for Somaesthetics. Diogenes 59 (1-2):7-20.
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  15. I. N. Shvanëva (2004). Linii͡a Krasoty: Fenomen Ėstetiki V Psikhologii. Rossiĭskai͡a Akademii͡a Estestvennykh Nauk.
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  16. Murray Smith (2014). Against Nature? Or, Confessions of a Darwinian Modernist. Royal Institute of Philosophy Supplement 75:151-182.
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  17. John Spackman (2012). Expressiveness, Ineffability, and Nonconceptuality. Journal of Aesthetics and Art Criticism 70 (3):303-314.
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  18. Matthew Strohl (2012). Horror and Hedonic Ambivalence. Journal of Aesthetics and Art Criticism 70 (2):203-212.
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  19. Qingbing Tong (2008). Tong Qingbing Tan Shen Mei Xin Li. Henan da Xue Chu Ban She.
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  20. Martin Tröndle, Volker Kirchberg & Wolfgang Tschacher (2014). Subtle Differences: Men and Women and Their Art Reception. Journal of Aesthetic Education 48 (4):65-93.
    While presenting this manuscript to art practitioners and art theorists, we noticed that there is great discomfort confronting this topic. Some questions raised were why is such research conducted, what is it good for, and does it impose preconceptions on men and women. Since Bourdieu and Darbel,1 it is widely assumed that sociodemographic factors such as education or profession have an impact on art reception. However, questions of basal sociodemographic factors like sex and age and their influence on art reception (...)
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  21. Deena Skolnick Weisberg (2014). The Development of Imaginative Cognition. Royal Institute of Philosophy Supplement 75:85-103.
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  22. Lingli Zhao & Hong Wang (eds.) (2010). Zhongguo Gong Min Shen Mei Xin Li Shi Zheng Yan Jiu =. Beijing da Xue Chu Ban She.
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Aesthetic Cognition, Misc
  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 (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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  4. 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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  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.
    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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  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). "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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  14. 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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  15. 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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  16. 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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  17. Fiona Hughes (2009). Review: Kukla, Aesthetics and Cognition in Kant's Critical Philosophy. [REVIEW] European Journal of Philosophy 17 (3):455-460.
  18. 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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  19. 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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  20. 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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  21. 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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  22. Harold Osborne (1976). The New Sensibility of the 1960s. British Journal of Aesthetics 16 (2):99-107.
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  23. Peter Osborne (ed.) (2000). From an Aesthetic Point of View: Philosophy, Art, and the Senses. Serpent's Tail.
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  24. Robin Smith (1970). On Eliminating the Art Object. Dialectica 24 (4):261-6.
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  25. Stephen Snyder (2006). The End of Art: Hegel's Appropriation of Artistotle's Nous. Modern Schoolman 83 (4):301-316.
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  26. 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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  27. Dustin Stokes (2008). A Metaphysics of Creativity. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. 105--124.
  28. 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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