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  1. John Bender (1987). Supervenience and the Justification of Aesthetic Judgments. Journal of Aesthetics and Art Criticism 46 (1):31-40.
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  2. John W. Bender (1996). Realism, Supervenience, and Irresolvable Aesthetic Disputes. Journal of Aesthetics and Art Criticism 54 (4):371-381.
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  3. Anna Bergqvist (2010). Why Sibley is Not a Generalist After All. British Journal of Aesthetics 50 (1):1-14.
    In his influential paper, ‘General Criteria and Reasons in Aesthetics’, Frank Sibley outlines what is taken to be a generalist view (shared with Beardsley) such that there are general reasons for aesthetic judgement, and his account of the behaviour of such reasons, which differs from Beardsley's. In this paper my aim is to illuminate Sibley's position by employing a distinction that has arisen in meta-ethics in response to recent work by Jonathan Dancy in particular. Contemporary research involves two related yet (...)
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  4. Roman Bonzon (2009). Thick Aesthetic Concepts. Journal of Aesthetics and Art Criticism 67 (2):191-199.
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  5. Emily Brady & Jerrold Levinson (eds.) (2001). Aesthetic Concepts: Essays After Sibley. Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  6. R. David Broiles (1964). Frank Sibley's "Aesthetic Concepts". Journal of Aesthetics and Art Criticism 23 (2):219-225.
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  7. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.
    My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...)
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  8. Malcolm Budd (2002). Sibley's Aesthetics. [REVIEW] Philosophical Quarterly 52 (207):237–246.
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  9. Alon Chasid (2004). Why the Pictorial Relation is Not Reference. British Journal of Aesthetics 44 (3):226-247.
    Nelson Goodman argued that the pictorial relation is reducible to reference. After explaining why previous attempts to refute this thesis of reduction have failed, I argue that in order to show that the thesis is indeed wrong we must find an aspect of pictures that is incompatible with it. I proceed to argue that there is indeed such an element to pictures. Ordinarily, a picture depicts its subject as having aesthetic properties. I show that the depiction of these properties requires (...)
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  10. Gregory Currie (1990). Supervenience, Essentialism and Aesthetic Properties. Philosophical Studies 58 (3):243 - 257.
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  11. Arthur C. Danto (1999). Indiscernibility and Perception: A Reply to Joseph Margolis. British Journal of Aesthetics 39 (4):321-329.
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  12. Rafael De Clercq (2008). The Structure of Aesthetic Properties. Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...)
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  13. Rafael de Clercq (2005). Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties. Journal of Aesthetics and Art Criticism 63 (1):27–32.
    The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.
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  14. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.
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  15. Johan de Smedt & Helen de Cruz (2011). A Cognitive Approach to the Earliest Art. Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  16. George Dickie (2004). Reading Sibley. British Journal of Aesthetics 44 (4):408-412.
    Haydar claim that Frank Sibley offers a criterion for distinguishing aesthetically valenced from non-aesthetically valenced properties. I argue that they have misunderstood what Sibley was doing and that he never even intended to offer any such criterion. They also argue that Sibley was wrong to claim that inherently aesthetic merits are reversible. They claim that aesthetic merits—for example, elegance—are irreversible and offer some arguments for their view. I produce a counterexample to their claim about elegance and suggest that such counterexamples (...)
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  17. George Dickie (1987). Beardsley, Sibley, and Critical Principles. Journal of Aesthetics and Art Criticism 46 (2):229-237.
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  18. Robin Dix (1986). Addison and the Concept of ‘Novelty’ as a Basic Aesthetic Category. British Journal of Aesthetics 26 (4):383-390.
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  19. Marcia Muelder Eaton (2001). Merit, Aesthetic and Ethical. Oxford University Press.
    To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.
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  20. Marcia Muelder Eaton (1998). Intention, Supervenience, and Aesthetic Realism. British Journal of Aesthetics 38 (3):279-293.
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  21. Marcia Muelder Eaton (1994). The Intrinsic, Non-Supervenient Nature of Aesthetic Properties. Journal of Aesthetics and Art Criticism 52 (4):383-397.
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  22. Fons Elders (2001). The Sublime and the Beautiful on Ontology and Creative Imagination. Vub University Press.
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  23. Jamie Forth, Geraint Wiggins & Alex McLean (2010). Unifying Conceptual Spaces: Concept Formation in Musical Creative Systems. [REVIEW] Minds and Machines 20 (4):503-532.
    We examine Gärdenfors’ theory of conceptual spaces, a geometrical form of knowledge representation (Conceptual spaces: The geometry of thought, MIT Press, Cambridge, 2000), in the context of the general Creative Systems Framework introduced by Wiggins (J Knowl Based Syst 19(7):449–458, 2006a; New Generation Comput 24(3):209–222, 2006b). Gärdenfors’ theory offers a way of bridging the traditional divide between symbolic and sub-symbolic representations, as well as the gap between representational formalism and meaning as perceived by human minds. We discuss how both these (...)
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  24. Laurence Foss (1971). Art as Cognitive: Beyond Scientific Realism. Philosophy of Science 38 (2):234-250.
    Thesis: Art like science radically affects our perceiving and thinking, and the two are substantially alike in that together--along with an inherited "natural" language system with which they overlap--they enable us to articulate the world. Science has been advanced as the measure of all things: scientific realism. By implication, art pertains to beauty, science truth. Science effects conceptual break-throughs, changes our models of natural order. On the contrary (I argue), as a nonverbal symbol system art similarly affects paradigm-induced expectations. Substantively (...)
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  25. Marcia P. Freedman (1968). The Myth of the Aesthetic Predicate. Journal of Aesthetics and Art Criticism 27 (1):49-55.
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  26. Gérard Genette (1999). The Aesthetic Relation. Cornell University Press.
    The Aesthetic Relation is a companion volume to The Work of Art: Immanence and Transcendence, published by Cornell in 1997.
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  27. James Grant (2013). The Critical Imagination. Oxford University Press.
    The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...)
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  28. James Grant (2011). Metaphor and Criticism BSA Prize Essay, 2010. British Journal of Aesthetics 51 (3):237-257.
    The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...)
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  29. Michel ter Hark (2010). Experience of Meaning, Secondary Use and Aesthetics. Philosophical Investigations 33 (2):142-158.
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  30. Hilde Hein (1968). Play as an Aesthetic Concept. Journal of Aesthetics and Art Criticism 27 (1):67-71.
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  31. William H. Hyde (1978). What Else Makes Aesthetic Terms Aesthetic? Philosophy and Phenomenological Research 39 (1):124-130.
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  32. Peter Kivy (1981). Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman. Philosophical Investigations 4 (1):35-38.
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  33. Peter Kivy (1979). Aesthetic Concepts: Some Fresh Considerations. Journal of Aesthetics and Art Criticism 37 (4):423-432.
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  34. Peter Kivy (1975). What Makes "Aesthetic" Terms Aesthetic? Philosophy and Phenomenological Research 36 (2):197-211.
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  35. Peter Kivy (1968). Aesthetic Aspects and Aesthetic Qualities. Journal of Philosophy 65 (4):85-93.
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  36. Felicia Kruse (2007). Is Music a Pure Icon? Transactions of the Charles S. Peirce Society 43 (4):626 - 635.
    : In his landmark book, Peirce's Theory of Signs, T. L. Short argues that music signifies as a pure icon. A pure icon, according to Peirce, is not a likeness. It "does not draw any distinction between itself and its object" (EP2:163), and it "serves as a sign solely and simply by exhibiting the quality it serves to signify" (EP2:306). In music, this quality consists of the specifically musical feelings or ideas contained in the piece in question, and such musical (...)
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  37. Jerrold Levinson (ed.) (2003). Oxford Companion to Aesthetics. Oxford University Press.
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  38. Paisley Livingston (2003). On an Apparent Truism in Aesthetics. British Journal of Aesthetics 43 (3):260-278.
    It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...)
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  39. J. F. Logan (1967). More on Aesthetic Concepts. Journal of Aesthetics and Art Criticism 25 (4):401-406.
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  40. Colin Lyas (1996). Frank Sibley: In Memoriam. British Journal of Aesthetics 36 (4):345-355.
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  41. JE MacKinnon (2001). Aesthetic Supervenience: For and Against. British Journal of Aesthetics 41 (1):59-75.
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  42. John E. MacKinnon (2000). Scruton, Sibley, and Supervenience. Journal of Aesthetics and Art Criticism 58 (4):383-392.
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  43. John Neil Martin (2008). The Lover of the Beautiful and the Good: Platonic Foundations of Aesthetic and Moral Value. Synthese 165 (1):31 - 51.
    Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated gradable (...)
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  44. Derek Matravers (2002). Review: Aesthetic Concepts: Essays After Sibley. [REVIEW] Mind 111 (444):912-916.
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  45. Derek Matravers (1996). Aesthetic Concepts and Aesthetic Experiences. British Journal of Aesthetics 36 (3):265-279.
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  46. Derek Matravers & Jerrold Levinson, Aesthetic Properties 1 - Derek Matravers.
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
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  47. R. Meager (1970). Aesthetic Concepts. British Journal of Aesthetics 10 (4):303-322.
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  48. Aaron Meskin (2004). Aesthetic Concepts: Essays After Sibley. [REVIEW] British Journal of Aesthetics 44 (1):90-93.
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  49. Bertram Morris (1935). Metaphysics of Beauty. Journal of Philosophy 32 (22):596-604.
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  50. Mary Mothersill (1961). "Unique" as an Aesthetic Predicate. Journal of Philosophy 58 (16):421-437.
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