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  1. Antony Aumann (2014). The Relationship Between Aesthetic Value and Cognitive Value. Journal of Aesthetics and Art Criticism 72 (2):117-127.
    It is sometimes held that “the aesthetic” and “the cognitive” are separate categories. Enterprises concerning the former and ones concerning the latter have different aims and values. They require distinct modes of attention and reward divergent kinds of appreciation. Thus, we must avoid running together aesthetic and cognitive matters. In this paper, I challenge the independence of these categories, but in unorthodox fashion. Most attempts proceed by arguing that cognitive values can bear upon aesthetic ones. I approach from the opposite (...)
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  2. Christopher Bartel (2010). Originality and Value. Hermenia:66-77.
    What does it mean to describe a work of art as being ‘original’? Frank Sibley believed that works of art are not valued for their originality independently of their aesthetic value. He argued that a work may be described as being ‘original’ if it is innovative and also exhibits some further aesthetic value. In this essay, I argue against this conjunctive account of originality as some kind of innovation-plus-value. I claim that a work may be valued for and described as (...)
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  3. Timothy W. Bartel (1979). Appreciation and Dickie's Definition of Art. British Journal of Aesthetics 19 (1):44-52.
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  4. John W. Bender (1995). General but Defeasible Reasons in Aesthetic Evaluation: The Particularist/Generalist Dispute. Journal of Aesthetics and Art Criticism 53 (4):379-392.
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  5. Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  6. Roger Clark (1984). Historical Context and the Aesthetic Evaluation of Forgeries. Southern Journal of Philosophy 22 (3):317-321.
    The article attempts refute recent arguments that the historical context in which an artwork is produced is relevant to its aesthetic value. These arguments claim that forgeries are intrinsically less aesthetically valuable than originals because forgeries lack the appropriate relation to the past. These arguments fail because demanding an "appropriate" historical context of a work for it to be aesthetically respectable confuses aesthetic merit with artistic merit, A work's significance within its culture and the history of art.
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  7. Stephen R. L. Clark (2003). Tolstoy on Aesthetics: What is Art? By H. O. Mounce (Ashgate: Aldershot, 2001), Pp Viii + 115, £Xxxx, ISBN 0 7546 0488 8. [REVIEW] Philosophy 78 (2):289-307.
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  8. Robert R. Clewis (2008). Greenberg, Kant, and Aesthetic Judgments of Modernist Art. AE: Canadian Aesthetics Journal 18.
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  9. Oliver Conolly & Bashshar Haydar (2005). Irreversible Generalism: A Reply to Dickie. British Journal of Aesthetics 45 (3):289-295.
    Irreversible generalism, the view that reasons given for the evaluation of art are general and do not admit of exceptions, is defended from the criticisms levelled against it by George Dickie in ‘Reading Sibley’. The authors' view that Frank Sibley adhered to a form of reversible generalism, the view that reasons given for the evaluation of art are general but can sometimes become reasons to disvalue artworks, according to which there a criterion for distinguishing valenced from neutral aesthetic properties, is (...)
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  10. Oliver Conolly & Bashshar Haydar (2003). Aesthetic Principles. British Journal of Aesthetics 43 (2):114-125.
    We give reasons for our judgements of works of art. (2) Reasons are inherently general, and hence dependent on principles. (3) There are no principles of aesthetic evaluation. Each of these three propositions seems plausible, yet one of them must be false. Illusionism denies (1). Particularism denies (2). Generalism denies (3). We argue that illusionism depends on an unacceptable account of the use of critical language. Particularism cannot account for the connection between reasons and verdicts in criticism. Generalism comes in (...)
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  11. Phillip Deen (2011). Interactivity, Inhabitation and Pragmatist Aesthetics. Game Studies 11 (2).
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  12. Caleb Dewey (2015). Interpretive Pluralism & Morality in Art. The Oracle 9.
    In this essay, I propose a revision to the ongoing debate about whether moral disvalue can contribute to aesthetic value in artworks. To do so, I begin by formalizing the arguments provided by the leading opponents in the debate, Carroll and Eaton. I find that both Carroll and Eaton share a common, flawed premise - that there is a single internal perspective of an artwork. I then argue that this interpretive monism cannot be true by creating a schematic method to (...)
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  13. Fabian Dorsch (2007). Sentimentalism and the Intersubjectivity of Aesthetic Evaluations. 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 cannot (...)
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  14. Andreas Dorschel (2006). Über Kanonisierung. Musiktheorie 21 (1):6-12.
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  15. Andreas Dorschel (2005). Was heißt konservativ in der Kunst? Das Horn im 19. Jahrhundert und das Es-Dur-Trio op. 40 von Johannes Brahms: eine ästhetische Fallstudie. Brahms-Studien 14:55-66.
    What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.
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  16. Andreas Dorschel (2004). Was ist musikalische Wertungsforschung? Jahrbuch des Staatlichen Instituts Für Musikforschung Preußischer Kulturbesitz:371-385.
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  17. C. E. Emmer (1998). Kitsch Against Modernity. Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  18. Karen Hanson (1998). How Bad Can Good Art Be? In Jerrold Levinson (ed.), Aesthetics and Ethics. Cambridge University Press 204-226.
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  19. James Harold (2010). The Value of Fictional Worlds (or Why 'the Lord of the Rings' is Worth Reading). Contemporary Aesthetics 8.
    Some works of fiction are widely held by critics to have little value, yet these works are not only popular but also widely admired in ways that are not always appreciated. In this paper I make use of Kendall Walton’s account of fictional worlds to argue that fictional worlds can and often do have value, including aesthetic value, that is independent of the works that create them. In the process, I critique Walton’s notion of fictional worlds and offer a defense (...)
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  20. James Harold (2008). Immoralism and the Valence Constraint. British Journal of Aesthetics 48 (1):45-64.
    Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...)
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  21. Robert Hopkins (2006). Painting, History, and Experience. Philosophical Studies 127 (1):19-35.
    Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, we should follow Wollheim in adopting a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, we need to state what makes a particular experience appropriate to the (...)
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  22. Walter Horn (forthcoming). Tonality, Musical Form, and Aesthetic Value. Perspectives of New Music 53.
    It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...)
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  23. Daniel Jacobson (1997). In Praise of Immoral Art. Philosophical Topics 25 (1):155-199.
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  24. C. Kirwin (2011). Why Sibley Is (Probably) Not a Particularist After All. British Journal of Aesthetics 51 (2):201-212.
    Anna Bergqvist claims that Frank Sibley—despite his own claims to the contrary—should be considered a particularist when it comes to aesthetics. In this paper I argue that whilst Sibley does hold many of the views that Dancy advances in his Ethics without Principles , Bergqvist is certainly wrong to present Sibley's position as ‘uncontroversially’ particularist. In fact, the relationship between Sibley's account of judgement in aesthetics and Dancy's ethical particularism serves to highlight several ambiguities involved in the particularist–generalist debate as (...)
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  25. P. D. Magnus, Cristyn Magnus & Christy Mag Uidhir (2013). Judging Covers. Journal of Aesthetics and Art Criticism 71 (4):361-370.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
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  26. Mohan Matthen (forthcoming). The Pleasure of Art. Australasian Philosophical Review 1 (1).
    This paper presents a new account of pleasure. Aesthetic engagement for pleasure is a distinct psychological structure, marked by a characteristic self-reinforcing motivation. Pleasure figures in this structure in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, pleasure keeps aesthetic engagement running smoothly. Over longer periods, it plays a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a (...)
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  27. Mohan Matthen (2015). Play, Skill, and the Origins of Perceptual Art. British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to (...)
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  28. Patrick Maynard (1996). Form. In The Grove Dictionary of Art. Macmillan
    'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
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  29. J. W. McAllister, Dirac and the Aesthetic Evaluation of Theories.
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  30. Rafe Mcgregor (2013). Moderate Autonomism Revisited. Ethical Perspectives 20 (3):403-426.
    In this paper I propose a new argument for moderate autonomism. I call this the ‘critical argument’ to distinguish it from the empirical argument of James C. Anderson and Jeffrey T. Dean, and the no-error argument of James Harold. My strategy is to first employ the criticism of Matthew Arnold and F.R. Leavis to demonstrate the moralist failure to account for the complexity of the relationship between literature and morality, and then offer a more promising alternative. I set out the (...)
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  31. Christopher Mole (2009). The Matter of Fact in Literature. International Journal of Philosophical Studies 17 (4):483-502.
    Some works of literature are compromised because their authors get the facts wrong. In other works deviations from the facts don’t seem to matter, and authors quite legitimately make things up. This paper gives an account of the various ways in which matters of fact can make a difference to the aesthetic value of works of literature. It concludes by showing how this account can be applied in determining when a concern with matters of fact is an important part of (...)
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  32. Jonathan Neufeld (2006). Review of Matthew Kieran, Revealing Art. [REVIEW] Notre Dame Philosophical Reviews 2006 (2).
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  33. Andrea Sauchelli (2014). Sibley on ‘Beautiful’ and ‘Ugly’. Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  34. Andrea Sauchelli (2013). Functional Beauty, Perception, and Aesthetic Judgements. British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  35. Andrea Sauchelli (2012). On Architecture as a Spatial Art. Nordic Journal of Aesthetics 23 (43):53-64.
    I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as (non-spatial) function, materials, ornamentation, and so on cannot all be reduced to spatial values.
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  36. Martina Sauer (2016). Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern im Anschluss an Cassirer, Langer und Krois. In Grabbe Lars Christian & Rupert-Kruse Patrick (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Büchner Verlag 46-71.
    Der alltägliche Medienkonsum lässt keinen Zweifel, das Wahrnehmen von bewegten Bildern unterschiedlicher Medien ist von einem unmittelbaren Erleben und Verstehen geprägt. Entsprechende Forschungen in diesem Feld eröffneten, dass die auf uns einstürmenden Reizmuster nicht nur mental, sondern auch körperlich verarbeitet werden. Mit der nachfolgenden Untersuchung soll darauf aufbauend die These vertreten werden, dass die einströmenden Reize nicht allein visuell, sondern multimodal, mit allen Sinnen und darüber hinaus affektiv verarbeitet werden. Die klassische Bindung eines Sinnesorgans an ein Medium, auf deren Abgrenzung (...)
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  37. Michael Scriven (1966). The Objectivity of Aesthetic Evaluation. The Monist 50 (2):159-187.
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  38. Aaron Smuts (2014). Cinematic. Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...)
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  39. Christine Tappolet (1993). Music Alone. Philosophical Reflections on the Purely Musical Experience, by Peter Kivy. [REVIEW] Mind 102 (406).
    A critical review of Peter Kivy's "Music Alone: Philosophical Reflections on the Purely Musical Experience" Cornelle, Cornell University Press, 1990.
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  40. D. H. J. Warner (1968). Good-Making and Beauty-Making Characteristics an Exercise in Moral and Aesthetic Evaluation. Ethics 78 (2):124-143.
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  41. James O. Young (2010). Art and the Educated Audience. Journal of Aesthetic Education 44 (3):29-42.
    When writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art world. My goal in this essay is to do something to end the neglect of the audience. I will focus (...)
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  42. Nick Zangwill (2005). Rocks and Sunsets: A Defence of Ignorant Pleasures. Rivista di Estetica 45 (2).
    §1. How much do we have to know about what we evaluate? Many aestheticians say that all or most aesthetic evaluations of artworks and natural things require that we know not just about its immediately perceivable aspects but also about its history or deeper nature or wider role. I agree that quite a lot of aesthetic evaluation is like this. But I also think that much is not. Much of our aesthetic life is a matter of a relatively uninformed aesthetic (...)
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  43. John Zeimbekis (2003). Propriétés Esthétiques Et Évaluation. Revue Francophone D'Esthétique (1):25-47.
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