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  1. James Andow (forthcoming). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica:1-8.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon aesthetic testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with (...)
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  2. Antony Aumann (2013). Kierkegaard, Paraphrase, and the Unity of Form and Content. Philosophy Today 57 (4):376-387.
    On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...)
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  3. Jiri Benovsky (2011). Three Kinds of Realism About Photographs. Journal of Speculative Philosophy 25 (4):375-395.
    In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...)
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  4. R. Berger (1990). Science and Art: The New Golem: From the Transdisciplinary to an Ultra-Disciplinary Epistemology. Diogenes 38 (152):124-146.
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  5. Charles B. Daniels (1988). Philosophy of the Film: Epistemology, Ontology, Aesthetics Ian Jarvie New York and London: Routledge & Kegan Paul, 1987. Pp. 407. $41.50. [REVIEW] Dialogue 27 (03):554-.
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  6. Fabian Dorsch (2013). Non‐Inferentialism About Justification – The Case of Aesthetic Judgements. Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non-inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower-level features of the objects concerned. The second objection maintains that non-inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...)
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  7. Anoop Gupta (2010). Rethinking Aristotle's Poetics : The Pragmatic Aspect of Art and Knowledge. Journal of Aesthetic Education 44 (4):60-80.
    And in general it is a sign of the man who knows and of the man who does not know that the former can teach, and therefore we think art more truly knowledge than experience is; for the artist can teach, and men of experience cannot. When pragmatism first gained favor in the early twentieth century, some British philosophers like Russell regarded it as evidencing their perception of America’s crude and enterprising spirit.1 The Imperial jab lay in this: that just (...)
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  8. Matthew Kieran (2010). The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation. Philosophical Quarterly 60 (239):243-263.
    Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...)
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  9. Sacha Loeve (2011). Sensible Atoms: A Techno-Aesthetic Approach to Representation. [REVIEW] NanoEthics 5 (2):203-222.
    This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...)
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  10. Dominic Lopes & Matthew Kieran (eds.) (2006). Knowing Art: Essays in Epistemology and Aesthetics. Springer.
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  11. 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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  12. Mark Reybrouck (2005). A Biosemiotic and Ecological Approach to Music Cognition: Event Perception Between Auditory Listening and Cognitive Economy. [REVIEW] Axiomathes. An International Journal in Ontology and Cognitive Systems. 15 (2):229-266.
    This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...)
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