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  1. Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  2. Denis Dutton (2001). Aesthetic Universals. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 203--214.
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  3. Gene Fendt (1997). The Others In/Of Aristotle's Poetics. Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis (...)
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  4. 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 explain (...)
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  5. Tadashi Ogawa & Barry Smith (1995). Editorial Preface. The Monist 78 (1):3-4.
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  6. Martina Sauer (2015). Visualität Und Geschichte. Bilder Als Historische Akteure Im Anschluss an Verköperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
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  7. Martina Sauer (2015). Now upload of the original text: Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verkörperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
    What we see in pictures, to what extend is it relevant for the future? Instead of looking for the answer in the representation, it is the perception itself as theories of embodiment suggest which can be made responsible for it. -/- Ist das, was wir in Bildern sehen, für die Zukunft relevant? Statt die Antwort in der Darstellung zu suchen, ist es die Wahrnehmung selbst, wie es Verkörperungstheorien nahelegen, die dafür verantwortlich gemacht werden kann.
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  8. Martina Sauer (2014). Aesthetik und Pragmatismus. Zur funktionalen Relevanz einer nicht-diskursiven Formauffassung bei Cassirer, Langer und Krois. Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 20 (2):49-69.
    To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this assumption. -/- Inwieweit hat Ästhetik eine Relevanz für das Leben? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Annahme.
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  9. Jakob Zaaiman (2012). What is Art ? A Philosophical Definition. Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
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