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  1. Lars Aagaard-Mogensen & Göran Hermerén (eds.) (1980). Contemporary Aesthetics in Scandinavia. Doxa.
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  2. Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at obvious variance with our experience of the art of the past. Analytic aesthetics avoids examining this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should (...)
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  3. 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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  4. Derek Allan, Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  5. Derek Allan (2016). The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux. History of European Ideas.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist (...)
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  6. Derek Allan (2016). Vanquishing Temporal Distance: Malraux, Art and Metamorphosis. Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  7. Derek Allan (2014). André Malraux. In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  8. Andrea Baldini (2016). Street Art: A Reply to Riggle. Journal of Aesthetics and Art Criticism 74 (2):187-191.
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  9. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  10. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  11. Martijn Boven (2008). Wat vastgelegd is, misleidt ons: de Cahiers van Paul Valéry. Deus Ex Machina 127:5-6.
    Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...)
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  12. Miro Brada, Chess Composition as an Art.
    The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.
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  13. Aili Bresnahan (2013). Censorship as Catalyst for Artistic Innovation. Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  14. David E. Cooper (forthcoming). Music, Nature and Ineffability. Philosophia:1-10.
    In the final chapter of his Ineffability and Religious Experience, Guy Bennett-Hunter proposes that the ineffable may be ‘bodied forth’ through works of art and ritual, and hence engage with our lives. By way of supporting this proposal, this paper discusses some relationships between experiences of music and of natural environments. It is argued that several aspects of musical experience encourage a sense of convergence or intimacy between human practice and nature. Indeed, these aspects suggest a codependence between culture and (...)
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  15. Laura D'Olimpio (2014). Thoughts on Film: Critically Engaging with Both Adorno and Benjamin. Educational Philosophy and Theory 48 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...)
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  16. Stephen Davies (2007). Balinese Aesthetics. Journal of Aesthetics and Art Criticism 65 (1):21–29.
    According to the Balinese expert, Dr. Anak Agung Mad ´e Djelantik, “no writings about aesthetics specifically as a discipline exist in Bali.”1 The arts are discussed in ancient palm leaf texts, but mainly in connection with religion, spirituality, ceremony, and the like. However, there are famous accounts by expatriate Westerners and anthropologists.2 There have also been collaborations between Balinese and Western scholars.3 In addition, there is a significant literature written in Indonesian by Balinese experts, beginning in the 1970s.4 Considerable experience (...)
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  17. Marjolaine Deschênes (2015). L'attention aux récits sur soi. Paul Ricoeur et Carol Gilligan autour du tragique freudien. Logoi.Ph (En Ligne: Http://Logoi.Ph) 1 (2):322-338.
    This article shows that Paul Ricoeur and Carol Gilligan develop their theories of the self by borrowing critically from Freudian aesthetics, adding an ethical dimension missing in it. Ricoeur critiques, completes and endorses the Freudian interpretation of the Oedipus, while Gilligan rejects it, since she considers it distorted by patriarchal ideology. Both are reclaiming the Freudian theory of culture by focusing on what Freud called the «life drive» as opposed to the «death drive». But Ricoeur does not pay the same (...)
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  18. Ryan Drake (2013). Aristotelian Aisthesis and the Violence of Suprematism. Epoché: A Journal for the History of Philosophy 18 (1):49-66.
    Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the very (...)
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  19. Corey W. Dyck (2004). Spirit Without Lines: Kant's Attempt to Reconcile the Genius with Society. Idealistic Studies 34 (2):151-62.
    In the Anthropology, Kant wonders whether the genius or the individual possessing perfected judgment has contributed more to the advance of culture. In the KU, Kant answers this question definitively on the side of those with perfected judgment. Nevertheless, occurring as it does in §50 of the KU, immediately after Kant’s celebration of the genius in §49, this only raises more questions. Kant rejects the genius in favour of the individual of taste as an advancer of culture, yet under what (...)
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  20. Filippo Fimiani (2010). Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...)
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  21. Michalle Gal (2015). Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG.
    This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...)
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  22. Dustin Garlitz (2014). Avant-Garde. In Sherwood Thompson (ed.), Encyclopedia of Diversity and Social Justice. Rowman & Littlefield Publishers
  23. Dustin Garlitz (2014). Oral Tradition. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  24. Dustin Garlitz (2014). Relativism, Cultural. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  25. Paul Giladi (2016). Embodied Meaning and Art as Sense-Making: A Critique of Beiser’s Interpretation of the ‘End of Art Thesis'. Journal of Aesthetics and Culture 8:http://dx.doi.org/10.3402/jac.v8.
    The aim of this paper is to challenge Fred Beiser’s interpretation of Hegel’s meta-aesthetical position on the future of art. According to Beiser, Hegel’s comments about the ‘pastness’ of art commit Hegel to viewing postromantic art as merely a form of individual self-expression. I both defend and extend to other territory Robert Pippin’s interpretation of Hegel as a proto-modernist, where such modernism involves (i) his rejection of both classicism and Kantian aesthetics, and (ii) his espousal of what one may call (...)
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  26. Eran Guter (2011). A Surrogate for the Soul: Wittgenstein and Schoenberg. In Enzo De Pellegrin (ed.), Interactive Wittgenstein. Springer 109--152.
    This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...)
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  27. Cristian Hainic (2012). The Societal Dimension of Art: On Mara Raţiu’s Art as Social Activity. [REVIEW] Journal for Communication and Culture 2 (1):105-109.
    REVIEW OF Raţiu, Mara. Arta ca activitate socială: avatarurile discursului filosofic asupra artei contemporane (Art as Social Activity: The Avatars of Philosophical Discourse on Contemporary Art). Cluj-Napoca: Casa Cărţii de Ştiinţă, 2011.
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  28. Rebecca Longtin Hansen (2013). Between Theory and Praxis: Art as Negative Dialectics. Studies in Social and Political Philosophy 21:36-51.
    This paper takes up Adorno’s aesthetics as a dialectic between philosophy and art. In doing so, I argue that art provides a unique way of mediating between theory and practice, between concepts and experience, and between subjectivity and objectivity, because in art these relations are flexible and left open to interpretation, which allows a form of thinking that can point beyond itself. Adorno thus uses reflection on art as a corrective for philosophy and its tendency towards ideology.
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  29. Steve Jones (2012). Mindful Violence? The Rambo Series’ Shifting Aesthetic of Aggression. New Review of Film and Television Studies 10 (4).
    Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...)
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  30. Steve Jones (2012). Mindful Violence? The Rambo Series’ Shifting Aesthetic of Aggression. New Review of Film and Television Studies 10 (4).
    Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...)
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  31. Gavin Keeney, Pure Visuality: Notes on Intellection & Form in Art & Architecture.
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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  32. Machiel Keestra (2014). Conflict & Compassie: een hedendaagse blik op Wagner en een wagneriaanse blik op onszelf. In Rutger Helmers & Philip Westbroek (eds.), Conflict en compassie. 200 jaar Richard Wagner. Nationale Opera & Ballet 157-166.
    (text in Dutch) Mediated by the so-called Dream-organ ('Traumorgan') which opera composer Richard Wagner mentions in his writings, the author engages in a fictitious dialogue with Wagner. Their dialogue focuses on a few topics related to the conference theme 'Conflict and compassion' that were of concern to Wagner in his days and which have undergone some serious changes since his death. The author discusses with Wagner the 'death of tragedy', sexuality and desire after the sexual revolution, the attractivity of musical (...)
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  33. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley
  34. Hans Maes (2011). Drawing the Line: Art Versus Pornography. Philosophy Compass 6 (6):385-397.
    Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...)
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  35. John Marmysz (2003). Laughing at Nothing: Humor as a Response to Nihilism. SUNY Press.
    Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...)
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  36. John Marmysz (2002). War, Occupation, and Creativity. [REVIEW] Consciousness, Literature and the Arts 3 (2).
    A review of War, Occupation, and Creativity: Japan and East Asia 1920-1960, edited by Marlene Mayo and Thomas Rimer, with H. Eleanor Kerkham.
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  37. John Marmysz (1996). From Night to Day: Nihilism and the Living Dead. Film and Philosophy 3:138-143.
    Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.
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  38. Jakub Ryszard Matyja (2015). Philosophy of the Performing Arts. A Book Review. [REVIEW] Avant: Trends in Interdisciplinary Studies (3):164-166.
    A book review of 'Philosophy of the Performing Arts'.
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  39. Eldonna L. May & Dustin Garlitz (2014). Music Culture. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  40. Jonathan A. Neufeld (2015). Aesthetic Disobedience. Journal of Aesthetics and Art Criticism 73 (2):115-125.
    This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of a conflict (...)
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  41. Jonathan A. Neufeld (2009). Musical Formalism and Political Performances. Contemporary Aesthetics 7.
    Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type of thing any description (...)
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  42. Klaus Ottmann (2004). The Genius Decision: The Extraordinary and the Postmodern Condition. Spring Publications.
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  43. Brandon Polite (2014). The Varieties of Musical Experience. Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  44. Nick Riggle (2016). Using the Street for Art: A Reply to Baldini. Journal of Aesthetics and Art Criticism 74 (2):191-195.
    I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...)
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  45. Nick Riggle (2014). Street Art and Graffiti. In Michael Kelly (ed.), Oxford Encyclopedia of Aesthetics (2nd Edition). Oxford University Press
    A brief overview of work on street art and graffiti.
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  46. Brian Rosebury (2000). The Historical Contingency of Aesthetic Experience. British Journal of Aesthetics 40 (1):73-88.
    The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the role that (...)
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  47. Klaus Sachs-Hombach & Joerg R. J. Schirra (2009). Medientheorie, visuelle Kultur und Bildanthropologie. In Bildtheorien. Anthropologische und kulturelle Grundlagen des Visualistic Turn. Suhrkamp 393-426.
    Die gegenwärtig zu beobachtende Betonung des Visuellen ist den modernen Informationsgesellschaften zutiefst inhärent, weil erstens jene schon von ihrem Begriff her Mediengesellschaften sind (insofern Information immer nur medial zugänglich ist) und weil zweitens insbesondere die technischen Massenmedien ganz wesentlich als Bildmedien Bedeutung erlangen. In der Folge dieser Entwicklung dürfte ganz allgemein die Erzeugung von Sinn zunehmend im Zusammenhang von Zeige- statt (nur) von Sprechhandlungen auftreten. Dem steht bisher eine mangelnde Bildkompetenz gegenüber sowohl seitens der Forschung wie auch der Laien. Der (...)
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  48. Martina Sauer (2016). Daniel Martin Feige / Judith Siegmund (Eds.): Kunst Und Handlung. Ästhetische Und Handlungstheoretische Perspektiven. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  49. 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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  50. Martina Sauer, Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois. Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...)
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