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  1. Lars-Olof Åhlberg (1993). The Nature and Limits of Analytic Aesthetics. British Journal of Aesthetics 33 (1):5-16.
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  2. Philip Alperson (1992). The Arts of Music. Journal of Aesthetics and Art Criticism 50 (3):217-230.
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  3. Ben Blumson (2014). Resemblance and Representation. Open Book Publishers.
    It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...)
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  4. Clive Cazeaux (2012). Sensation as Participation in Visual Art. Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  5. Jonathan Owen Clark (2013). Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism. Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy (...)
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  6. Jonathan Gilmore (2014). That Obscure Object of Desire: Pleasure in Painful Art. In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  7. Athanasia Glycofrydi-Leontsini (1996). The Classic and the Romantic in Neohellenic Aesthetics. Annals of Aesthetics 36:191-210.
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  8. Christy Mag Uidhir (2011). Minimal Authorship (of Sorts). Philosophical Studies 154 (3):373-387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distinctions between collective production and collective authorship.
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  9. Ellen Miller (2002). Philosophizing with Sylvia Plath: An Embodied Hermeneutic of Color in Ariel. Philosophy Today 46 (2):91-101.
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  10. Olaf L. Müller (2009). Colour Spectral Counterpoints. Case Study on Aestetic Judgement in the Experimental Sciences. In Ingo Nussbaumer & Galerie Hubert Winter (eds.), Restraint versus Intervention: Painting as Alignment. Verlag für moderne Kunst.
    When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...)
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  11. Tiger C. Roholt (2013). Key Terms in Philosophy of Art. Bloomsbury Academic.
    Key Terms in Philosophy of Art offers a clear, concise and accessible introduction to a vital sub-field of philosophy. The book offers a comprehensive overview of the key terms, concepts, thinkers and major works in the history of this key area of philosophical thought. Ideal for first-year students coming to the subject for the first time, Key Terms in Philosophy of Art will serve as the ideal companion to the study of this fascinating subject. -/- Tiger C. Roholt provides detailed (...)
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  12. Tiger C. Roholt (2007). Reading Aesthetics and Philosophy of Art: Selected Texts with Interactive Commentary. [REVIEW] British Journal of Aesthetics 47 (3):319-320.
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  13. S. Sim (2013). Miscellaneous Texts I: Aesthetics and Theory of Art, and Miscellaneous Texts II: Contemporary Artists (Together Volume 4 of Jean-Francois Lyotard: Writings on Contemporary Art and Artists). British Journal of Aesthetics 53 (1):133-136.
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  14. Danilo Šuster (2005). The Modality Principle and Work-Relativity of Modality. Acta Analytica 20 (4):41-52.
    Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...)
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  15. Mélanie Walton (2012). Sam Francis: Lesson of Darkness: “Like the Paintings of a Blind Man.” by Lyotard, Jean-François. Journal of Aesthetics and Art Criticism 70 (2):249-251.
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