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  1. Lars Elleström (2012). The Paradoxes of Mail Art. Cultura 9 (2):103-122.
    This article aims to show that so-called Mail Art (art distributed via the international postal system) is based on five paradoxes. These paradoxes, which correlateto how Mail Art is distributed and exhibited by means of changing technologies, its aesthetics, its democratic ideals, and its transnational character, explain howMail Art has emerged and been constructed as an artistic medium on the stage of world cultures. While the paradoxes of Mail Art are specific for this particular medium, I argue that all media (...)
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  2. J. R. Hamilton (2012). The Performing Arts. British Journal of Aesthetics 52 (2):216-219.
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  3. Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.
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  4. Brenna Nicely (2012). Philosophers and Thespians: Rethinking Performance by Rokem, Freddie. Journal of Aesthetics and Art Criticism 70 (3):328-330.
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  5. Larry Shiner (2012). “Blurred Boundaries”? Rethinking the Concept of Craft and its Relation to Art and Design. Philosophy Compass 7 (4):230-244.
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  6. Aaron Smuts (2005). Video Games and the Philosophy of Art. American Society for Aesthetics Newsletter.
    The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We often say that video (...)
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  7. Ashley Woodward (2006). New Technologies and Lyotard's Aesthetics. Literaria Pragensia 16 (32):14-35.
    One of the less-appreciated modalities of Lyotard’s rethinking of aesthetics is a consideration of the way that technologies, and in particular information technologies, reconfigure the nature of aesthetic experience. For Lyotard, information technology presents a particular problem in relation to the arts and aesthetic experience. When art uses communication technologies themselves as its matter or medium, the “traditional” model of aesthetic experience becomes problematised. Lyotard argues that this is the case because information technologies determine or “program” a conceptual meaning in (...)
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Architecture
  1. Russell L. Ackoff (1947). Mr. Rieser on Architecture. Philosophical Review 56 (6):690-694.
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  2. Virgil C. Aldrich (1975). The Architecture of Ludwig Wittgenstein. Southwestern Journal of Philosophy 6 (1):168-169.
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  3. Wayne Andersen (1994). On the Genius of Architecture. History of European Ideas 18 (5):741-745.
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  4. R. J. B. (1968). Architecture and Politics in Germany. Review of Metaphysics 22 (2):381-381.
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  5. Christoph Baumberger & Georg Brun (2013). Identität, Charakter und Stil von Bauwerken. In , Architekturphilosophie. Grundlagentexte. Mentis. 141-166.
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  6. Walter Benjamin & Gevork Hartoonian (eds.) (2010). Walter Benjamin and Architecture. Routledge.
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  7. Jurgen Bey, Joost Grootens, Erik Rietveld, Ronald Rietveld, Saskia Van Stein & Barbara Visser (eds.) (2010). Vacant NL, Where Architecture Meets Ideas. NAI.
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  8. Otto Böcher (1975). Pre-Romanesque Church Architecture. Philosophy and History 8 (1):117-119.
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  9. Albert Borgmann (2009). Enclosure and Disclosure on Content and Form in Architecture. AI and Society 25 (1):11-18.
    Martin Heidegger and Vincent Scully, writing from very different positions, agree that the enclosure of human life and the disclosure of a moral universe are the chief functions of architecture, and they agree further that the traditional house best exemplifies the first function and the Greek temple the second. The culture of technology has emptied the home of many substantial engagements, and it has reduced the monumental structures, the high-rises and expressways, to instrumental status. Architects need to understand the (...)
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  10. Kenneth Boyd (2006). Giving New Functions to Old Forms: The Aesthetics of Reassigned Architecture. Postgraduate Journal of Aesthetics 3 (2):66-75.
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  11. Adam Brown (2012). Time Travel on the Instalment Plan: The Index and Future Form in Building. Philosophy of Photography 3 (1):141-153.
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  12. David Chappell (1987). The Architect in Employment. Architectural Press.
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  13. P. E. Cisek (1997). GW Theory in the Spotlight of Evolution. Journal of Consciousness Studies 4 (4):310.
    The global workspace architecture is examined from an evolutionary perspective. It is argued that certain aspects of the theory are difficult to account for in terms of a sequence of evolutionary elaborations. These notably include distinct actors and audience members, and the lingua franca by which they communicate. An alternative metaphor of a ‘global arena’ is suggested, along with speculation on how this bottleneck of behavioural competition may have evolved toward a more sophisticated architecture, perhaps even a theatre . . (...)
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  14. Jane Collier (2006). The Art of Moral Imagination: Ethics in the Practice of Architecture. [REVIEW] Journal of Business Ethics 66 (2/3):307 - 317.
    This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...)
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  15. Rafael De Clercq (2014). Building Plans as Natural Symbols. Architecture Philosophy 1 (1):61-78.
    Carroll William Westfall has claimed that building types can serve as natural symbols of (the purposes served by) activities such as venerating, celebrating, trading, and dwelling. The aim of this paper is to interpret Westfall’s claim in a way that makes it non-trivial and yet worthy of further investigation. In particular, an attempt is made to explain the connection between building types and what they symbolize without appealing to convention. The question is also answered whether a non-conventional connection is compatible (...)
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  16. Rafael de Clercq (2011). Modern Architecture and the Concept of Harmony. British Journal of Aesthetics 51 (1):69-79.
    The aim of this paper is to achieve a better understanding of why modern buildings do not easily harmonize with one another. After proposing, and defending, an analysis of the concept of architectural harmony, the paper turns to three possible views on whether we can expect more harmony from modern architecture in the future.
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  17. Rafael De Clercq (2009). Scruton on Rightness of Proportion in Architecture. British Journal of Aesthetics 49 (4):405-414.
    In The Aesthetics of Architecture, Roger Scruton makes at least four claims about rightness of architectural proportion. The present paper lists those claims, briefly discusses the way they are related, and, finally, selects one as the topic of discussion: the claim that there cannot be an exact, mathematical definition of rightness of proportion. Scruton’s arguments for this claim are reviewed. The first is found to be substantially correct, whereas the second is found to rely on a mistaken assumption, namely the (...)
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  18. Rafael De Clercq (2008). Lopes on the Ontology of Japanese Shrines. Journal of Aesthetics and Art Criticism 66 (2):193–194.
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  19. Rafael De Clercq (2004). The Legitimacy of Modern Architecture. Philosophical Forum 35 (2):135–146.
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  20. Mark H. Dixon (2009). The Architecture of Solitude. Environment, Space, Place 1 (1):53-72.
    As a spiritual or meditative practice solitude implies more than mere silence or being alone. While these are perhaps indispensablecomponents, it is possible to be alone or to live in silence and nevertheless be unable to reconfigure these into genuine solitude. Solitude is also more than being in some remote or inaccessible place. Even though geographical isolation might be conducive to solitude, with rare exceptions human beings have seldom sought solitude in complete seclusion in the wilderness. The places where human (...)
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  21. Saul Fisher (2000). Architectural Notation and Computer Aided Design. Journal of Aesthetics and Art Criticism 58 (3):273-289.
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  22. Thomas Fisher (2009). Ethics for Architects: 50 Dilemmas of Professional Practice. Princeton Architectural Press.
    Introduction -- 1. General obligations. Conflicts of interest -- Uncompensated work -- Community service -- Pro bono work -- Living conditions -- Working conditions -- Layoffs -- Unequal pay -- 2. Obligations to the public. Repressive governments -- Corrupt politicians -- Public officials -- Public opinion -- Public bailouts -- Public reviews -- Public health -- Cultural differences -- 3. Obligations to the client. Self-destructive behavior -- Distrustful behavior -- Dishonest behavior -- Deceptive behavior -- Spendthrift behavior -- Solicitous behavior (...)
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  23. Josef Frank (1949). Modern Architecture and the Symbols of Statics. Synthese 8 (1):342 - 349.
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  24. José Luiz Furtado (2005). Fenomenologia e crise da arquitetura. Kriterion 46 (112):414-428.
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  25. Frank Granger (1925). Vitruvius' Definition of Architecture. The Classical Review 39 (3-4):67-69.
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  26. Ishtiyaque Haji, Stefaan E. Cuypers & Yannick Joye (2013). Architecture, Ethical Perception, and Educating for Moral Responsibility. Journal of Aesthetic Education 47 (3):1-23.
    Architecture has a marked influence on ethical perception. Ethical perception, in turn, has a pronounced influence on what we are morally responsible for, our decisions, choices, intentional omissions, and overt actions, for instance. It thus stands to reason that architecture bears saliently on moral responsibility. If we now introduce a widely accepted premise that one of the fundamental aims of education is to see that our children turn into morally responsible agents, we can further infer that architecture has an influence (...)
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  27. Karsten Harries (1997). The Architecture of Deconstruction. International Studies in Philosophy 29 (4):149-150.
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  28. E. Howe (1976). Architecture in Vasari's 'Massacre of the Huguenots'. Journal of the Warburg and Courtauld Institutes 39:258-261.
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  29. Yonca Hürol (2009). Can Architecture Be Barbaric? Science and Engineering Ethics 15 (2):233-258.
    The title of this article is adapted from Theodor W. Adorno’s famous dictum: ‘To write poetry after Auschwitz is barbaric.’ After the catastrophic earthquake in Kocaeli, Turkey on the 17th of August 1999, in which more than 40,000 people died or were lost, Necdet Teymur, who was then the dean of the Faculty of Architecture of the Middle East Technical University, referred to Adorno in one of his ‘earthquake poems’ and asked: ‘Is architecture possible after 17th of August?’ The main (...)
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  30. Gavin Keeney (2011). &Quot;else-Where&Quot;: Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”). While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational (...)
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  31. I. G. Kennedy (1972). Claude and Architecture. Journal of the Warburg and Courtauld Institutes 35:260-283.
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  32. John LaFarge (1935). Russian Medieval Architecture. Thought 10 (1):168-171.
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  33. Christopher Long (2009). Nana Last: Wittgenstein's House: Language, Space, and Architecture. Estetika 46 (2):230-233.
    A review of Nana Last‘s Wittgenstein’s House: Language, Space, and Architecture (New York: Fordham UP, 2008, 207 pp. ISBN 978-0-8232-2880-5).
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  34. Dominic Mciver Lopes (2008). Reference, Ontology, and Architecture: Response to Rafael de Clercq. Journal of Aesthetics and Art Criticism 66 (2):194–196.
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  35. Dominic Mciver Lopes (2007). Shikinen Sengu and the Ontology of Architecture in Japan. Journal of Aesthetics and Art Criticism 65 (1):77–84.
    Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...)
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  36. Kevin Melchionne (1998). Living in Glass Houses: Domesticity, Interior Decoration, and Environmental Aesthetics. Journal of Aesthetics and Art Criticism 56 (2):191-200.
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  37. José Ferrater Mora (1955). Philosophie et architecture. Revue de Métaphysique et de Morale 60 (3):251 - 263.
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  38. H. Paetzold (2013). Aesthetics of Urban Design. Diogenes 59 (1-2):63-72.
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  39. Hugh Plommer (1970). Vitruvius on Architecture, IX. The Classical Review 20 (03):349-.
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  40. Max Rieser (1969). The Meaning of Architecture. Studi Internazionali Di Filosofia 1:77-90.
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  41. Erik Rietveld (2008). Situated Normativity: The Normative Aspect of Embodied Cognition in Unreflective Action. Mind 117 (468):973-1001.
    In everyday life we often act adequately, yet without deliberation. For instance, we immediately obtain and maintain an appropriate distance from others in an elevator. The notion of normativity implied here is a very basic one, namely distinguishing adequate from inadequate, correct from incorrect, or better from worse in the context of a particular situation. In the first part of this paper I investigate such ‘situated normativity’ by focusing on unreflective expert action. More particularly, I use Wittgenstein’s examples of craftsmen (...)
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  42. Erik Rietveld & Ronald Rietveld (2011). The Paradox of Spontaneity and Design: Designing Spontaneous Interactions. Oase 2011 (85):33-41.
    This paper illustrates how affordance-based design can contribute to solutions for the grand challenges that society faces. The design methodology of ‘strategic interventions’ is explained.
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  43. Ronald Rietveld & Erik Rietveld (2010). Vacant NL, Where Architecture Meets Ideas: Curatorial Statement 12th Venice Architecture Biennale. In Jurgen Bey, Joost Grootens, Erik Rietveld, Ronald Rietveld, Saskia Van Stein & Barbara Visser (eds.), Vacant NL, Where Architecture Meets Ideas. NAI.
    For the Venice Architecture Biennale 2010, curator Rietveld Landscape has been invited by the Netherlands Architecture Institute (NAI) to make a statement about the potential of landscape architecture to contribute to resolving the complex challenges that our society faces today. These challenges call for innovation; for a culture centred on design skills and cooperation between scientists and creative pioneers. The installation ‘Vacant NL, where architecture meets ideas’ calls upon the Dutch government to make use of the enormous potential of inspiring, (...)
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