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  1. Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art essentially (...)
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  2. Rudolf Arnheim (1999). Art as Such. British Journal of Aesthetics 39 (3):252-254.
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  3. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  4. Sondra Bacharach (2002). Can Art Really End? Journal of Aesthetics and Art Criticism 60 (1):57–66.
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  5. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  6. Moshe Barasch (1985). Theories of Art. Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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  7. Paul Crowther (2007). Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  8. Daniel Dahlstrom (1987). Panofsky and the Foundations of Art History. Review of Metaphysics 40 (3):579-580.
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  9. Arthur Coleman Danto (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. Farrar Straus Giroux.
    In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.
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  10. Stephen Davies (2015). Defining Art and Artworlds. Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  11. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  12. Filippo Fimiani (2012). Fantasmi Dell'arte: Sei Storie Con Spettatore. Liguori.
    « The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art (...)
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  13. Filippo Fimiani (2011). Cose debitrici. Credenze, atmosfere, arte. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...)
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  14. 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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  15. Filippo Fimiani & Pietro Kobau (2011). Editoriale–Etichettare/descrivere/mostrare. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...)
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  16. Simon Fokt (2014). The Cluster Account of Art: A Historical Dilemma. Contemporary Aesthetics 12:N/A.
    The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...)
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  17. Simon Fokt (2013). Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art. Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  18. I. Gaskell (2012). Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art. British Journal of Aesthetics 52 (1):1-16.
    In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? I focus on a newcomer to globalized contemporary art, China, and argue that artworld art is far from the only art currently being produced. I describe four connected kinds of art currently made in China: Modernist, traditional, and avant-garde, which are artworld art, and mass commercial, which is not. Practices in all four conform to expectations globally that Chinese (...)
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  19. K. E. Gover (2012). Christoph Büchel V. Mass MoCA: A Tilted Arc for the Twenty-First Century. Journal of Aesthetic Education 46 (1):46-58.
    The 1990 Visual Artists Rights Act (VARA) is a provision of U.S. copyright law that seeks to protect the noneconomic rights of artists, called "moral rights." These rights are due to the "presumed intimate bond between artists and their works."1 In the United States it protects rights of artistic attribution and integrity: the artwork cannot be claimed as the work of another, and it cannot be distorted. In some cases VARA protects artworks from destruction. But what is the nature of (...)
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  20. J. R. Hamilton (2013). Living in an Artworld. British Journal of Aesthetics (1):ays065.
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  21. Simon J. Hayhoe, An Enquiry Into Passive and Active Exclusion From Unreachable Artworks in the Museum: Two Case Studies of Final-Year Students at California School for the Blind Studying Artworks Through Galleries and on the Web.
    Two case studies of students from California School for the Blind studying artworks in museums and on the Web are discussed. The analysis focuses on the traditional understanding that unreachable artworks in the museum are deciphered by non-intellectual elites primarily from the perspective of visual perception and museums are simple vessels of art, as contended by Ernst Gombrich and Pierre Bourdieu, and that exclusion is either passive or active. It is also argued that there is a bridge between sensing an (...)
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  22. Sherri Irvin (2003). Work and Object: The Artist's Sanction in Contemporary Art. Dissertation, Princeton University
    Is an artwork simply identical to some physical object? While clearly not viable for art forms like literature and music, the view that artworks are physical objects is appealing for the singular visual arts , since it accords with our intuitions about the nature of visual artworks. A traditional challenge to the view holds that physical objects cannot possess representational properties, and thus visual artworks, most of which do have such properties, cannot be identical to physical objects. In chapter 1 (...)
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  23. Christine James (2015). Aesthetics in the Age of Austerity: Building the Creative Class. In Anthology of Philosophical Studies 9. Athens Institute for Education and Research 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...)
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  24. Regina-Nino Kurg (2014). Artworld as Horizon: A Phenomenological Analysis of Unaided Ready-Mades. Studies on Art and Architecture (Kunstiteaduslikke Uurimusi) 23 (1/2):200-212.
  25. Michael Gerald Lafferty, Arthur Danto's Philosophy of Art.
    The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...)
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  26. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
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  27. Christy Mag Uidhir (2013). Art & Art-Attempts. Oxford University Press.
    Although few philosophers agree about what it is for something to be art, most, if not all, agree that art must be in some sense intention dependent. -/- Christy Mag Uidhir argues that artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather that (...)
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  28. Raamy Majeed (2016). From Zombie Art to Dead Art. Think 15 (43):25-37.
    Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.
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  29. Patrick Maynard (2007). Review of James Cutting, Impressionism and its Canon. Journal of Aesthetics and Art Criticism 65 (2):246–248.
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  30. Patrick Maynard (1992). Review of Richard Bolton (Ed.), The Contest of Meaning: Critical Histories of Photography. Journal of Aesthetics and Art Criticism 50 (1):68-71.
    Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
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  31. Patrick Maynard (1991). Review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern. Journal of Aesthetics and Art Criticism 49 (4):390-392.
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  32. Patrick Maynard (1991). Photo-Opportunity. Canadian Review of American Studies 22 (3):501-528.
    Review of literature and independent essay on the 1989 sesquicentennial of photography, winner of Canadian Association for American Studies 1991 award for paper that "best exemplifies the discipline of American Studies".
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  33. Joseph Nechvatal (ed.) (2011). Immersion Into Noise. Open Humanities Press in Conjunction with the University of Michigan Library's Scholarly Publishing Office.
    The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding (...)
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  34. Andrés Páez (2008). El problema de la demarcación en estética: Una crítica del criterio de Danto. Revista de Estudios Sociales 29:146-155.
    El desarrollo de las artes visuales durante el siglo XX desdibujó la frontera entre aquellos objetos y artefactos que llamamos obras de arte, y aquéllos que no son merecedores de ese título. Arthur Danto ha propuesto una teoría estética a la luz de la cual sería posible volver a definir los límites del arte. En este ensayo examino dos de los aspectos más problemáticos de la teoría: la importancia excesiva que Danto le otorga al concepto de mímesis y su concepción (...)
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  35. Andrea Peghinelli (2012). Theatre Translation as Collaboration: A Case in Point in British Contemporary Drama. Journal for Communication and Culture 2 (1):20-30.
    Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always (...)
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  36. Stefanie Rocknak (2015). Review of Beauty Unlimited, Peg Zeglin Brand, Ed. [REVIEW] Apa Newsletter on Feminism and Philosophy 15 (1):14-16.
  37. Stefanie Rocknak (2005). Facing Death; The Desperate at its Most Beautiful. Phenomenological Inquiry, A Review of Philosophical Ideas and Trends 29:71-101.
  38. Anita Silvers (1976). The Artwork Discarded. Journal of Aesthetics and Art Criticism 34 (4):441-454.
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  39. Paulo Vélez León (2012). Hay Un Arte Islámico? Una Posible Pregunta Sobre El Estatuto Del Arte Islámico, Desde Una Perspectiva Occidental [Is There an Islamic Art? A Possible Question About the Status of Islamic Art, From a Western Perspective]. ASRI – Arte y Sociedad. Revista de Investigación 2:1-7.
    The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...)
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  40. Paulo Vélez León, A Solution to the Conjecture of Meanings of Worlds of Art.
    This paper analyzes the relationship between the meanings of the particular aesthetic judgments (I) pronounced by any person on artwork and the artwork itself. The purpose is to state the following hypothesis: it is false that a consumer is stupid and unable to recognize the quality work of art and meaning of, it is more, all the phrases enunciated in natural language is not a conjecture, but that recognize and reflect the quality of the work. A work of art like (...)
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  41. Jakob Zaaiman, How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.
    Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or (...)
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  42. Jakob Zaaiman, For ‘Art’ to Be ‘Art’, It has to Be Strange and Disturbing.
    What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art (...)
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  43. Jakob Zaaiman, What is Art ? A Philosophical Definition.
    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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