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  1. Lars Aagaard-Mogensen (1982). Arts and Ends. Journal of Aesthetics and Art Criticism 41 (2):215-217.
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  2. Laurie Adams (2002). Exploring Art.
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  3. Visual Arts Development Agency (1996). Future Landscapes, New Partnerships Art and the Landscape. Visual Arts Development Agency.
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  4. Virgil Aldrich (1986). Hugo A. Meynell, The Nature of Aesthetic Value. [REVIEW] Philosophy in Review 6:348-350.
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  5. Virgil C. Aldrich (1986). Hugo A. Meynell, The Nature of Aesthetic Value Reviewed By. Philosophy in Review 6 (7):348-350.
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  6. Mulk Raj Anand (1963). The Third Eye a Lecture on the Appreciation of Art. Published for the University of Punjab by D.C. Sharma.
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  7. John Armstrong (1996). Looking at Pictures an Introduction to the Appreciation of Art.
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  8. Paloma Atencia-Linares (2014). Aesthetic Essays, by Malcolm Budd. Mind 123 (491):876-879.
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  9. Franz Bäuml (1979). “Kudrun”: A Critical Appreciation. [REVIEW] Speculum 54 (4):787-789.
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  10. Vicki Berger & Isabel Vasseur (1997). Arcadia Revisited the Place of Landscape. Monograph Collection (Matt - Pseudo).
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  11. A. Berleant (1978). Aesthetic Paradigms for an Urban Ecology. Diogenes 26 (103):1-28.
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  12. William L. Blizek (1973). "Aesthetics: An Introduction," by George Dickie. Modern Schoolman 50 (4):385-387.
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  13. G. Bohme & J. Farrell (1992). An Aesthetic Theory of Nature: An Interim Report. Thesis Eleven 32 (1):90-102.
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  14. Emily Brady (2010). Aesthetics and Nature. British Journal of Aesthetics 50 (1):114-117.
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  15. Isis Brook (2011). 9 Reinterpreting the Picturesque in the Experience of Landscape. In Jeff Malpas (ed.), The Place of Landscape: Concepts, Contexts, Studies. Mit Press. 165.
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  16. Brian Bruya (2003). Li Zehou's Aesthetics as a Marxist Philosophy of Freedom. Dialogue and Universalism 13 (11-12):133-140.
    After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive faculties. In (...)
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  17. Brian Bruya (2002). Chaos as the Inchoate: The Early Chinese Aesthetic of Spontaneity. In Grazia Marchianò (ed.), Aesthetics & Chaos: Investigating a Creative Complicity.
    Can we conceive of disorder in a positive sense? We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our lives. Going all the way back to Hesiod, we see chaos as a cosmogonic state of utter confusion inevitably reigned in by laws of regularity, in a transition from fearful unpredictability to calm stability. In contrast to a similar early Chinese notion of (...)
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  18. Brian James Bruya (2004). Aesthetic Spontaneity: A Theory of Action Based on Affective Responsiveness. Dissertation, University of Hawai'i
    This dissertation is an attempt to analyze an indigenous concept of early Chinese Philosophy in its own context, interpreting it outside of a contemporary Western philosophical framework , then to comb the history of Western philosophy for related concepts, in order to finally enrich the contemporary philosophical landscape by incorporating this concept through a useful and familiar set of conceptual tools. ;The concept in question is ziran, rendered spontaneity, a central notion of early Chinese philosophy but one that has not (...)
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  19. Malcolm Budd (2005). Aesthetics of Nature. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  20. Allen Carlson & Arnold Berleant (2004). Introduction: The Aesthetics of Nature. In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Broadview Press. 11--42.
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  21. Noel Carroll & John Gibson (eds.) (2011). Narrative, Emotion, and Insight. Penn state university.
    While narrative has been one of the liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The (...)
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  22. Rachel Carroll, What Kind of Relationship with Nature Does Art Provide?
    The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships (...)
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  23. C. L. Carter (2013). Philosophy and Art: Changing Landscapes for Aesthetics. Diogenes 59 (1-2):84-100.
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  24. 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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  25. Douglas Chambers (1999). The View From Wooburn Farm Looking Out/Looking In.
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  26. Ralph W. Church (1939). An Essay on Critical Appreciation. Philosophical Review 48 (6):638-640.
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  27. David Cooper (2002). The Reach of the Aesthetic: Collected Essays on Art and Nature. [REVIEW] Philosophy 77 (2):283-296.
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  28. Vaughan Cornish (1931). The Poetic Impression of Natural Scenery. Sifton, Praed & Co., Ltd.
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  29. Martha Cornog (2007). Vern Bullough: An Appreciation. Free Inquiry 27:49-50.
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  30. Donald Crawford (2004). Scenery and the Aesthetics of Nature. In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Broadview Press. 253--68.
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  31. Stephen Davies (2014). Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature. Philosophy Compass 9 (6):361-367.
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  32. Anne De Charmant (1997). Art & the Garden Travels in the Contemporary Mindscape.
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  33. Susannah C. Drake (2010). Term. Definition. Identity Regenerating Landscape Architecture in the Era of Landscape Urbanism. Topos 71:50.
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  34. Andreas Elpidorou (forthcoming). Seeing the Impossible. Journal of Aesthetics and Art Criticism.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections.
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  35. Nigel Everett (2011). 16 The Lie of the Land: Reflections on Irish Nature and Landscape. In Jeff Malpas (ed.), The Place of Landscape: Concepts, Contexts, Studies. Mit Press. 295.
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  36. Thomas Richard Fahy (ed.) (2010). The Philosophy of Horror. University Press of Kentucky.
    Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to ...
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  37. Reindert Leonard Falkenburg (1998). Natuur En Landschap in de Nederlandse Kunst, 1500-1850. Monograph Collection (Matt - Pseudo).
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  38. 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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  39. Elisa Galgut (2009). Tragedy and Reparation. In Pedro Alexis Tabensky (ed.), The Positive Function of Evil. Palgrave Macmillan.
    The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...)
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  40. Catherine Gavin (2013). Built Landscape for the Perot Museum of Nature and Science in Dallas. Roof with a Texan Landscape Miniature. Topos: European Landscape Magazine 83:32.
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  41. Peter Gena (2012). Apropos Sonification: A Broad View of Data as Music and Sound. [REVIEW] AI and Society 27 (2):197-205.
    Numbers have been identified with symbolic data forever. The profound association of both with acoustics, music, and sonic art from Pythagoras to current work is beyond reproach. Recently, sonification looks for ways to realize symbolic data (representing results or measurements) as well as “raw” data (signals, impulses, images, etc.) into compositions. In the strictest sense, everything in a computer is symbolic, that is, represented by 0s and 1s. In the arts, the digital age has broadened and enhanced the conceptual landscape (...)
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  42. E. H. Gombrich (1981). Nature and Art as Needs of the Mind.
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  43. Max Gottschlich, Monika Leisch-Kiesl & Susi Winder (eds.) (forthcoming). Ästhetische Kategorien - Kunstwissenschaft und Philosophie im Diskurs (Linzer Beiträge zur Kunstwissenschaft und Philosophie), geplant für Anfang 2016 (Beiträge u.a. von L. Dorner, M. Gottschlich, I. Guanzini, M. Hofer, A. Kern, W. Lütterfelds, D. Mersch, F. Uhl, V. Waibel). transcript.
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  44. K. E. Gover (2011). Artistic Freedom and Moral Rights in Contemporary Art: The Mass MoCA Controversy. Journal of Aesthetics and Art Criticism 69 (4):355-365.
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  45. Robert Halliday (1999). Aliens, Earthlings and St. Paul’s Cathedral: The Nature of Aesthetic Value. Cogito 13 (1):21-26.
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  46. Lisa Heldken (2002). Book Review: Carolyn Korsmeyer. Making Sense of Taste. Ithaca: Cornell University Press, 1999. [REVIEW] Hypatia 17 (3):283-286.
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  47. Thomas Heyd (2000). Allen Carlson, Aesthetics and the Environment Reviewed By. Philosophy in Review 20 (5):324-326.
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  48. Thomas Heyd (2000). Allen Carlson, Aesthetics and the Environment. [REVIEW] Philosophy in Review 20:324-326.
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  49. J. Huysmans, Robert Baldick & Patrick Mcguinness (2003). Against Nature. Monograph Collection (Matt - Pseudo).
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  50. R. Ingarden (forthcoming). The Structure of Appreciation. Contemporary Aesthetics. Boston: Allyn and Bacon.
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