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  1. Robert Jackson (2014). If Materialism is Not the Solution, Then What Was the Problem? A Response to Harman. Nordic Journal of Aesthetics 47:111-124.
     
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  2. Graham Harman (2014). Materialism is Not the Solution: On Matter, Form, and Mimesis. Nordic Journal of Aesthetics 24 (47):94-110.
     
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  3. Gabor Csepregi (2014). On Musical Performance as Play. Nordic Journal of Aesthetics 23 (46).
    The purpose of this article is to complete, and build on, the theories of a certain number of scholars, chiefly philosophers of previous generations, and a few eminent performers of classical music who all bring to the fore the essential link between music and play. Because of their impulse value and appealing character, tones and other elements of the performance could generate a playful attitude in the musicians. Play is understood as a reciprocal interaction with something that plays with the (...)
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  4. Nicholas Davey (2014). Aesthetic Reasoning: A Hermeneutic Approach. Nordic Journal of Aesthetics 23 (46).
    This essay considers the foundations of reasonable evaluation in the arts. These we argue concern the relations that constitute our experience of art, and the ontology of the art work itself. The being of the artwork, the experience and the interpretation of it all involve over-lapping modes of part–whole relations. The experience of meaningfulness is not an experience of a singular object or framework of meaning as closed and complete but an experience of relational meaning whereby exposure to one set (...)
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  5. Claes Entzenberg (2014). The Art to End All Arts. Nordic Journal of Aesthetics 23 (46).
    The death of art has been a notion used in connection with the development and progress of art. This view of the development of art, the movement from one position to another, can go on forever. From another view, we see art as part of a narration, which makes the death of art absolute and final, even though art is still produced. In our time, the American philosopher A. C. Danto uses Hegel’s developmental view on history to explain pictorial Western (...)
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  6. Bente Larsen (2014). Eye, Matter and Interpretation. Nordic Journal of Aesthetics 23 (46).
    The main thesis behind the article is that Ad Reinhardt in hisPaintings, through a ‘painting away’ of what traditionally constitutes painting, color, pictorial space and gesture, leads our attention towards visuality. The thesis shall be pursued through a discussion of two different approaches to visual sensing as aesthetic experience, one that prefaces a hermeneutical/phenomenological approach claiming sensuousness to unfold through the gesture of chiasm and ‘intertwining’, as it is formulated by Gottfried Boehm, and another, through Jean-Luc Nancy’s post-phenomenological approach accentuating (...)
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  7. Jukka Mikkonen (2014). Review: Stein Haugom Olsen and Anders Pettersson, Eds., Why Literary Studies? Raisons D’Être of a Discipline. [REVIEW] Nordic Journal of Aesthetics 23 (46).
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  8. Severin Schroeder (2014). Art, Value, and Function. Nordic Journal of Aesthetics 23 (46).
    Is the concept of a work of art an evaluative concept: does its application imply a positive evaluation? I shall discuss this question by considering two opposing attempts at defining art, namely the Institutional Theory and the view that art is a functional concept. I shall argue that the concept of art does not imply an unconditionally positive evaluation, but that art is a prestige concept. Moreover, it will be shown that functional definitions of art are flawed.
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  9. Cecilia Sjöholm (2014). Between Signsystems and Affects. Nordic Journal of Aesthetics 23 (46).
    Gotthold Ephraim Lessing’s Laocoon saw that the signification of art cannot be dissociated from its media. A visual work of art and a literary work originates in different spatial and temporal conditions, Lessing argued, serving thereby to liberate art from the tradition of ut pictura poesis. Lessing’s impact has been discussed in the tradition of modernism through Babbitt, Eisenstein and Greenberg, and there been associated with the notion that the work of art is autonomous. In Lessing’s own text, however, there (...)
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  10. Aaron Smuts (2014). Cinematic. Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...)
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  11. Zoltán Somhegyi (2014). Review: Manfred Milz, Ed., Facing Mental Landscapes: Self-Reflections in the Mirror of Nature. [REVIEW] Nordic Journal of Aesthetics 23 (46).
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  12. Anders Troelsen (2014). On Anders V. Munch’s Doctoral Thesis From Bayreuth to Bauhaus: The Gesamtkunstwerk and the Modern Art Forms. Nordic Journal of Aesthetics 23 (46).
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  13. Johan Hartle (2014). The Struggle is Beautiful: On the Aesthetics of Leftist Politics. Nordic Journal of Aesthetics 23 (44-45).
    Aesthetic discourse has always openly or secretly been linked to political projects. According to some main strands of aesthetic discourse modern aesthetics mirrors the structure of social and political emancipation and key elements of aesthetic discourse coincide with the political ontology of the left. Marxist and Post-Marxist critics have emphasized that the struggle for emancipation is indirectly present in the historical constitution of aesthetics as a discipline – although in a merely imaginary and displaced form. Therefore, however, it is also (...)
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  14. Esther Leslie (2014). Crowds, Clouds, Politics and Aesthetics, Flipping Again. Nordic Journal of Aesthetics 23 (44-45).
    This paper seeks an urban poetics under the pressures of flux, polyglot babble and the rise of technoculture. In so doing it traces the intertwinements of aesthetics and politics as they manifest over the last 150 years. Charles Baudelaire’s poetry is characterised as a delirious response to the delirium of capitalist modernity, in which ‘words rise up’, as he puts it, but it is a also a barometer, which measures the degrees of entwinement of aesthetics and revolutionary politics in the (...)
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  15. Jakob Lothe (2014). Review: Jacob Lund, Erindringens Æstetik. [REVIEW] Nordic Journal of Aesthetics 23 (44-45).
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  16. Jacob Lund (2014). Artistic Re-Appropriation and Reconfiguration of the Medium's Milieu. Nordic Journal of Aesthetics 23 (44-45).
    Drawing upon Bernard Stiegler’s and Jacques Rancière’s conceptions of medium as a milieu this article seeks to address the question of the political aspects of the aesthetic in relation to the notion of medium. Based on the analysis of this theoretical question the article interprets and discusses artistic endeavors to re-appropriate and reconfigure conservative symbolic orders and media milieus that have become dissociated in relation to works of art by Alfredo Jaar and Thomas Hirschhorn.
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  17. Peter Osborne (2014). Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary. Nordic Journal of Aesthetics 23 (44-45).
    Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two theses, in particular: (...)
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  18. Mikkel Bolt Rasmussen (2014). Art, War and Counter-Images. Nordic Journal of Aesthetics 23 (44-45).
    The article analyses the relatively meager response of artists to the ‘war on terror’ compared to the response of American artists to the war in Vietnam, where artists organized both exhibitions and protests against the war in South East Asia in the late 1960s. This of course has to do with the transformations going in contemporary art and the broader political context characterized by the hegemony of neo-liberalism. The article juxtaposes an installation by the Retort collective with an installation by (...)
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  19. Gene Ray (2014). Adorno, Brecht and Debord: Three Models for Resisting the Capitalist Art System. Nordic Journal of Aesthetics 23 (44-45).
    The article presents three models of radical cultural practice: Adorno’s dissonant modernism, Brecht’s “functional transformation” or “re-functioning” of institutions through estrangement and dialectical realism, and Debord’s Situationist détournement of art, aiming to rupture and decolonize naturalized everyday life. The three models all begin with a critical appropriation of the traditions of art and aims at resisting the social power that passes through art, as an institutionalized field of production and activity. Each of the three modes establishes a set of productive (...)
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  20. Jason E. Smith (2014). Form-of-Life: From Politics to Aesthetics (and Back). Nordic Journal of Aesthetics 23 (44-45).
    This article examines an often-mentioned but largely undeveloped concept in the work of Giorgio Agamben and in particular his Homo Sacer project: form-of-life. What is at stake in this concept is, I attempt to show, a way of thinking “politics” outside of the space of sovereignty. By examining a short text on this notion published just before the opening installment of the Homo Sacer sequence, this article demonstrates the way this early formulation of the concept is indebted to certain strains (...)
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  21. Bernard Stiegler (2014). Uncontrollable Societies of Disaffected Individuals: Disbelief and Discredit [Excerpt]. Nordic Journal of Aesthetics 23 (44-45).
    This text is an excerpt from the introduction to Uncontrollable Societies of Disaffected Individuals: Disbelief and Discredit (Vol. 2) by Bernard Stiegler, translated into English by Daniel Ross © Polity Press, Cambridge 2012.
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