Search results for 'Aesthetic principles' (try it on Scholar)

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  1. Vojko Strahovnik (2004). The Riddle of Aesthetic Principles. Acta Analytica 19 (33):189-208.score: 240.0
    The problem of aesthetic principles and that of the nature of aesthetic reasons get confronted. If aesthetic reasons play an important role in our aesthetic evaluations and judgments, then both some general aesthetic principles and rules could support them (aesthetic generalism) or again their nature may be particularistic (aesthetic particularism). A recent argument in support of aesthetic generalism as proposed by Oliver Conolly and Bashshar Haydar is presented and criticized for (...)
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  2. Oliver Conolly & Bashshar Haydar (2003). Aesthetic Principles. British Journal of Aesthetics 43 (2):114-125.score: 176.0
    We give reasons for our judgements of works of art. (2) Reasons are inherently general, and hence dependent on principles. (3) There are no principles of aesthetic evaluation. Each of these three propositions seems plausible, yet one of them must be false. Illusionism denies (1). Particularism denies (2). Generalism denies (3). We argue that illusionism depends on an unacceptable account of the use of critical language. Particularism cannot account for the connection between reasons and verdicts in criticism. (...)
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  3. Eddy Zemach (1987). Aesthetic Properties, Aesthetic Laws, and Aesthetic Principles. Journal of Aesthetics and Art Criticism 46 (1):67-73.score: 152.0
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  4. Paul B. Jossmann (1970). Optical Illusions and Aesthetic Principles. In Erwin W. Straus & Richard Marion Griffith (eds.), Aisthesis and Aesthetics. Pittsburgh, Pa.,Duquesne University Press. 107.score: 152.0
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  5. Malcolm Budd (1999). Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties. European Journal of Philosophy 7 (3):295–311.score: 150.0
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  6. X. I. E. da-Weia & Ding Junb (2011). The Aesthetic Value and Designing Principles of University Campus Landscape. Journal of Aesthetic Education 5:018.score: 126.0
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  7. Mary Mothersill (1989). Aesthetic Laws, Principles and Properties: A Response to Eddy Zemach. Journal of Aesthetics and Art Criticism 47 (1):77-82.score: 122.0
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  8. Jennifer McErlean (1990). Critical Principles and Emergence in Beardsley's Aesthetic Theory. Journal of Aesthetics and Art Criticism 48 (2):153-156.score: 122.0
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  9. J. McMahon (2000). Perceptual Principles, Aesthetic From, and Notions of Unity. Consciousness and Cognition 9 (2):S79 - S80.score: 120.0
     
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  10. Anna Bergqvist (2010). Why Sibley is Not a Generalist After All. British Journal of Aesthetics 50 (1):1-14.score: 86.0
    In his influential paper, ‘General Criteria and Reasons in Aesthetics’, Frank Sibley outlines what is taken to be a generalist view (shared with Beardsley) such that there are general reasons for aesthetic judgement, and his account of the behaviour of such reasons, which differs from Beardsley's. In this paper my aim is to illuminate Sibley's position by employing a distinction that has arisen in meta-ethics in response to recent work by Jonathan Dancy in particular. Contemporary research involves two related (...)
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  11. Amir Konigsberg (2012). The Acquaintance Principle, Aesthetic Autonomy, and Aesthetic Appreciation. British Journal of Aesthetics 52 (2):153-168.score: 82.0
    The acquaintance principle (AP) and the view it expresses have recently been tied to a debate surrounding the possibility of aesthetic testimony, which, plainly put, deals with the question whether aesthetic knowledge can be acquired through testimony—typically aesthetic and non-aesthetic descriptions communicated from person to person. In this context a number of suggestions have been put forward opting for a restricted acceptance of AP. This paper is an attempt to restrict AP even more.
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  12. Henrik Kaare Nielsen (2012). Aesthetic Judgement and Political Judgement. Nordic Journal of Aesthetics 23 (43).score: 68.0
    Prominent positions in the contemporary theoretical field of the humanities tend to conceptualize late modern communities in general as aesthetic communities of taste. In regard to political communities, this means reducing the political to an implication of the aesthetic discourse. This article argues for addressing the aesthetic and the political as distinct discourses that are, on the other hand, always engaged with each other in a conflictual interplay. Both discourses draw on and appeal to the ability of (...)
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  13. Xialing Xie (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. [REVIEW] Frontiers of Philosophy in China 4 (1):38-51.score: 66.0
    Mou Zongsan incorrectly uses Kant’s practical reason to interpret Confucianism. The saying that “what is it that we have in common in our minds? It is the li 理 (principles) and the yi 义 (righteousness)” reveals how Mencius explains the origin of li and yi through a theory of common sense. In “the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths,” “please” is used twice, proving aesthetic (...)
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  14. Peter Howarth (2007). Creative Writing and Schiller's Aesthetic Education. Journal of Aesthetic Education 41 (3):41-58.score: 66.0
    : In higher education creative writing's focus on producing the well-formed piece rather than the writing's historical and social context puts its pedagogy at odds with the majority of literary studies disciplines. Although problematic for the curriculum, there are good reasons—stemming from the anti-instrumentalism of Kant's notion of aesthetic freedom—why integrating creative writing is difficult. Examining two recent attempts to cross this creative-critical divide by making creative writing part of cultural studies, the article argues that the authors' sociological suspicion (...)
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  15. Xie Xialing & Gao Limin (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. Frontiers of Philosophy in China 4 (1):38 - 51.score: 66.0
    Mou Zongsan incorrectly uses Kant's practical reason to interpret Confucianism. The saying that "what is it that we have in common in our minds? It is the il 理 (principles) and the yi 义 (righteousness)" reveals how Mencius explains the origin of il and yi through a theory of common sense. In "the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths," "please" is used twice, proving aesthetic (...)
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  16. Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.score: 64.0
    Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look (...)
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  17. M. Muraskin (1980). Aesthetic Fields—Null Theory. Foundations of Physics 10 (11-12):887-903.score: 60.0
    We have studied aesthetic field theory in the case where all invariants constructed from Γ jk i and involving g ij are zero. We studied such a “null” theory in 1972, but the cases we cited were plagued with singularities. By introducing complex fields the situation with respect to singularities improved. Complex fields are consistent with the basic “aesthetic principles” we outlined earlier. Within our null theory we see in two-dimensional spacetime a scattering of particles that was (...)
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  18. Ming Dong Gu (2009). From Yuanqi (Primal Energy) to Wenqi (Literary Pneuma): A Philosophical Study of a Chinese Aesthetic. Philosophy East and West 59 (1):pp. 22-46.score: 60.0
    Wenqi 文氣 (literary pneuma) is a foundational idea in Chinese aesthetics. It has remained elusive since its initial formulation, however. This is so largely because previous scholars did not examine its ontological and epistemological conditions in analytic terms, still less explore its implications in a conceptual framework of artistic creation. Here, it is proposed to explore its general as well as specific implications against the larger background of Chinese intellectual thought and in relation to contemporary theories of literature and aesthetics. (...)
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  19. M. Muraskin & B. Ring (1975). A Two-Particle Collision in Aesthetic Field Theory. Foundations of Physics 5 (3):513-523.score: 60.0
    We have found a new computer solution to the aesthetic field equations. This solution describes a two-particle system with more structure than previously found. The contour lines show an arm structure. We have observed four arms around the maximum center. The location of the maximum (minimum) center is not along a straight line as a function of time. This is the first time that such an effect has been observed for any kind of nonlinear partial differential equation, so far (...)
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  20. Dale Jacquette (1994). Schopenhauer on the Antipathy of Aesthetic Genius and the Charming. History of European Ideas 18 (3):373-385.score: 60.0
    Schopenhauer regards the ability to experience purely disinterested perception as the mark of aesthetic genius. Experience of the world as representation without interference of the individual will leads genius through imagination to grasp the Platonic Ideas underlying appearance, and then in a willful act of communication to depict the ideal in art. Schopenhauer's thesis that aesthetic genius is incompatible with the charming in still- life paintings of foods and historical paintings of nudes is criticized as inadequately supported by (...)
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  21. Robert Audi (2014). Normativity and Generality in Ethics and Aesthetics. Journal of Ethics 18 (4):373-390.score: 58.0
    Moral properties such as being wrong or being obligatory are not brute but based on other kinds of properties, such as being a lie or being promised. Aesthetic properties such as being graceful or being beautiful are similar to moral properties in being based on other kinds of properties, but in the aesthetic cases it may be impossible to specify just what these grounding properties are. Does any single property ground poetic beauty in the way promising grounds obligation (...)
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  22. Adrian M. S. Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.score: 56.0
    By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make (...)
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  23. James Shelley (2004). Hume's Principles of Taste: A Reply to Dickie. British Journal of Aesthetics 44 (1):84-89.score: 56.0
    George Dickie argues that Hume's principles of taste have value-laden properties as their subjects, including those properties we now refer to as ‘aesthetic’. I counter that Hume's principles have value-neutral properties as their subjects, and so exclude those properties we now refer to as ‘aesthetic’. Dickie also argues that Hume's essay on taste provides ‘the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties of artworks’. I counter that the (...)
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  24. Adrian Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.score: 56.0
    By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 1 These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to (...)
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  25. George Dickie (2003). James Shelley on Critical Principles. British Journal of Aesthetics 43 (1):57-64.score: 56.0
    James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part (...)
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  26. Ruben Berrios, Anti-Realism and Aesthetic Cognition.score: 54.0
    Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in order to (...)
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  27. Rob van Gerwen (1995). Kant's Regulative Principle of Aesthetic Excellence: The Ideal Aesthetic Experience. Kant-Studien 86 (3):331-345.score: 54.0
    It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative (...)
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  28. Murray Muraskin & Beatrice Ring (1977). Increased Complexity in Aesthetic Field Theory. Foundations of Physics 7 (5-6):451-458.score: 54.0
    We continue the program of looking for increased complexity within aesthetic field theory. We study a solution with five planar maxima and minima. Another solution in which we counted 19 planar maxima and minima is also studied. This latter solution was obtained by modifying our previous principles by allowing for an arbitrariness associated with the integration path in conjunction with the equation Γ jk:1 i =0.
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  29. Valerij Gretchko (2003). Aesthetic Conception of Russian Formalism. Sign Systems Studies 31 (2):523-531.score: 54.0
    At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of (...)
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  30. Murray Muraskin & Beatrice Ring (1974). Particle Behavior in Aesthetic Field Theory. Foundations of Physics 4 (3):395-405.score: 54.0
    We discuss the structure of a particle system obtained in “aesthetic” field theory and study the evolution of this system in time. We find the particle system to have more structure than particles found by other authors investigating particlelike behavior in nonlinear field theories. Our particle system has a maximum center in proximity to a minimum center. Thus, we can interpret our system as being constructed of two bodies. We find that the maximum center and the minimum center move (...)
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  31. Charlene Haddock Seigfried (1984). The Positivist Foundation in William James's "Principles". Review of Metaphysics 37 (3):579 - 593.score: 54.0
    In "the principles of psychology" james both claimed to be putting psychology on a firm foundation as a natural science in the positivist sense and argued that the positivist program was untenable. this inconsistency is partially the result of the transitional character of the "principles" but, more fundamentally, a reflection of the traditional division between science as objective knowledge of an independent reality and the subjective moral realm of human agency. this paper explains why james was as yet (...)
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  32. Jane Kneller (2002). Aesthetic Value and the Primacy of the Practical in Kant's Philosophy. Journal of Value Inquiry 36 (2):369-382.score: 54.0
    Kant's account of aesthetic value is easily ignored or subordinated by the recent stress on the primacy of the practical in his system. For Kant, vindicating reason not only requires a methodological distinction between principles of thought and knowledge on the one side, and of action and morality on the other, but the introduction of a third "faculty," feeling, along with its own principle of judgment. Christine Korsgaard has interpreted Kant's overall account of rationality in terms of a (...)
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  33. Sheila Dawson (1961). "Distancing" as an Aesthetic Principle. Australasian Journal of Philosophy 39 (2):155 – 174.score: 50.0
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  34. Daniel Punday (2004). Involvement, Interruption, and Inevitability: Melancholy as an Aesthetic Principle in Game Narratives. Substance 33 (3):80-107.score: 50.0
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  35. Victor V. Bychkov (2012). Symbolization in Art as an Aesthetic Principle. Russian Studies in Philosophy 51 (1):64-79.score: 50.0
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  36. Linda Duncan (1990). Heine and Nietzsche. Das Dionysische: Cultural Directive and Aesthetic Principle. Nietzsche-Studien 19 (1).score: 50.0
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  37. Anton Moser (2000). The Wisdom of Nature in Integrating Science, Ethics and the Arts. Science and Engineering Ethics 6 (3):365-382.score: 48.0
    This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in (...)
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  38. Hugh Barr Nisbet (ed.) (1985). German Aesthetic and Literary Criticism. Cambridge University Press.score: 46.0
    This anthology, part of a three-volume series of which the other two volumes are already available, charts the emergence of aesthetics in Germany in the latter half of the eighteenth century as a distinct discipline emancipated from French domination. The unifying theme of the volume is classicism: Winckelmann's neo-classicism was based on a profound knowledge of the visual art of Greece and Rome; Lessing's Laocoon extended Winckelmann's principles to literature; Herder and Schiller, by contrast, went on to define and (...)
     
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  39. Witt H. Parkeder (1976). The Principles of Aesthetics. Greenwood Press.score: 44.0
     
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  40. James W. Fernandez (1966). Principles of Opposition and Vitality in Fang Aesthetics. Journal of Aesthetics and Art Criticism 25 (1):53-64.score: 42.0
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  41. Helmut Kuhn (1950). On the Indispensability of Metaphysical Principles in Aesthetics. Journal of Aesthetics and Art Criticism 9 (2):128-133.score: 42.0
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  42. Avner Baz (2005). Kant's Principle of Purposiveness and the Missing Point of (Aesthetic) Judgements. Kantian Review 10 (1):1-32.score: 40.0
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  43. Cesar R. Torres (2012). Furthering Interpretivism's Integrity: Bringing Together Ethics and Aesthetics. Journal of the Philosophy of Sport 39 (2):299-319.score: 40.0
    One important limitation of the current renditions of interpretivism is that its emphasis on the moral dimension of sport has overlooked the aesthetic dimension lying at the core of this account of sport. The interpretivist?s failure to acknowledge and consider the aesthetic implicitly distances this realm from the moral. Marcia Muelder Eaton calls this distancing the separatist mistake. This paper argues that interpretivism presupposes not only moral but also aesthetic principles and values. What it sets out (...)
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  44. William Henry Werkmeister (1974). Kant as Philosophical Anthropologist, And: Kant's Principle of Personality, And: Kant Et le Problème du Mal, And: The Notion of Form in Kant's Critique of Aesthetic Judgment, And: Immanuel Kant: Briefwechsel (Review). Journal of the History of Philosophy 12 (3):405-410.score: 40.0
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  45. Loreta Poska1te (2005). Situationality as the Main Principle of Chinese" Aesthetic Being. In Jurate Baranova (ed.), Contemporary Philosophical Discourse in Lithuania. Council for Research in Values and Philosophy. 249.score: 40.0
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  46. Eli Eilon (2001). Nietzsche's Principle of Abundance as Guiding Aesthetic Value. Nietzsche-Studien 30 (1).score: 40.0
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  47. Arnold Isenberg (1973). Aesthetics and the Theory of Criticism. Chicago,University of Chicago Press.score: 38.0
    Aesthetics: Music and ideas. Formalism. Perception, meaning, and the subject matter of art. The technical factor in art. The aesthetic function of language. The problem of belief. On defining metaphor.--Criticism: Cordelia absent. A poem by Frost and some principles of criticism. Critical communication. "Pretentious" as an aesthetic predicate. Superlatives. Some problems of interpretation.--Ethics and moral psychology: Natural pride and natural shame. Deontology and the ethics of lying. Ethical and aesthetic criticism.--Appendices (p. [283]-316).--A. Analytical philosophy and (...)
     
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  48. R. Shusterman (2011). The Pragmatist Aesthetics of William James. British Journal of Aesthetics 51 (4):347-361.score: 36.0
    Although William James wrote no philosophical treatise on aesthetics, he can be seen as an important source for pragmatist aesthetics. This paper reconstructs James's aesthetic views from his diverse writings that demonstrate a keen regard for the arts and for the central, pervasive importance of the aesthetic dimension of experience, a dimension he saw as closely linked to the rational and practical. Special attention is given to his path-blazing The Principles of Psychology which precedes James's explicit pragmatist (...)
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  49. Eric C. Mullis (2006). Performative Somaesthetics: Principles and Scope. Journal of Aesthetic Education 40 (4):104-117.score: 36.0
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  50. Mercedes Tineo (1999). REVILLA, C. (Editora). Claves de la razón poética. María Zambrano: un pensamiento en el orden del tiempo. [REVIEW] Anales Del Seminario de Historia de la Filosofía 16:334.score: 36.0
    María Zambrano art critic presents the special space that painting was for her. Transcribing her contemplations, she reveals an appropriate way to enter in the pictures: the poetic reason, which constitutes a new aesthetic based on fidelity to original reality and on the revelation of a presence. Zambrano defines painting as a creative act that bursts out of the artist odyssey towards his entrails and to the revelation always incomplete of the original reality. We want to understand the expression (...)
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