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

1000+ found
Order:
  1.  58
    Vojko Strahovnik (2004). The Riddle of Aesthetic Principles. Acta Analytica 19 (33):189-208.
    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 (...)
    Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  2.  40
    Oliver Conolly & Bashshar Haydar (2003). Aesthetic Principles. British Journal of Aesthetics 43 (2):114-125.
    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. (...)
    Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  3.  1
    Jennifer A. McMahon (2000). Perceptual Principles, Aesthetic Form and Notions of Unity. Consciousness and Cognition 29 (1):S64 - S102.
    There are a number of problems associated with the classic notion of beauty understood as an experience of perceptual form. These problems are that there is an apparent incompatibility between beauty’s objectivity and subjectivity; and an incompatibility between the two self-evident theses that (i) there are no principles of beauty and (ii) there are genuine judgements of beauty. There is also the problem of explaining the possibility of a disinterested pleasure. To solve these problems I draw upon the work (...)
    Direct download  
     
    Export citation  
     
    My bibliography  
  4. Eddy Zemach (1987). Aesthetic Properties, Aesthetic Laws, and Aesthetic Principles. Journal of Aesthetics and Art Criticism 46 (1):67-73.
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  5.  87
    Malcolm Budd (1999). Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties. European Journal of Philosophy 7 (3):295–311.
    Direct download (7 more)  
     
    Export citation  
     
    My bibliography   4 citations  
  6. 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.
    No categories
     
    Export citation  
     
    My bibliography  
  7. Henry Rutgers Marshall (1894). Aesthetic Principles. The Monist 5:637.
     
    Export citation  
     
    My bibliography  
  8.  3
    X. I. E. da-Weia & Ding Junb (2011). The Aesthetic Value and Designing Principles of University Campus Landscape. Journal of Aesthetic Education 5:018.
    Direct download  
     
    Export citation  
     
    My bibliography  
  9. Mary Mothersill (1989). Aesthetic Laws, Principles and Properties: A Response to Eddy Zemach. Journal of Aesthetics and Art Criticism 47 (1):77-82.
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  10.  4
    Jennifer McErlean (1990). Critical Principles and Emergence in Beardsley's Aesthetic Theory. Journal of Aesthetics and Art Criticism 48 (2):153-156.
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  11.  55
    Anna Bergqvist (2010). Why Sibley is Not a Generalist After All. British Journal of Aesthetics 50 (1):1-14.
    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 (...)
    Direct download (6 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  12.  1
    Fabian Dorsch (2014). The Limits of Aesthetic Empiricism. In Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press 75-100.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First ‒‒ within criticism ‒ they may help us to identify the aesthetic value of objects. Second ‒ whithin philosophy ‒ they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific (...)
    Direct download  
     
    Export citation  
     
    My bibliography  
  13.  29
    Xialing Xie (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. [REVIEW] Frontiers of Philosophy in China 4 (1):38-51.
    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 (...)
    Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  14.  13
    Henrik Kaare Nielsen (2012). Aesthetic Judgement and Political Judgement. Nordic Journal of Aesthetics 23 (43).
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  15.  26
    Peter Howarth (2007). Creative Writing and Schiller's Aesthetic Education. Journal of Aesthetic Education 41 (3):41-58.
    : 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 (...)
    Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  16.  8
    Xie Xialing & Gao Limin (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. Frontiers of Philosophy in China 4 (1):38 - 51.
    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 (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  17. Fabian Dorsch (2011). The Aesthetic Relevance of Empirical Findings. Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  18.  11
    Erman Kaplama (2016). The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings. Cosmos and History: The Journal of Natural and Social Philosophy 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  19. Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.
    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 (...)
    Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  20.  32
    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.
    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. (...)
    Direct download (7 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  21.  14
    M. Muraskin (1980). Aesthetic Fields—Null Theory. Foundations of Physics 10 (11-12):887-903.
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  22.  5
    Dale Jacquette (1994). Schopenhauer on the Antipathy of Aesthetic Genius and the Charming. History of European Ideas 18 (3):373-385.
    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 (...)
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  23.  3
    M. Muraskin & B. Ring (1975). A Two-Particle Collision in Aesthetic Field Theory. Foundations of Physics 5 (3):513-523.
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  24.  1
    C. L. Kane (2010). 'Programming the Beautiful': Informatic Color and Aesthetic Transformations in Early Computer Art. Theory, Culture and Society 27 (1):73-93.
    Color has long been at home in the domains of classical art and aesthetics. However, with the introduction of computer art in Germany in the early 1960s, a new ‘rational theory’ of art, media and color emerged. Many believed this new ‘science’ of art would generate computer algorithms which would enable new media aestheticprinciples to be formulated mathematically’ — thus ending the lofty mystifications that have, for too long, been associated with Romantic notions about artwork and art-making. (...)
    No categories
    Direct download  
     
    Export citation  
     
    My bibliography  
  25. T. W. McCarty (2015). Good Readers and Good Liberals: Nabokov's Aesthetic Liberalism. Political Theory 43 (6):753-776.
    This article offers an interpretation of Vladimir Nabokov’s unique contribution to political theory as seen primarily through the lens of his novel Invitation to a Beheading. Although most frequently interpreted as an indictment of totalitarianism, the novel depicts a form of cruelty practiced not only by totalitarians, but also by the rulers and citizens of milder political orders, including liberalism. The novel suggests that such cruelty is more insidious than that familiar to readers of dystopian novels precisely because of its (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  26.  24
    Vilayanur S. Ramachandran & William Hirstein (1999). The Science of Art: A Neurological Theory of Aesthetic Experience. Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography   27 citations  
  27. Ruben Berrios, Anti-Realism and Aesthetic Cognition.
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  28.  14
    Robert Hopkins (2015). Reproductive Prints as Aesthetic Surrogates. Journal of Aesthetics and Art Criticism 73 (1):11-21.
    Reproductive prints allow us to engage with the aesthetic/artistic character of the pictures that are their sources. But prints clearly differ from their sources in various striking ways. How, then, are they able to make engagement possible? I consider various answers. Most treat prints as acting as surrogates for the source: in sharing its aesthetic properties, in resembling it in overall aesthetic character, in being aesthetically transparent to it, or in allowing us to imagine its aesthetic (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  29.  68
    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
    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 (...)
    Direct download  
     
    Export citation  
     
    My bibliography  
  30.  54
    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
    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 (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  31.  50
    James Shelley (2004). Hume's Principles of Taste: A Reply to Dickie. British Journal of Aesthetics 44 (1):84-89.
    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 (...)
    Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  32.  17
    Murray Muraskin & Beatrice Ring (1977). Increased Complexity in Aesthetic Field Theory. Foundations of Physics 7 (5-6):451-458.
    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.
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  33.  8
    Jane Kneller (2002). Aesthetic Value and the Primacy of the Practical in Kant's Philosophy. Journal of Value Inquiry 36 (2):369-382.
    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 (...)
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  34.  7
    Valerij Gretchko (2003). Aesthetic Conception of Russian Formalism. Sign Systems Studies 31 (2):523-531.
    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 (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  35.  24
    George Dickie (2003). James Shelley on Critical Principles. British Journal of Aesthetics 43 (1):57-64.
    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 (...)
    Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  36.  12
    Charlene Haddock Seigfried (1984). The Positivist Foundation in William James's "Principles". Review of Metaphysics 37 (3):579 - 593.
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  37.  1
    Stefan Morawski & Barbara Kryzwicka (1977). Contemporary Approaches to Aesthetic Inquiry: Absolute Demands and Limited Possibilities. Critical Inquiry 4 (1):55-83.
    The generalizing methods of philosophies achieve a popularity for a period of time, which may be extended or brief, during which their proponents and even their opponents may regard them as the cognitive presuppositions for the epoch. The same effect is achieved by the more exact scientific methodologies as they find fame outside the scientific circle and are treated by some as omnipotent discoveries with powers to heal all other disciplines which may be ailing. The limping disciplines, generally classified among (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  38.  3
    Murray Muraskin & Beatrice Ring (1974). Particle Behavior in Aesthetic Field Theory. Foundations of Physics 4 (3):395-405.
    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 (...)
    Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  39.  2
    H. P. R. Finberg (1926). The Filiation of Aesthetic Ideas in the Neoplatonic School. Classical Quarterly 20 (3-4):148-.
    The famous passage in which Plotinus declares that fine art, so far from simply reproducing nature, ‘goes back to the Reason-principles from which nature herself emanates,’ has hitherto been generally regarded as a tacit criticism of Plato's teaching, and as an original contribution to the philosophy of art involving a rupture with the entire previous tradition of Greek aesthetic theory. Yet Plotinus introduces it, not as if he were proclaiming a new gospel, but almost casually, as a subordinate (...)
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  40. Richard Hartnett & Haixia Wang (2013). The Aesthetic University, the Market University, and the Battle for the Soul of Beida. Asian Culture and History 6 (1):83-93.
    Beida reformers invoke the legacy of Cai Yuanpei’s cosmopolitan vision for making it a world-class university while erecting it on the principles of the “market university,” which are contradictory to Cai’s aesthetic ideals of universality, transcendence, and freedom of thought. This study compares the conceptual underpinnings of both models and proposes a pathway for resurrecting Cai’s foundational idea of the university and preserving the “Beida spirit.”.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  41. George Mclean (2008). Kant and Confucius, the Aesthetic Freedom and Imagination In. Philosophy and Culture 35 (12):53-66.
    To commemorate Professor Yip Lai drunk, this article analyzes the social construction of beauty in the role. Focus on the imagination in Kant's "first critique" and "third critical" role into the comparison. In the "first critique", the imaginative scope of row rank succumb to emotional information under the force measured. In the "third critique" in the free world and the physical manifestation of the social world, you need to play an active imagination and rich creative role. Lai drunk leaf through (...)
     
    Export citation  
     
    My bibliography  
  42.  10
    Jennifer A. McMahon (1996). Aesthetic Perception. Communication and Cognition: An Interdisciplinary Quarterly Journal 29 (1):37-64.
    In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, (...)
    Direct download  
     
    Export citation  
     
    My bibliography  
  43.  28
    Milena Ivanova (forthcoming). Poincaré’s Aesthetics of Science. Synthese:1-14.
    This paper offers a systematic analysis of Poincaré’s understanding of beauty in science. In particular, the paper examines the epistemic significance Poincaré attributes to aesthetic judgement by reconstructing and analysing his arguments on simplicity and unity in science. I offer a consistent reconstruction of Poincaré’s account and show that for Poincaré simplicity and unity are regulative principles, linked to the aim of science—that of achieving understanding of how phenomena relate. I show how Poincaré’s account of beauty in science (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  44.  1
    Jennifer A. McMahon (2013). Aesthetics and Material Beauty: Aesthetics Naturalized. Routledge.
    In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According (...)
    Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  45. Jennifer A. McMahon (2009). Aesthetics and Material Beauty: Aesthetics Naturalized. Routledge.
    In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According (...)
    Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  46. Anton Moser (2000). The Wisdom of Nature in Integrating Science, Ethics and the Arts. Science and Engineering Ethics 6 (3):365-382.
    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 (...)
    Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  47.  27
    Robert Audi (2014). Normativity and Generality in Ethics and Aesthetics. Journal of Ethics 18 (4):373-390.
    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 (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  48.  22
    Eric C. Mullis (2006). Performative Somaesthetics: Principles and Scope. Journal of Aesthetic Education 40 (4):104-117.
    Direct download (6 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  49.  19
    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.
    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 (...)
    No categories
    Translate
      Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  50.  14
    Marta Nogueroles Jové (2005). II Congreso Internacional del Centenario de María Zambrano Crisis cultural y compromiso civil en María Zambrano. Anales Del Seminario de Historia de la Filosofía 22:301-305.
    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 (...)
    No categories
    Translate
      Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
1 — 50 / 1000