Search results for 'Aesthetics Terminology' (try it on Scholar)

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  1. Evental Aesthetics (2012). Aesthetics After Hegel (Volume 1, Number 1, 2012). Evental Aesthetics 1 (1):1-138.score: 160.0
    This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.
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  2. Grounded Aesthetics (2000). Aesthetics and Modes of Analysis. In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications. 111.score: 150.0
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  3. James Mark Baldwin (1940). Dictionary of Philosophy and Psychology, Including Many of the Principal Conceptions of Ethics, Logic, Aesthetics, Philosophy of Religion, Mental Pathology, Anthropology, Biology, Neurology, Physiology, Economics, Political and Social Philosophy, Philology, Physical Science, and Education, and Giving a Terminology in English, French, German, and Italian. New York, P. Smith.score: 36.0
  4. Göran Sörbom (1966). Mimesis and Art. Stockholm, Svenska Bokförlaget (Bonnier).score: 30.0
     
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  5. Robin James (2011). &Quot;feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'&Quot;. In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.score: 21.0
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked (...)
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  6. Bence Nanay (forthcoming). Philosophy of Perception as a Guide to Aesthetics. In Greg Currie, Aaron Meskin, Matthew Kieran & Jon Robson (eds.), Aesthetics and the Sciences of the Mind.score: 21.0
    The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by (...)
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  7. Christoph Menke (2010). Not Yet. The Philosophical Significance of Aesthetics. Nordic Journal of Aesthetics 21 (39).score: 21.0
    The paper asks for the preconditions and the consequences of the emergence of aesthetics in and for philosophy. The question is: what does it mean for philosophy to engage the question of the aesthetic? My answer will be: it means nothing less than putting philosophy in question. Or, more precisely: by engaging the question of the aesthetic, philosophy puts itself in question. In order to show this, I will refer to a brief passage in the Phenomenology of the Spirit (...)
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  8. J. J. Tinguely (2013). Kantian Meta-Aesthetics and the Neglected Alternative. British Journal of Aesthetics 53 (2):211-235.score: 21.0
    In this article, firstly, I begin by articulating four logically different positions Kant has been argued to hold concerning the nature and meaning of ‘aesthetic judgement’ so that, secondly, I may endorse the alternative that has been almost entirely neglected: that is, aesthetic judgement should be understood to be both ‘internalist’ in that the pleasure of taste is a constitutive element of the judgement itself (rather than its external effect or prior referent) and ‘objective’ insofar as the pleasure of taste (...)
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  9. Karlheinz Lüdeking (2010). The Limits of Conceptual Analysis in Aesthetics. Nordic Journal of Aesthetics 21 (39).score: 21.0
    In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The (...)
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  10. Morten Kyndrup (2010). Aesthetics and its Future. Problems and Perspectives. Nordic Journal of Aesthetics 21 (39).score: 21.0
    This presentation argues that the question about “future” presupposes an analysis of the current state of the discipline, which again in turn must be seen in the light of its history. The presentation then unfolds a rough reconstruction of that history from Baumgarten and Kant, over Romanticism’s establishing of the partnership with Art and Truth in the continental tradition and up to 20th century’s settling with especially that tradition, led by endeavours both within art itself, in the art sciences, and (...)
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  11. Johan Hartle (2014). The Struggle is Beautiful: On the Aesthetics of Leftist Politics. Nordic Journal of Aesthetics 23 (44-45).score: 21.0
    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 (...)
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  12. Peter Osborne (2014). Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary. Nordic Journal of Aesthetics 23 (44-45).score: 21.0
    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 (...)
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  13. Cameron Shelley (1998). Consciousness, Symbols and Aesthetics: A Just-so Story and its Implications in Susanne Langer's Mind: An Essay on Human Feeling. Philosophical Psychology 11 (1):45 – 66.score: 21.0
    Consciousness is a central theme of Susanne Langer's three-volume work Mind: An essay on human feeling. Langer proposes an evolutionary history of consciousness in order to establish a biological vocabulary for discussing the subject. This vocabulary is based on the qualities of organic processes rather than generic material objects. Her historical scenario and new terminology suggest that Langer views the “cash value” of consciousness in terms of symbolic thinking and aesthetics. This paper provides an overview of Langer's proposed (...)
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  14. Jonathan Maskit (2007). 'Line of Wreckage': Towards a Postindustrial Environmental Aesthetics. Ethics, Place and Environment 10 (3):323 – 337.score: 21.0
    Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, (...)
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  15. Richard Shusterman (2012). Back to the Future: Aesthetics Today. Nordic Journal of Aesthetics 23 (43).score: 21.0
    This paper originated as the keynote address at the conference “Aesthetics Today” organized by the Finnish Society of Aesthetics to mark its 40th anniversary and was delivered at the University of Helsinki on March 1, 2012. Written for that particular occasion the sense of an oral presentation has been maintained. Shusterman’s point of departure is the thesis that contemporary aesthetics can be characterized by a number of leading themes that mark a return to older aesthetic perspectives, after (...)
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  16. Paolo Diego Bubbio (2007). Literary Aesthetics and Knowledge in René Girard’s Mimetic Theory. Literature and Aesthetics 17 (1):35-50.score: 21.0
    René Girard’s mimetic theory has significantly influenced the fields of comparative literature and cultural studies, as well as sociological anthropology and philosophy. Nevertheless, I argue that a somewhat different line of interpretation, an interdisciplinary one, has not been sufficiently investigated. This involves an interpretation which focuses on the vicissitudes of the mimetic and “victimage” circle not (or not only) in sociological terms, but by analysing their articulation on the level of knowledge. The sociological and epistemological perspectives do not exclude each (...)
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  17. Richard M. Shusterman (2007). Somaesthetics and the Revival of Aesthetics. Filozofski Vestnik 2.score: 21.0
    This paper examines the ten-year history of somaesthetics – describing the field's origins and genealogical roots, explaining its terminology, analyzing its structure, tracing its reception, exploring its most interesting applications, and responding to the most important criticisms that have been directed at it. Somaesthetics, as the paper shows, emerges from the framework of my work in pragmatist aesthetics which sought to revive aesthetics by bringing art closer to life and bridging the presumed divide between the aesthetic and (...)
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  18. Robert Hopkins (2005). Aesthetics, Experience, and Discrimination. Journal of Aesthetics and Art Criticism 63 (2):119–133.score: 19.0
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...)
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  19. Jason E. Smith (2014). Form-of-Life: From Politics to Aesthetics (and Back). Nordic Journal of Aesthetics 23 (44-45).score: 19.0
    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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  20. Vladimir J. Konečni (2013). Empirical Psycho-Aesthetics and Her Sisters: Substantive and Methodological Issues—Part I. Journal of Aesthetic Education 46 (4):1-12.score: 19.0
    This article is in two parts, with part II to appear in the next issue of JAE (Spring 2013). Part I (with six sections), in this issue, has two related objectives. The first objective is to examine a number of key substantive, methodological, and science-practice issues related to the field designated here as empirical psycho-aesthetics. The second objective is to present an outline of its origin and discuss certain important features of several related fields—experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of (...)
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  21. Allen Carlson (2000). Aesthetics and the Environment: The Appreciation of Nature, Art, and Architecture. Routledge.score: 18.0
    Aesthetics and the Environment presents fresh and fascinating insights into our interpretation of the environment. Traditional aesthetics is often associated with the appreciation of art, but Allen Carlson shows how much of our aesthetic experience does not encompass art but nature--in our response to sunsets, mountains or horizons or more mundane surroundings, like gardens or the view from our window. Carlson argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience (...)
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  22. Peter Lamarque (2007). Aesthetics and Literature: A Problematic Relation? Philosophical Studies 135 (1):27 - 40.score: 18.0
    The paper argues that there is a proper place for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aesthetic pleasure associated with literature it is all too easy to fall into reductive accounts, for example, of literature as merely “fine writing”. Belleslettrist or formalistic accounts of literature are rejected, as are two other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is (...)
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  23. Malcolm Budd (2002). The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature. Oxford University Press.score: 18.0
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the (...) of nature, approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)
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  24. Florian Cova & Nicolas Pain (2012). Can Folk Aesthetics Ground Aesthetic Realism? The Monist 95 (2):241-263.score: 18.0
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having (...)
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  25. R. Keith Sawyer (2000). Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity. Journal of Aesthetics and Art Criticism 58 (2):149-161.score: 18.0
  26. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..score: 18.0
    Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and (...)
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  27. Frank Sibley (2001). Approach to Aesthetics: Collected Papers on Philosophical Aesthetics. Oxford University Press.score: 18.0
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive (...)
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  28. Jacques Rancière (2006). The Politics of Aesthetics: The Distribution of the Sensible. Continuum.score: 18.0
    The Politics of Aesthetics rethinks the relation between art and politics, reclaiming 'aesthetics' from its current narrow confines to reveal its significance ...
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  29. Jerrold Levinson (2006). Contemplating Art: Essays in Aesthetics. Oxford University Press.score: 18.0
    Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
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  30. Yuriko Saito (2001). Everyday Aesthetics. Philosophy and Literature 25 (1):87-95.score: 18.0
    Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.
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  31. Arnold Berleant (2005). Aesthetics and Environment: Variations on a Theme. Ashgate Pub. Ltd..score: 18.0
    I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization (...)
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  32. Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press.score: 18.0
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing (...)
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  33. Paul Guyer (1993). Kant and the Experience of Freedom: Essays on Aesthetics and Morality. Cambridge University Press.score: 18.0
    This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of (...)
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  34. Priyan Dias (2011). Aesthetics and Ethics in Engineering: Insights From Polanyi. [REVIEW] Science and Engineering Ethics 17 (2):233-243.score: 18.0
    Polanyi insisted that scientific knowledge was intensely personal in nature, though held with universal intent. His insights regarding the personal values of beauty and morality in science are first enunciated. These are then explored for their relevance to engineering. It is shown that the practice of engineering is also governed by aesthetics and ethics. For example, Polanyi’s three spheres of morality in science—that of the individual scientist, the scientific community and the wider society—has parallel entities in engineering. The existence (...)
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  35. Jerrold Levinson (ed.) (1998). Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press.score: 18.0
    This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume (...)
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  36. Allen Carlson (2009). Nature and Landscape: An Introduction to Environmental Aesthetics. Columbia University Press.score: 18.0
    The development and nature of environmental aesthetics -- Aesthetic appreciation and the natural environment -- The requirements for an adequate aesthetics of nature -- Aesthetic appreciation and the human environment -- Appreciation of the human environment under different conceptions -- Aesthetic appreciation and the agricultural landscape -- What is the correct way to aesthetically appreciate landscapes?
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  37. Emily Brady (2003). Aesthetics of the Natural Environment. University of Alabama Press.score: 18.0
    Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...
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  38. Monroe C. Beardsley, Lars Aagaard-Mogensen & Luk de Vos (eds.) (1986). Text, Literature, and Aesthetics: In Honor of Monroe C. Beardsley. Rodopi.score: 18.0
    Foreword Large parts of Monroe Beardsley's production in the field of aesthetics treat literature, the theory of meaning, and the philosophy of language. ...
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  39. Kathleen Stock & Katherine Thomson-Jones (eds.) (2008). New Waves in Aesthetics. Palgrave Macmillan.score: 18.0
    Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.
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  40. Rebecca Kukla (ed.) (2006). Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press.score: 18.0
    This volume explores the relationship between Kant's aesthetic theory and his critical epistemology as articulated in the Critique of Pure Reason and the Critique of the Power of Judgment. The essays, written specially for this volume, revise our understanding of core elements of Kant's epistemology, such as his notions of discursive understanding, experience, and objective judgment. They also demonstrate a rich grasp of Kant's critical epistemology that enables a deeper understanding of his aesthetics. Collectively, the essays reveal that Kant's (...)
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  41. Warren A. Shibles (1995). Emotion in Aesthetics. Kluwer Academic Publishers.score: 18.0
    Emotion in Aesthetics is the first book on aesthetics to provide an extensive theory of emotion; application of the cognitive-emotive theory to aesthetics; analysis of the relationship between aesthetics, metaphor and emotion; a full theory of meaning and its application to aesthetics; discussion of the relationship between aesthetics, music and language in terms of phonetics, phonology and intonation; an analysis of humanistic aesthetics; a well-developed naturalistic theory of ethics as applied to aesthetics (...)
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  42. Oswald Hanfling (ed.) (1992). Philosophical Aesthetics: An Introduction. Open University.score: 18.0
    This volume contains surveys of the main issues in philosophical aesthetics, as discussed by thinkers from ancient Greece to modern times.
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  43. Qingping Liu (2006). The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century. Frontiers of Philosophy in China 1 (1):33-40.score: 18.0
    Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the (...)
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  44. Kaoru Noguchi (2003). The Relationship Between Visual Illusion and Aesthetic Preference – an Attempt to Unify Experimental Phenomenology and Empirical Aesthetics. Axiomathes 13 (3-4):261-281.score: 18.0
    Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental (...), and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)
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  45. Michael Kelly (2003). Iconoclasm in Aesthetics. Cambridge University Press.score: 18.0
    Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.
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  46. Peter Lamarque & Stein Haugom Olsen (eds.) (2004). Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology. Blackwell Pub..score: 18.0
    "Aesthetics and the Philosophy of Art" also features a selection of key papers from subsequent contributors that illustrate how the debates developed and how ...
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  47. Edward Green (2005). A Note on Two Conceptions of Aesthetic Realism. British Journal of Aesthetics 45 (4):438-440.score: 18.0
    on great currency in analytic philosophical aesthetics. What is not generally known is that the American philosopher Eli Siegel called the philosophy he founded in the 1940s Aesthetic Realism. His philosophy has as its central principle: ‘The world, art, and self explain each other: each is the aesthetic oneness of opposites.’ Thus, two distinct uses of the same terminology exist, and should not be confused.
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  48. John Miles Little (2010). Is There a Real Nexus Between Ethics and Aesthetics? Journal of Bioethical Inquiry 7 (1):91-102.score: 18.0
    Aesthetics is a vexed topic in philosophy, with a long history. For my purposes, an aesthetic experience is a foundational affective response to an object, to which terms such as “ugly”, “beautiful”, “pretty” or “harmonious” are applied. These terms are derived from a Discourse of aesthetics; some remain constant, others change from generation to generation. Aesthetics and ethics have been linked in Western thought since the days of Plato and Aristotle. This essay examines what is happening to (...)
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  49. Matthew Rampley (2000). Nietzsche, Aesthetics, and Modernity. Cambridge University Press.score: 18.0
    Nietzsche, Aesthetics and Modernity analyzes Nietzsche's response to the aesthetic tradition, tracing in particular the complex relationship between the work and thought of Nietzsche, Kant, and Hegel. Focusing in particular on the critical role of negation and sublimity in Nietzsche's account of art, it explores his confrontation with modernity and his attempt to posit a revitalized artistic practice as the counter-movement to modern nihilism. Drawing on the full range of his published and unpublished writings, together with his comments on (...)
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  50. Jacques Rancière (2010). Dissensus: On Politics and Aesthetics. Continuum.score: 18.0
    Translator's introduction -- Preface -- Part I: The aesthetics of politics -- Ten theses on politics -- Does democracy mean something? -- Who is the subject of the rights of man? -- Communism : from actuality to inactuality -- The people or the multitudes -- Bio-politics or politics -- September 11 and afterwards : a rupture in the symbolic order -- Of war as the supreme form of advanced plutocratic consensus -- Part II: The politics of aesthetics -- (...)
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