Search results for 'Art appreciation' (try it on Scholar)

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  1.  31
    Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws (...)
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  2.  16
    Tone Roald (2008). Toward a Phenomenological Psychology of Art Appreciation. Journal of Phenomenological Psychology 39 (2):189-212.
    Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings (...)
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  3. Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art (1996). Negotiating Rapture the Power of Art to Transform Lives.
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  4. Matthew Kieran (2010). The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation. Philosophical Quarterly 60 (239):243-263.
    Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...)
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  5.  8
    Shigeko Takahashi & Yoshimichi Ejima (2013). Contextual Information Processing of Brain in Art Appreciation. Behavioral and Brain Sciences 36 (2):158-159.
    A psycho-historical framework for the science of art appreciation will be an experimental discipline that may shed new light on the highest capacities of the human brain, yielding new scientific ways to talk about the art appreciation. The recent findings of the contextual information processing in the human brain make the concept of the art-historical context clear for empirical experimentation.
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  6.  5
    Glenn Parsons & Allen Carlson (2013). Distinguishing Intention and Function in Art Appreciation. Behavioral and Brain Sciences 36 (2):153 - 154.
    We applaud Bullot & Reber's (B&R's) attempt to encompass the function of artworks within their psycho-historical model of art appreciation. However, we suggest that in order to fully realize this aim, they require a clearer distinction between an artist's intentions toward an artwork and its proper functions. We also show how such a distinction improves the internal coherence of their model.
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  7.  2
    William Forde Thompson & Mark Antliff (2013). Bridging Two Worlds That Care About Art: Psychological and Historical Approaches to Art Appreciation. Behavioral and Brain Sciences 36 (2):159-160.
    Art appreciation often involves contemplation beyond immediate perceptual experience. However, there are challenges to incorporating such processes into a comprehensive theory of art appreciation. Can appreciation be captured in the responses to individual artworks? Can all forms of contemplation be defined? What properties of artworks trigger contemplation? We argue that such questions are fundamental to a psycho-historical framework for the science of art appreciation, and we suggest research that may assist in refining this framework.
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  8. Mulk Raj Anand (1963). The Third Eye a Lecture on the Appreciation of Art. Published for the University of Punjab by D.C. Sharma.
     
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  9. John Armstrong (1996). Looking at Pictures an Introduction to the Appreciation of Art.
     
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  10. Patrick Carpenter (1971). Art and Ideas: An Approach to Art Appreciation. London,Mills and Boon.
     
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  11. Daniel Shaw (2000). A Philosophical Account of the Nature of Art Appreciation. Monograph Collection (Matt - Pseudo).
     
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  12. Allen Carlson (2000). Aesthetics and the Environment: The Appreciation of Nature, Art, and Architecture. Routledge.
    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 (...)
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  13.  4
    V. Dura-Vila (2014). Courage in Art Appreciation: A Humean Perspective. British Journal of Aesthetics 54 (1):77-95.
    In this article I argue that a high capacity for courage, in the sense of the strength of character that enables one to face distress, angst or psychological pain, is required of Hume’s ideal critics just as the other well-known five characteristics are. I also explore the implications of my proposal for several aspects of Hume’s aesthetics, including the one brought into relief by Shelley’s interpretation of Hume along the lines of distinguishing between the perceptual and affective stages in aesthetic (...)
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  14.  1
    Patrick Colm Hogan (2013). Art Appreciation and Aesthetic Feeling as Objects of Explanation. Behavioral and Brain Sciences 36 (2):147-148.
    The target article presents a thought-provoking approach to the relation of neuroscience and art. However, at least two issues pose potential difficulties. The first concerns whether is a coherent topic for scientific study. The second concerns the degree to which processing fluency can explain aesthetic feeling or may simply be one component of a more complex account.
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  15.  47
    Warren Farnworth (1968). Art Appreciation in School. British Journal of Aesthetics 8 (4):402-406.
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  16. Kazuhiro Ishizaki & Wenchun Wang (2003). Postmodern Approach to Art Appreciation for Integrated Study in Japan. Journal of Aesthetic Education 37 (4):64-73.
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  17.  3
    Helmut Leder, Gernot Gerger, David Brieber & Norbert Schwarz (2014). What Makes an Art Expert? Emotion and Evaluation in Art Appreciation. Cognition and Emotion 28 (6):1137-1147.
  18.  7
    Victor Yelverton Haines (2000). Appreciating Art Appreciation. Journal of Value Inquiry 34 (4):529-543.
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  19.  1
    Preben Mortensen (1994). Shaftesbury and the Morality of Art Appreciation. Journal of the History of Ideas 55:631-650.
  20. Helmut Leder (2007). Chapter Five When the Real van Gogh is Real! Cognitive Top-Down Effects in Art Appreciation Helmut Leder and M. Dorothee Augustin. In L. I͡A Dorfman, Colin Martindale & Vladimir Petrov (eds.), Aesthetics and Innovation. Cambridge Scholars Pub. 67.
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  21.  3
    Paul Ziff & Dale Jamieson (eds.) (1994). Language, Mind, and Art: Essays in Appreciation and Analysis in Honor of Paul Ziff. Kluwer Academic Publishers.
    This volume is a collection of essays in appreciation, analysis and honor of Paul Ziff, one of the leading American philosophers of the post-World War II period. The essays address questions that loomed large in Ziff's own work. Essays by Zeno Vendler, Jay Rosenberg, and Tom Patton address topics in philosophy of language: understanding, misunderstanding, rules, regularities, and proper names. Michael Resnik examines the nature of numbers, Rita Nolan addresses `mutant predicates', and Peter Alexander discusses microscopes and corpuscles. Douglas (...)
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  22. Heidi Maibom & James Harold (2010). Without Taste: Psychopaths and the Appreciation of Art. Nouvelle Revue d'Esthétique 6:151-63.
    Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...)
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  23.  4
    N. Horwitz & M. Trucco (2007). Appreciation of Art in a Workers' Hospital in Chile. Medical Humanities 33 (1):55-58.
    To assess the impact of selected murals in the Workers’ Hospital in Santiago on different groups of clients, a quantitative and qualitative approach, including a semantic differential scale, was applied. The sample was composed of 120 subjects—40 patients, 40 visitors and 40 hospital staff. Appreciation of the paintings and assessment of the benefit of each painting varied widely. Differences in perceptions according to age, gender and educational level were not significant. Over two-thirds of the sample had a positive (...) of the murals and considered them beneficial. Differences in perception relate to personal characteristics of the subjects and are also associated with certain characteristics of the murals, such as location, or the structure and style of the work. This study, the first of its kind in Chile, provides grounds for the development of an art-for-health policy in the future, showing that most people are willing to participate by giving their opinions and assessments. (shrink)
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  24. Allen Carlson (2005). Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture. Routledge.
    Traditional aesthetics is often associated with the appreciation of art, 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. He argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that scientific understanding of nature can enhance our appreciation of it, rather than denigrate (...)
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  25.  22
    Alfred Neumeyer (1952). Aesthetic Attitudes and the Present Status of Art History and Appreciation. Journal of Aesthetics and Art Criticism 11 (1):61-66.
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  26.  6
    John Elsner (1996). Image and Ritual: Reflections on the Religious Appreciation of Classical Art. Classical Quarterly 46 (02):515-.
    It is a cliché that most Greek art was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. (...)
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  27.  9
    John Andrew Fisher & Jason Potter (1997). Technology, Appreciation, and the Historical View of Art. Journal of Aesthetics and Art Criticism 55 (2):169-185.
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  28. Matthew Kieran (2009). Artistic Character, Creativity, and the Appreciation of Conceptual Art. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. OUP Oxford
     
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  29. Timothy W. Bartel (1979). Appreciation and Dickie's Definition of Art. British Journal of Aesthetics 19 (1):44-52.
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  30.  56
    Patricia M. Matthews (2001). Aesthetic Appreciation of Art and Nature. British Journal of Aesthetics 41 (4):395-410.
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  31.  51
    David B. Richardson (1976). Nature-Appreciation Conventions and the Art World. British Journal of Aesthetics 16 (2):186-191.
  32.  2
    Dorothy Walsh & Harold Osborne (1971). The Art of Appreciation. Philosophical Quarterly 21 (84):283.
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  33.  23
    Andy Hamilton (2001). Aesthetics and the Environmen: The Appreciation of Nature, Art and Architecture. British Journal of Aesthetics 41 (4):444-446.
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  34.  4
    Elmer I. Nocheseda (2013). Palaspas: An Appreciation of Palm Leaf Art in the Philippines. Philosophy East and West 63 (2).
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  35.  3
    Vincent Tomas (1952). Ducasse on Art and its Appreciation. Philosophy and Phenomenological Research 13 (1):69-83.
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  36. R. K. Elliott (1972). "The Art of Appreciation": Harold Osborne. [REVIEW] British Journal of Aesthetics 12 (1):79.
     
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  37. Edward Sankowski (1976). Emotion and the Appreciation of Art. Journal of Aesthetic Education 10 (2):45.
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  38. Np Stallknecht (1975). Kant Concept of the Esthetic Idea and the Appreciation of Modern-Art. Revue Internationale de Philosophie 29 (111):175-186.
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  39.  3
    Michael Parsons (1988). How We Understand Art: A Cognitive and Developmental Account of Aesthetic Experience. Journal of Aesthetics and Art Criticism 46 (3):426-426.
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  40.  38
    Barbara Bolt (2004). Art Beyond Representation: The Performative Power of the Image. I.B. Tauris.
    Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of (...)
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  41. Michael J. Parsons (1991). How We Understand Art: A Cognitive Development Account of Aesthetic Experience. British Journal of Educational Studies 39 (4):466-467.
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  42. John Armstrong (2000). The Intimate Philosophy of Art. Allen Lane.
     
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  43. Vishwanath S. Naravane (2000). Creative Stillness: Indian Perspectives on Art & Beauty. Distributors, Lokbharti.
     
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  44. Johan de Smedt & Helen de Cruz (2011). A Cognitive Approach to the Earliest Art. Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  45. Paisley Livingston (2005). Art and Intention: A Philosophical Study. Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  46.  87
    Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art (...)
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  47.  48
    Nick Wiltsher & Aaron Meskin (forthcoming). Art and Imagination. In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...)
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  48.  18
    Robert Stecker (1998). Artworks: Definition, Meaning, Value. Journal of Aesthetics and Art Criticism 56 (3):311-313.
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  49. Noël Carroll (1999). Philosophy of Art: A Contemporary Introduction. Routledge.
    Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples of both traditional (...)
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  50. Mohan Matthen (2011). Art, Sexual Selection, Group Selection (Critical Notice of Denis Dutton, The Art Instinct). Canadian Journal of Philosophy 41 (2):337-356.
    The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...)
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