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  1. John Andrew Fisher (forthcoming). The Very Idea of Perfect Realism. Philosophical Forum.
    I define "perfect realism" as a style of replicative sculpture: exact replicas of inanimate objects or humans. Differentiating perfect realism from "photo" or "super" realism, and from representation, I criticize various defenses of this type of art. I argue that to understand perfect realism we need a theory of replication, which I sketch. Part of the account involves X (a replica) causing the perceptual experience that it is a Y when it is not. Hence perfect realism turns on the generic (...)
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  2. John Andrew Fisher (forthcoming). The Value of Natural Sounds. Journal of Aesthetic Education.
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  3. Jeanette Bicknell & John Andrew Fisher (2013). Introduction: Making a Space for Song. Journal of Aesthetics and Art Criticism 71 (1):1-11.
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  4. Jeanette Bicknell & John Andrew Fisher (eds.) (2013). Song, Songs, and Singing. John Wiley & Sons.
     
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  5. Jeanette Bicknell & John Andrew Fisher (2011). Call for Papers Song, Songs, and Singing. Journal of Aesthetics and Art Criticism 69 (4).
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  6. John Andrew Fisher (2011). Soul Music: Tracking the Spiritual Roots of Pop From Plato to Motown by Rudinow, Joel. Journal of Aesthetics and Art Criticism 69 (4):427-430.
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  7. John Andrew Fisher (2009). Review of Scott Walden (Ed.), Photography and Philosophy: Essays on the Pencil of Nature. [REVIEW] Notre Dame Philosophical Reviews 2009 (2).
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  8. John Andrew Fisher (2007). Is It Worth It? Lintott and Ethically Evaluating Environmental Art. Ethics, Place and Environment 10 (3):279 – 286.
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  9. John Andrew Fisher (2007). Performing Nature. Environmental Philosophy 4 (1/2):15-28.
    Natural environments differ from artworks in two ways: (a) they are surroundings filled with objects, processes, and the observer, (b) they are natural, not intentionally created to be appreciated. I show that this serious problem for accounts of aesthetic appreciation of nature has led many thinkers in environmental aesthetics (e.g., Carlson and Rolston) to claim that appreciators should be actively engaged with a natural environment. But how? One suggestion has been that appreciators play the role of creative performers in the (...)
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  10. John Andrew Fisher (2004). On Carroll's Enfranchisement of Mass Art as Art. Journal of Aesthetics and Art Criticism 62 (1):57-61.
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  11. John Andrew Fisher (1998). Anthropomorphism. In Marc Bekoff & Carron A. Meaney (eds.), Encyclopedia of Animal Rights and Animal Welfare. Greenwood Press.
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  12. John Andrew Fisher (1998). What the Hills Are Alive With: In Defense of the Sounds of Nature. Journal of Aesthetics and Art Criticism 56 (2):167-179.
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  13. 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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  14. John Andrew Fisher (1996). The Fine Art of Repetition. Philosophy and Phenomenological Research 56 (4):962-965.
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  15. John Andrew Fisher (1996). The Myth of Anthropomorphism John Andrew Fisher. In Colin Allen & D. Jamison (eds.), Readings in Animal Cognition. Mit Press.
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  16. John Andrew Fisher (1995). Is There a Problem of Indiscernible Counterparts? Journal of Philosophy 92 (9):467-484.
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  17. John Andrew Fisher (1994). Why Potentiality Does Not Matter: A Reply to Stone. Canadian Journal of Philosophy 24 (2):261 - 279.
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  18. John Andrew Fisher (1991). Discovery, Creation, and Musical Works. Journal of Aesthetics and Art Criticism 49 (2):129-136.
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  19. John Andrew Fisher (1984). Linguistic Idealism. Metaphilosophy 15 (1):26–34.
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  20. John Andrew Fisher (1981). Aberrant Speakers and Linguistic Philosophy: A Reconsideration of the Dialogue Between Cavell and the Baker. Philosophical Investigations 4 (4):24-44.
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