Search results for 'aesthetic' (try it on Scholar)

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  1. Teresa Marques (2016). Aesthetic Predicates: A Hybrid Dispositional Account. Inquiry:DOI:10.1080/0020174X.2016.119248.
    This paper explores the possibility of developing a hybrid version of dispositional theories of aesthetic values. On such a theory, uses of aesthetic predicates express relational second-order dispositional properties. If the theory is not absolutist, it allows for the relativity of aesthetic values. But it may be objected to on the grounds that it fails to explain disagreement among subjects who are not disposed alike. This paper explores the possibility of adapting recent proposals of hybrid expressivist theories (...)
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  2. Ioannis Xenakis & Argyris Arnellos (2014). Aesthetic Perception and its Minimal Content: A Naturalistic Perspective. Frontiers in Psychology 5 (1038).
    Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions (...)
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  3. Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  4.  59
    Louise McNally & Isidora Stojanovic (forthcoming). Aesthetic Adjectives. In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...)
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  5.  75
    Andrea Sauchelli (2016). The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art. Journal of Aesthetic Education 50 (1):1-15.
    The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that (...)
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  6. Aaron Smuts (2011). Grounding Moralism: Moral Flaws and Aesthetic Properties. Journal of Aesthetic Education 45 (4):34-53.
    My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an (...)
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  7. Jennifer A. McMahon (2011). Critical Aesthetic Realism. Journal of Aesthetic Education 45 (2):49-69.
    A clear-cut concept of the aesthetic is elusive. Kant’s Critique of Judgment presents one of the more comprehensive aesthetic theories from which we can extract a set of features, some of which pertain to aesthetic experience and others to the logical structure of aesthetic judgment. When considered together, however, these features present a number of tensions and apparent contradictions. Kant’s own attempt to dissolve these apparent contradictions or dichotomies was not entirely satisfactory as it rested on (...)
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  8. Shen‐yi Liao & Aaron Meskin (2015). Aesthetic Adjectives: Experimental Semantics and Context‐Sensitivity. Philosophy and Phenomenological Research 92 (1).
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic (...)
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  9.  44
    Dustin Stokes (forthcoming). Rich Perceptual Content and Aesthetic Properties. In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford University Press
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent (...) properties. I offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)
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  10. John Milliken (2006). Aristotle's Aesthetic Ethics. Southern Journal of Philosophy 44 (2):319-339.
    It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions (...)
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  11. Bence Nanay (2015). Aesthetic Attention. Journal of Consciousness Studies 22:960118.
    The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, (...)
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  12. Shen-yi Liao (2014). Explanations: Aesthetic and Scientific. Royal Institute of Philosophy Supplement 75:127-149.
    Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can (...)
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  13. Antony Aumann (2014). The Relationship Between Aesthetic Value and Cognitive Value. Journal of Aesthetics and Art Criticism 72 (2):117-127.
    It is sometimes held that “the aesthetic” and “the cognitive” are separate categories. Enterprises concerning the former and ones concerning the latter have different aims and values. They require distinct modes of attention and reward divergent kinds of appreciation. Thus, we must avoid running together aesthetic and cognitive matters. In this paper, I challenge the independence of these categories, but in unorthodox fashion. Most attempts proceed by arguing that cognitive values can bear upon aesthetic ones. I approach (...)
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  14. Jennifer A. McMahon (2011). Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas. International Journal of Philosophical Studies 19 (2):155 - 175.
    Abstract Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine?grained for discursive language. To accommodate such claims one can adopt either a convention?based account or a natural?kind account. A natural?kind theory can explain the first but requires some special scaffolding in order to (...)
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  15. James Andow (2015). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the (...)
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  16. Caj Strandberg (2011). A Structural Disanalogy Between Aesthetic and Ethical Value Judgements. British Journal of Aesthetics 51 (1):51-67.
    It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy between secondary (...)
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  17. Melissa McBay Merritt (2010). Kant on the Transcendental Deduction of Space and Time: An Essay on the Philosophical Resources of the Transcendental Aesthetic. Kantian Review 14 (2):1-37.
    I take up Kant's remarks about a " transcendental deduction" of the "concepts of space and time". I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our commitment to (...)
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  18. Christy Mag Uidhir & Cameron Buckner (2014). A Portrait of the Artist as an Aesthetic Expert. In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the (...)
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  19.  9
    Jiri Benovsky (forthcoming). Against Aesthetic-Sensory Dependence. Nordic Journal of Aesthetics.
    In his book 'The metaphysics of beauty' Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response-dependence view. In this article, I offer reasons to resist the aesthetic/sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely aesthetic properties, (...)
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  20. Fabian Dorsch (2013). Non‐Inferentialism About Justification – The Case of Aesthetic Judgements. Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and (...)
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  21. Jiri Benovsky (2012). Aesthetic Supervenience Vs. Aesthetic Grounding. Estetika 49 (2):166–178.
    The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim (...)
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  22.  14
    Nick Riggle (2015). On the Aesthetic Ideal. British Journal of Aesthetics 55 (4):433-447.
    How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it (...)
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  23.  37
    Rafael De Clercq (2011). Aesthetic Properties. In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. Routledge 144-154.
    This chapter focuses on three questions concerning the aesthetic properties of music: What determines whether a musical piece has a certain aesthetic property? Is music capable of having emotional properties such as sadness? And are there aesthetic properties that music is incapable of having?
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  24.  83
    Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according (...)
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  25.  77
    Andrea Sauchelli (2013). Functional Beauty, Perception, and Aesthetic Judgements. British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  26.  28
    Noël Carroll (2015). Defending the Content Approach to Aesthetic Experience. Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  27. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
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  28. Rafael de Clercq (2005). Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties. Journal of Aesthetics and Art Criticism 63 (1):27–32.
    The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.
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  29. Bence Nanay (forthcoming). Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism. Leonardo.
    It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the (...) realism/antirealism debate. However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism. (shrink)
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  30.  39
    Jennifer A. McMahon (2011). Review of The Kantian Aesthetic: From Knowledge to the Avant-Garde. [REVIEW] British Journal of Aesthetics 51 (2):229-231.
    Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected sibling. (...)
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  31.  15
    Ellen Dissanayake (2015). Aesthetic Primitives”: Fundamental Biological Elements of a Naturalistic Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):6-24.
    Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting (...)
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  32. Brian Rosebury (2000). The Historical Contingency of Aesthetic Experience. British Journal of Aesthetics 40 (1):73-88.
    The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the (...)
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  33.  83
    M. W. Rowe (2009). Literature, Knowledge, and the Aesthetic Attitude. Ratio 22 (4):375-397.
    An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, (...)
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  34.  43
    Barbara Montero (2012). Practice Makes Perfect: The Effect of Dance Training on the Aesthetic Judge. [REVIEW] Phenomenology and the Cognitive Sciences 11 (1):59-68.
    According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that (...)
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  35.  13
    Elisabeth Schellekens (2015). On The Rise of the Aesthetic Mind: Archaeology and Philosophy. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):113-122.
    Moving from a critical assessment of some recent attempts to define the arts in terms of adaptations, spandrels, by-products and, moreover, calling into question the continued development of the concept of the "aesthetic" in the frame of contemporary interdisciplinary research projects, the main aim of this paper is to highlight some of the ways in which archaeological objects can, at least in some respects, testify to the manifestation of the modern aesthetic mind.
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  36.  17
    Ioannis Xenakis, Argyris Arnellos, Thomas Spyrou & John Darzentas (2012). Modelling Aesthetic Judgment: An Interactive-Semiotic Perspective. Cybernetics and Human Knowing 19 (3).
    Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization (...)
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  37.  64
    Amir Konigsberg (2012). The Acquaintance Principle, Aesthetic Autonomy, and Aesthetic Appreciation. British Journal of Aesthetics 52 (2):153-168.
    The acquaintance principle (AP) and the view it expresses have recently been tied to a debate surrounding the possibility of aesthetic testimony, which, plainly put, deals with the question whether aesthetic knowledge can be acquired through testimony—typically aesthetic and non-aesthetic descriptions communicated from person to person. In this context a number of suggestions have been put forward opting for a restricted acceptance of AP. This paper is an attempt to restrict AP even more.
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  38. Fabian Dorsch (2007). Sentimentalism and the Intersubjectivity of Aesthetic Evaluations. Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to (...) epistemology cannot accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)
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  39.  78
    Rafael De Clercq (2000). Aesthetic Ineffability. Journal of Consciousness Studies 7 (8-9):87-97.
    In this paper I argue that recent attempts at explaining aesthetic ineffability have been unsuccessful. Either they misrepresent what aesthetic ineffability consists in, or they leave important aspects of it unexplained. I then show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness.
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  40.  37
    Nick Riggle (2013). Levinson on the Aesthetic Ideal. Journal of Aesthetics and Art Criticism 71 (3):277-281.
    In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.
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  41.  6
    Haina Zhang, Malcolm H. Cone, André M. Everett & Graham Elkin (2011). Aesthetic Leadership in Chinese Business: A Philosophical Perspective. [REVIEW] Journal of Business Ethics 101 (3):475-491.
    Confucian ethics play a pivotal role in guiding Chinese thinking and behaviour. Aesthetic leadership is emerging as a promising paradigm in leadership studies. This study investigates the practice of aesthetic leadership in Chinese organizations on the basis of Chinese philosophical foundations. We adopt a process perspective to access the aesthetic constellation of meanings present in the Chinese understanding of leadership, linking normative Confucian values to a pragmatic value rational world view, that rests on an ontology of vaguely (...)
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  42.  70
    Jennifer A. McMahon (2010). The Classical Trinity and Kant's Aesthetic Formalism. Critical Horizons 11 (3):419-441.
    I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in (...)
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  43.  10
    Alan Bleakley, Robert Marshall & Rainer Brömer (2006). Toward an Aesthetic Medicine: Developing a Core Medical Humanities Undergraduate Curriculum. [REVIEW] Journal of Medical Humanities 27 (4):197-213.
    The medical humanities are often implemented in the undergraduate medicine curriculum through injection of discrete option courses as compensation for an overdose of science. The medical humanities may be reformulated as process and perspective, rather than content, where the curriculum is viewed as an aesthetic text and learning as aesthetic and ethical identity formation. This article suggests that a “humanities” perspective may be inherent to the life sciences required for study of medicine. The medical humanities emerge as a (...)
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  44.  6
    Hanna Kim (2015). Metaphor-Proof Expressions: A Dimensional Account of the Metaphorical Uninterpretability of Aesthetic Terms. Journal of Aesthetics and Art Criticism 73 (4):391-405.
    In this article, I start with the observation that aesthetic terms resist metaphorical interpretation; that is, it makes little sense to say that something is beautiful metaphorically speaking or to say something is metaphorically elegant, harmonious, or sublime. I argue that aesthetic terms’ lack of metaphorical interpretations is not explained by the fact that their applicability is not limited to a particular category of objects, at least in the standard sense of ‘category.’ In general, I challenge category-based accounts (...)
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  45.  16
    Regina-Nino Kurg, Edmund Husserl's Theory of Image Consciousness, Aesthetic Consciousness, and Art.
    The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s commentators (...)
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  46.  70
    Ian F. Verstegen (2006). A Critical Realist Perspective on Aesthetic Value. Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. (...)
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  47.  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 (...)
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  48.  37
    Ulianov Montano (2013). Beauty in Science: A New Model of the Role of Aesthetic Evaluations in Science. [REVIEW] European Journal for Philosophy of Science 3 (2):133-156.
    In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on (...)
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    Stephen J. Davies (2005). Ellen Dissanayake's Evolutionary Aesthetic. Biology and Philosophy 20 (2-3):291-304.
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
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    Jean-Pierre Cometti (2013). On Standard and Taste. Wittgenstein and Aesthetic Judgment. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):5-15.
    The question of aesthetic judgment is related to a lot of paradoxes that have marked sustainably the reflection on arts, and even arts as such during their modern history. These paradoxes have found a first formulation, apparently clear, in the very famous Hume's essay: "On the standard of taste", but without to lead to a real resolution. In this paper, I would like to approach the question of Hume by starting from what Wittgenstein suggested about aesthetic judgment in (...)
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