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1 — 50 / 57
  1. added 2020-05-19
    Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - forthcoming - Philosophical Quarterly.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...)
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  2. added 2020-04-16
    Taste, Traits, and Tendencies.Alexander Dinges & Julia Zakkou - forthcoming - Philosophical Studies:1-24.
    Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...)
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  3. added 2020-04-08
    Concepts of Truth in Literature: A Contemporary Reading of Hartmann's Aesthetics.Íngrid Vendrell-Ferran - forthcoming - In Thomas Kessel & Friedrich Hausen (eds.), Wert und Wahrheit in der Kunst. Die Ästhetik Nicolai Hartmanns.
    This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); his defense (...)
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  4. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Studi di Estetica 47:239-244.
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  5. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Estetika 56:118-124.
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  6. added 2020-01-18
    Defamiliarization and the Unprompted (Not Innocent) Eye.Bence Nanay - 2018 - Nonsite 24:1-17.
    A distinctive feature of Russian formalism, something we do not see in Bell and Fry or in Wölfflin and Riegl (or see it more rarely, see Section IV below), is this emphasis on the analysis of everyday perception and the ways in which art encourages us to perceive differently. But it is difficult not to read the concept of defamiliarization as a naïve early statement of what art historians and aestheticians of the second half of the 20th century criticized as (...)
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  7. added 2019-07-28
    Expression And Expressiveness In Art.Jenefer Robinson - 2007 - Postgraduate Journal of Aesthetics 4 (2):19-41.
    The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...)
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  8. added 2019-06-05
    Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
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  9. added 2019-05-08
    Everything In Its Right Place: Foucault And The 'Ideology Of The Aesthetic’.Dominic Paterson - 2004 - Postgraduate Journal of Aesthetics 1 (3):111-123.
    There are several ways in which we 'rediscover' things. Sometimes rediscovering means finding something we had thought lost—to take a relevant example, let's say a painting that was stolen, or thought destroyed, that turns up in a dingy attic, from where it is rescued, and then authenticated, valued and preserved, finally restored to its rightful place. In such an instance, there will be a place waiting for the rediscovered painting from where it has been missing, and known to have been (...)
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  10. added 2019-05-02
    The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.
    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
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  11. added 2019-02-22
    Food Landscapes: An Object-Centered Model of Food Appreciation.Matteo Ravasio - 2018 - The Monist 101 (3):309-323.
    In this paper I claim that Allen Carlson’s object-centered model for the aesthetic appreciation of nature could be extended to food. The application of an object-centered model to food requires the identification of appropriate foci of appreciative attention. I claim that knowledge about food function and history is relevant to its appreciation, as is the interplay between the resources of a territory and the way in which these are used by its inhabitants. After having offered a brief application of the (...)
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  12. added 2019-02-05
    The Motivational Structure of Appreciation.Servaas van der Berg - 2019 - Philosophical Quarterly 69 (276):445-466.
    On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...)
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  13. added 2018-11-28
    The Concept of the Aesthetic.James Shelley - 2017 - Stanford Encyclopedia of Philosophy.
    Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...)
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  14. added 2018-11-17
    Über die Reichweite ästhetischer Erfahrung: Fünf Thesen.Martin Seel - 2004 - In Gerd Mattenklott (ed.), Ästhetische Erfahrung im Zeichen der Entgrenzung der Künste. Epistemische, ästhetische und religiöse Formen von Erfahrung im Vergleich. Hamburg: Meiner. pp. 73-81.
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  15. added 2018-03-08
    The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  16. added 2017-07-07
    Pleasure and its Modifications: Stephan Witasek and the Aesthetics of the Grazer Schule.Barry Smith - 1996 - Axiomathes 7 (1-2):203-232.
    The most obvious varieties of mental phenomena directed to non- existent objects occur in our experiences of works of art. The task of applying the Meinongian ontology of the non-existent to the working out of a theory of aesthetic phenomena was however carried out not by Meinong by his disciple Stephan Witasek in his Grundzüge der allgemeinen Ästhetik of 1904. Witasek shows in detail how our feelings undergo certain sorts of structural modifications when they are directed towards what does not (...)
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  17. added 2017-01-29
    The Aesthetic Attitude and the Hidden Curriculum.David Gordon - 1981 - Journal of Aesthetic Education 15 (2):51.
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  18. added 2015-06-19
    Aesthetic Attention.Bence Nanay - 2015 - Journal of Consciousness Studies 22 (5-6):96-118.
    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, distributed, manner: our (...)
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  19. added 2015-04-05
    Bullough's 'Psychical Distance', the Aesthetic Attitude, and Appreciationof Theater and Film.Roland Leonard Pfaff - 1974 - Dissertation, University of Michigan
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  20. added 2015-04-04
    The Aesthetic Attitude: Back in Gear with Bullough.D. J. Crossley - 1975 - Pacific Philosophical Quarterly 56 (3):336.
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  21. added 2015-04-04
    LANGFELD, H. S. -The Aesthetic Attitude. [REVIEW]C. W. Valentine - 1922 - Mind 31:371.
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  22. added 2015-03-24
    "Psychophobia in" the Myth of the Aesthetic Attitude.William Springer - 1989 - Southwest Philosophical Studies 11.
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  23. added 2015-03-19
    Aesthetic Attitude.M. Budd - unknown
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  24. added 2015-01-06
    The Glass is Half Empty: A New Argument for Pessimism About Aesthetic Testimony.Daniel Whiting - 2015 - British Journal of Aesthetics 55 (1):91-107.
    Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, and that (...)
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  25. added 2014-03-29
    Literature, Knowledge, and the Aesthetic Attitude.M. W. Rowe - 2009 - 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, and then considers (...)
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  26. added 2014-03-22
    Paradoxes of Aesthetic Distance.Oswald Hanfling - 2003 - British Journal of Aesthetics 43 (2):175-186.
    A feature that contributes to the charm of much poetry is its obscurity and indirectness. We want to grasp what the poet is saying and yet, it appears, to do so only with difficulty. How is this preference to be explained? (1) It contributes to promoting an ‘aesthetic attitude’. (2) It conforms to certain general features of human psychology, including (a) a general preference for indirectness and indeterminacy and (b) the pleasure of working things out. Distance, in the relevant sense, (...)
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  27. added 2014-03-09
    Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy.Jason Gaiger - 2009 - British Journal of Aesthetics 49 (1):43-58.
    This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...)
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  28. added 2014-03-05
    Remarks on Aesthetic Intentionality: Husserl or Kant.Danielle Lories - 2006 - International Journal of Philosophical Studies 14 (1):31-49.
    It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in certain working notes (...)
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  29. added 2014-02-10
    Are There Aesthetic Attitudes?Stanley Paluch - 1967 - Philosophy and Phenomenological Research 27 (4):606-609.
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  30. added 2013-06-10
    Photography and Technology.Patrick Maynard - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, v. 3. Oxford University Press.
    Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.
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  31. added 2013-03-19
    The Aesthetic Attitude.Alexandra King - 2012 - Internet Encyclopedia of Philosophy.
    Aesthetics is the subject matter concerning, as a paradigm, fine art, but also the special, art-like status sometimes given to applied arts like architecture or industrial design or to objects in nature. It is hard to say precisely what is shared among this motley crew of objects (often referred to as aesthetic objects), but the aesthetic attitude is supposed to go some way toward solving this problem. It is, at the very least, the special point of view we take toward (...)
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  32. added 2012-10-26
    9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch.C. E. Emmer - 2013 - In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Press. pp. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  33. added 2011-05-09
    Thinking About the Aesthetic Attitude.Randolph M. Feezell - 1985 - Philosophical Topics 13 (3):19-32.
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  34. added 2011-05-09
    Taste and Attitude: The Origin of the Aesthetic.George Dickie - 1973 - Theoria 39 (1-3):153-170.
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  35. added 2009-10-12
    The Aesthetic Attitude.Herbert Sidney Langfeld - 1920 - Port Washington, N.Y., Kennikat Press.
    We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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  36. added 2009-07-09
    Can Expressivists Tell the Difference Between Beauty and Moral Goodness?James Harold - 2008 - American Philosophical Quarterly 45 (3):289-300.
    One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...)
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  37. added 2009-07-09
    Beauty and Interestingness.Francis S. Haserot - 1952 - Journal of Philosophy 49 (8):261-273.
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  38. added 2009-06-30
    The Aesthetic Attitude.David E. W. Fenner - 1996 - Humanities Press.
    It seems to be the case that when we look at a flower in the way that the scientist does, we see the flower in one way, but when we look at the flower in a way as to view it as a thing of beauty, charm, elegance, we see it in a different way; we see it as an aesthetic object. Viewing the flower in such a way as to see it, or any object, as an aesthetic object, is (...)
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  39. added 2009-06-30
    "The Aesthetic Attitude" in India and the West.Richard McCarty - 1986 - Philosophy East and West 36 (2):121-130.
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  40. added 2009-06-30
    Stolnitz’s Attitude: Taste and Perception.George Dickie - 1984 - Journal of Aesthetics and Art Criticism 43 (2):195-203.
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  41. added 2009-06-30
    The Aesthetic Attitude Debate: Some Remarks on Saxena, Coleman, and a Phenomenological Approach to the Issue.Randolph M. Feezell - 1980 - Philosophy East and West 30 (1):87-90.
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  42. added 2009-06-30
    The Aesthetic Attitude Debate: Reply to Some New Criticisms.Sushil Kumar Saxena - 1980 - Philosophy East and West 30 (2):265-271.
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  43. added 2009-06-30
    Scruton on the Aesthetic Attitude.Christopher New - 1979 - British Journal of Aesthetics 19 (4):320-330.
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  44. added 2009-06-30
    Saxena on the Aesthetic Attitude.Milton H. Snoeyenbos - 1979 - Philosophy East and West 29 (1):99-101.
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  45. added 2009-06-30
    On Saxena's Defense of the Aesthetic Attitude.Earle Coleman - 1979 - Philosophy East and West 29 (1):95-97.
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  46. added 2009-06-30
    The Aesthetic Attitude.Sushil Kumar Saxena - 1978 - Philosophy East and West 28 (1):81-90.
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  47. added 2009-06-30
    The Aesthetic Attitude.C. A. Mace - 1972 - British Journal of Aesthetics 12 (3):217-227.
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  48. added 2009-06-23
    Beardsley and the Autonomy of the Work of Art.Stephen Davies - 2005 - Journal of Aesthetics and Art Criticism 63 (2):179–183.
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  49. added 2009-06-01
    "The Aesthetic Attitude" in the Rise of Modern Aesthetics.Jerome Stolnitz - 1978 - Journal of Aesthetics and Art Criticism 36 (4):409-422.
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  50. added 2009-06-01
    A Third Note on Eighteenth-Century "Disinterestedness".Jerome Stolnitz - 1963 - Journal of Aesthetics and Art Criticism 22 (1):69-70.
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