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  1. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...)
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  2. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...)
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  3. Snobbery in Appreciative Contexts.Stephanie Patridge - 2018 - British Journal of Aesthetics 58 (3):241-253.
    Matthew Kieran has recently argued that those he calls ‘appreciative snobs’ go wrong by valuing appreciative objects primarily because of their ability to raise the snob’s social status, what I call social contagion snobbery. In this paper, I argue that there are at least two other ways that snobbery commonly manifests itself in appreciative contexts, what I call attitudinal snobbery and contextual snobbery. As it turns out, all three snobs—Kieran’s social-contagion snob, the attitudinal snob, and the contextual snob—represent distinct ways (...)
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  4. Degrees of Attention in Experiencing Art.Ancuta Mortu - 2018 - Estetika 55 (1):45-66.
    This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed (...)
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  5. Publication Preview Source The Bodily Other and Everyday Experience of the Lived Urban World.Oren Bader & Aya Peri Bader - 2016 - Journal of Aesthetics and Phenomenology 3 (2):93-109.
    This article explores the relationship between the bodily presence of other humans in the lived urban world and the experience of everyday architecture. We suggest, from the perspectives of phenomenology and architecture, that being in the company of others changes the way the built environment appears to subjects, and that this enables us to perform simple daily tasks while still attending to the built environment (to a certain, relatively minimal degree). Our analysis shows that in mundane urban settings attending to (...)
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  6. The Aesthetic and Cognitive Value of Surprise.Alexandre Declos - 2014 - Proceedings of the European Society for Aesthetics 6:52-69.
    It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...)
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  7. Aesthetic Preferences in Mathematics: A Case Study†.Irina Starikova - 2018 - Philosophia Mathematica 26 (2):161-183.
    Although mathematicians often use it, mathematical beauty is a philosophically challenging concept. How can abstract objects be evaluated as beautiful? Is this related to their visualisations? Using an example from graph theory, this paper argues that, in making aesthetic judgements, mathematicians may be responding to a combination of perceptual properties of visual representations and mathematical properties of abstract structures; the latter seem to carry greater weight. Mathematical beauty thus primarily involves mathematicians’ sensitivity to aesthetics of the abstract.
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  8. Tasting in Time: The Affective and Temporal Dimensions of Flavour Perception.Cain Todd - 2018 - The Monist 101 (3):277-293.
    This paper explores some connections between flavour perception, emotion, and temporal experience. Focussing on the question, If you like that taste of X and I do not, are we tasting the same thing X?, I will approach it by looking at some differences between how experts and nonexperts ‘taste’. I will eventually answer that if by ‘the same thing’ we mean the overall flavour profile of a complex sensory object, then the answer must be negative. I will argue that there (...)
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  9. The Science of Art: Aesthetic Formalism in John Dewey and Albert Barnes, Part 2.David A. Granger - 2018 - Journal of Aesthetic Education 52 (2):53.
    Due to its considerable length, this article has been published in two parts. Part 1, which appeared in the previous issue of the journal, discussed the intriguing relationship between John Dewey and Albert Barnes, as well as the circumstances behind the creation of the Barnes Foundation and its art education programs. Following this, it established both areas of convergence and divergence in Barnes’s and Dewey’s understandings of aesthetic formalism, organic unity, and form and content in the arts. Part 2 now (...)
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  10. Aesthetic Cognitive Module Theory: A Core Structure.Zhihong Li, Yanhui Wang & Fanjun Meng - 2018 - Journal of Aesthetic Education 52 (2):71.
    The purpose of aesthetic research is to uncover the internal method in human aesthetic behaviors and to answer the following questions: Where do beautiful things come from? Why are things beautiful? What is the reason that some things are beautiful while others are not? How can people derive aesthetic pleasure? Until those fundamental problems are solved, further questions cannot be answered, such as “Why do some people like certain things, while other people like other things?” and “How does human aesthetic (...)
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  11. Toward a "Situated" View of the Aesthetic in Music Education.Margaret Barrett - 2002 - Journal of Aesthetic Education 36 (3):67.
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  12. Denis Diderot and the Aesthetic Point of View.David K. Holt - 2000 - Journal of Aesthetic Education 34 (1):19.
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  13. A Historical Interpretation of Aesthetic Education.Michael L. Mark - 1999 - Journal of Aesthetic Education 33 (4):7.
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  14. Monroe Beardsley's Three Criteria for Aesthetic Value: A Neglected Resource in the Evaluation of Recent Music.William C. Child - 2000 - Journal of Aesthetic Education 34 (2):49.
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  15. Conceptual and Experiential Cognition in Music.Bruce Torff & Howard Gardner - 1999 - Journal of Aesthetic Education 33 (4):93.
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  16. The Great Critic and an Aesthetic Education.Christopher Hamilton - 1999 - Journal of Aesthetic Education 33 (2):51.
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  17. Music Education: Aesthetic or "Praxial"?Constantijn Koopman - 1998 - Journal of Aesthetic Education 32 (3):1.
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  18. A Journey From Place to Space in the Humanities.Un-Chol Shin - 1998 - Journal of Aesthetic Education 32 (1):84.
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  19. In Praise of Practice: A Defense of Art Making in Education.Stuart Richmond - 1998 - Journal of Aesthetic Education 32 (2):11.
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  20. Detection and Development of Visual Talent.Andrea Kárpáti - 1997 - Journal of Aesthetic Education 31 (4):79.
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  21. On Transforming a Score-Driven System of Education Through Aesthetic Education.Zhilong Shen - 1997 - Journal of Aesthetic Education 31 (2):87.
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  22. The Adulteration of the Infant Aesthetic: Modern Art Through the Eyes of the Child.Colin Symes - 1996 - Journal of Aesthetic Education 30 (3):107.
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  23. Aesthetic Redemption and Community.Michael Schwartz - 1996 - Journal of Aesthetic Education 30 (3):102.
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  24. The Experience of Profundity in Music.Bennett Reimer - 1995 - Journal of Aesthetic Education 29 (4):1.
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  25. From "A Rake's Progress" to "Rosie's Walk": Lessons in Aesthetic Reading.M. G. Benton - 1995 - Journal of Aesthetic Education 29 (1):33.
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  26. Reply to Critics.H. Gene Blocker - 1995 - Journal of Aesthetic Education 29 (3):44.
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  27. The Body Has Reasons: Tacit Knowing in Thinking and Making.Mari Sorri - 1994 - Journal of Aesthetic Education 28 (2):15.
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  28. Serious Art and Autonomy.Edward Sankowski - 1994 - Journal of Aesthetic Education 28 (1):31.
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  29. Art as Aesthetic Statement.Richard Lind - 1993 - Journal of Aesthetic Education 27 (3):1.
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  30. Wagner in Israel: A Conflict Among Aesthetic, Historical, Psychological, and Social Considerations.Hanan Bruen - 1993 - Journal of Aesthetic Education 27 (1):99.
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  31. Aesthetic Discrimination: Evaluation of Pieces by Style, Period, and Site.Jane Duran - 1992 - Journal of Aesthetic Education 26 (1):67.
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  32. Reflections on Time.William V. Dunning - 1992 - Journal of Aesthetic Education 26 (1):93.
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  33. Using Science's Aesthetic Dimension in Teaching Science.Maura Flannery - 1992 - Journal of Aesthetic Education 26 (1):1.
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  34. Experimental Aesthetics: Implications for the Aesthetic Education of Nonartists.Lauren Sue Seifert - 1992 - Journal of Aesthetic Education 26 (1):107.
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  35. Lived Humanism: The Aesthetic Education of Albert William Levi.John F. Kavanaugh - 1991 - Journal of Aesthetic Education 25 (4):21.
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  36. [Perennial Modernity: Forms as Aesthetic and Symbolic]: Reply to Maquet.Kenneth Berry - 1992 - Journal of Aesthetic Education 26 (2):99.
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  37. Reflections on a Decision.Harry S. Broudy - 1991 - Journal of Aesthetic Education 25 (4):31.
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  38. The Artworld and Aesthetic Skills: A Context for Research and Development.Ralph A. Smith & Christina M. Smith - 1977 - Journal of Aesthetic Education 11 (2):117.
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  39. What Can the Aesthetic Movement Tell Us About Aesthetic Education?Jette Kjeldsen - 2001 - Journal of Aesthetic Education 35 (1):85.
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  40. Art, Aesthetic Theory, and the Two Faces of Ignorance.Chris di Carlo - 1996 - Journal of Aesthetic Education 30 (1):107.
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  41. The Aesthetic and the Moral.Ronald Moore - 1995 - Journal of Aesthetic Education 29 (2):18.
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  42. Metaphors We Teach By: The Mentor Teacher and the Hero Student.Richard A. Schwartz & Kemp Williams - 1995 - Journal of Aesthetic Education 29 (2):103.
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  43. Beyond Unity: Religious Experience, Creativity, and Psychology.Kevin Fauteux - 1995 - Journal of Aesthetic Education 29 (2):93.
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  44. Reply to My Critics.John Passmore - 1994 - Journal of Aesthetic Education 28 (1):46.
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  45. Transcendence as an Aesthetic Concept: Implications for Curriculum.Katherine Lee - 1993 - Journal of Aesthetic Education 27 (1):75.
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  46. The Process/Product Dichotomy and Its Implications for Creative Dance.Sheryle Bergmann - 1992 - Journal of Aesthetic Education 26 (2):103.
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  47. The Janus Aesthetic of Duchamp.Cliff G. McMahon - 1992 - Journal of Aesthetic Education 26 (2):41.
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  48. Language, Metaphor, and Analogy in the Music Education Research Process.Hildegard C. Froehlich & Gary Cattley - 1991 - Journal of Aesthetic Education 25 (3):243.
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  49. Essential and Nonessential Characteristics of Aesthetic Education.Bennett Reimer - 1991 - Journal of Aesthetic Education 25 (3):193.
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  50. Is Birdsong More Like Speech or Music?Robert V. Shannon - 2016 - Trends in Cognitive Sciences 20 (4):245-247.
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1 — 50 / 6645