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  1. Ästhetik und Ethik.Íngrid Vendrell-Ferran - forthcoming - In Jochen Briesen, Christoph Demmerling & Lisa Katharin Schmalzried (eds.), Handbuch Philosophische Ästhetik. Schwabe.
    Seit ungefähr Mitte der 90er-Jahre und bis heute wird der Frage nach dem Zusammenhang zwischen Ästhetik und Ethik hauptsächlich in der angloamerikanischen und der angelsächsischen analytischen Ästhetik besondere Aufmerksamkeit geschenkt. In der Einleitung des Bandes Aesthetics and Ethics. Essays at the Intersection (1998), der eine der ersten Publikationen über das Thema ist, macht Levinson deutlich, dass das Buch das Ziel hat, Debatten der Ästhetik und Ethik zu verbinden, die während der vergangenen 30 Jahre isoliert behandelt worden sind (Levinson 1998, 1). (...)
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  2. Virtual Simultaneity in Lessing's Aesthetics.Dragos Grusea - 2023 - Revue Roumaine de Philosophie 67 (2):386-400.
    This paper aims to show that Lessing develops in his aesthetics a pre-Kantian philosophy of consciousness. The concept of virtuality that the german writer puts forward in his essay Laocoon implies an interweaving of temporal dimensions similar to the threefold temporal synthesis described by Kant in the transcendental deduction of the Critique of Pure Reason. But whereas Kant thematizes an a priori of consciousness, Lessing is in search of an a priori of plastic art. It will be seen that perfect (...)
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  3. Exploration of neuroplasticity: changes in aesthetic cognition and enhancement of aesthetic experiences.Ranran Wei, Xin Lyu, Zhiqi Liang & Yang You - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    Aesthetic experiences play an important role in human culture and spiritual life and are closely related to aesthetic perception and appreciation of art, music, literature and natural landscapes. With the development of neuroscience and cognitive psychology, our understanding of aesthetic experiences continues to deepen; in this context, the study of neuroplasticity has attracted widespread attention. This study explores in detail how this process affects the perception of aesthetic cognition, thereby enhancing the aesthetic experience in several key ways. The study finds (...)
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  4. Becoming an artwork.Boris Groĭs - 2022 - Hoboken: Polity Press.
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  5. For pleasure: race, experimentalism, and aesthetics.Rachel Jane Carroll - 2023 - New York, New York: New York University Press.
    For Pleasure argues that aesthetic pleasure and formal experimentalism hold the twinned capacity to maintain a global racial order and also to undo it.
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  6. Understanding as Transformative Activity: Radicalizing Neo-Cognitivism for Literary Narratives.Ingrid Vendrell Ferran - 2024 - Philosophia 52 (1):29-36.
    Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.
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  7. Truly, Madly, Deeply: Moral Beauty & the Self.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...)
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  8. Interpreting AI-Generated Art: Arthur Danto’s Perspective on Intention, Authorship, and Creative Traditions in the Age of Artificial Intelligence.Raquel Cascales - 2023 - Polish Journal of Aesthetics 71 (4):17-29.
    Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...)
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  9. Motivational Internalism & Disinterestedness.Ryan P. Doran - forthcoming - British Journal of Aesthetics.
    According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection, and show that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...)
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  10. Tanrı, Estetik ve Estetik Kanıt/God, Aesthetic and Aesthetic Proof.Büşra Nur Tutuk - 2023 - Dissertation, Ankara University
    The subject of the thesis is the relationship between aesthetic and God. It aims to discuss whether the sense of beauty is proof of the existence of God and to determine the plausibility of aesthetic proof. As a matter of fact that reality and the perception of beauty point to two-way consciousness. In this context, it will be inevitable to mention God's relation with consciousness in the emergence of beauty. In the first part, the concepts of aesthetics will be analyzed, (...)
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  11. Art, Affectivity, and Aesthetic Value: Geiger on the Role of Emotions in Aesthetic Appreciation.Íngrid Vendrell Ferran - 2023 - Journal of Aesthetics and Phenomenology 10 (2):143 - 159.
    This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions (...)
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  12. Introduction to Design Theory Philosophy, Critique, History and Practice.Michalle Gal - 2023 - London: Routledge.
    ntroduction to Design Theory introduces a comprehensive, systematic, and didactic outline of the discourse of design. Designed both as a course book and a source for research, this textbook methodically covers the central concepts of design theory, definitions of design, its historical milestones, and its relations to culture, industry, body, ecology, language, society, gender and ideology. -/- Demonstrated by a shift towards the importance of the sociocultural context in which products are manufactured and embedded, this book showcases design theory as (...)
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  13. "O que emergiu pode afundar": recuperando o mundo perdido.Anderson Bogéa - 2023 - Viso: Cadernos de Estética Aplicada 17 (32):317-345.
    Este é um diálogo com o texto de Guilherme Foscolo, “Fábrica de hiperstição: ou sobre como perdemos o mundo”. Tanto o texto de Foscolo quanto este comentário foram apresentados, originalmente, no XI Encontro do GT de Estética, que ocorreu no Museu de Arte da Bahia (Salvador – BA), entre os dias 13, 14 e 15 de junho de 2022. Em uma tentativa de decifrar os caminhos teóricos trilhados por Foscolo, este ensaio busca ao mesmo tempo atualizar a situação tensa de (...)
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  14. Enhancing Artistic Presence through Contemplative Contextual Criticism.Peg Brand Weiser - 2006 - In Julien Robson (ed.), Presence. The Speed Art Museum. pp. 180-193.
    "Presence" is a word that can function both as a descriptor of the uniqueness, identity, and strength of an(y) identifiable, individual work of art (as used in the phrase, its "artistic presence") and, more specifically, and with a capital P, the name of a year-long exhibit consisting of a series of artworks in a uniquely created architectural environment with the Speed Art Museum in Louisville, Kentucky. In addition, as well-known art theorist Donald Preziosi points out in his 2004 essay ["Art (...)
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  15. Image/Images: A Debate Between Philosophy and Visual Studies.Alessandro Cavazzana & Francesco Ragazzi (eds.) - 2021 - Venice: Edizioni Ca' Foscari.
    The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...)
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  16. Art as a Shelter from Science.C. Thi Nguyen - 2023 - Aristotelian Society Supplementary Volume 97 (1):172-201.
    In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a game. (...)
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  17. Aesthetic Appreciation without Inversion.Stacie Friend - 2023 - Aristotelian Society Supplementary Volume 97 (1):202-220.
    C. Thi Nguyen claims that although we can make aesthetic judgements based on testimony or inference, we resist doing so owing to a contingent norm of our social practice. For Nguyen, aesthetic engagement involves a ‘motivational inversion’ similar to games in which we adopt inefficient means of winning so that we can enjoy the process of playing. Similarly, he says, adopting the norm enables us to engage in the autonomous activity of appreciation. I argue that Nguyen is right that the (...)
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  18. Komplexität und Wohlgefallen: e. theoret. u. empir. Beitr. zur experimentellen Ästhetik.Hansgeorg Schwarz - 1977 - Frankfurt/Main: Haag und Herchen.
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  19. Intérêt perceptif et préférence esthétique: éléments d'esthétique formelle comparative.Robert Francès - 1977 - Paris: Éditions du Centre national de la recherche scientifique.
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  20. Shen mei xin li miao shu.Shouyao Teng - 1985 - [Peking]: Xin hua shu dian Beijing fa xing suo fa xing.
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  21. Shen mei xin tai.Zhaowen Wang - 1989 - Beijing: Xin hua shu dian jing xiao.
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  22. Qing nian shen mei xin li.Nan Gao - 1989 - Shenyang Shi: Liaoning sheng xin hua shu dian fa xing.
    本书包括青年与审美:审美的心理条件;爱情与审美;生活与审美;自然与审美;艺术与审美等内容。.
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  23. Dirāsāt nafsīyah fī al-tadhawwuq al-fannī.Shākir ʻAbd al-Ḥamīd - 1989 - [Cairo]: Maktabat Gharīb. Edited by ʻAbd Allāh, Muʻtazz Sayyid & Jumʻah Sayyid Yūsuf.
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  24. Aesthetic Cognitivism and Serialized Television Fiction.Iris Vidmar Jovanović - 2023 - Journal of Aesthetics and Art Criticism 81 (1):69-79.
    In this article, I defend the cognitive value of certain generic television series. Unlike media and television scholars, who have been appreciative of the informative capacity of television fiction, philosophers have been less willing to acknowledge the way in which these works contribute to our understanding of our social reality. My aim here is to provide one such account, grounded in aesthetic cognitivism, that is, the view that fiction is a source of knowledge. Focusing on crime and courtroom dramas, I (...)
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  25. Le leggi del cielo: arte, estetica, passioni.Elio Franzini - 1990 - Milano: Guerini.
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  26. Mei di ling gan shen ci hu: xin li mei xue yi lan.Zhi Shen - 1991 - [Wuhan shi]: Xin hua shu dian Hubei fa xing suo jing xiao.
    本书通过事例告诉人们美的灵感究竟是怎样产生的,怎样了解审美意识的心理过程和心理结构等。.
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  27. Viaggio nel viaggio: metamorfosi della conoscenza.Loredano Matteo Lorenzetti - 1992 - Milano: Guerini studio.
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  28. E zhi hua: bian tai mei kao cha.Huijun Zhu - 1993 - [Peking]: Xin hua shu dian Beijing fa xing suo fa xing.
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  29. Cong kun huo zou xiang chao yue: dang dai qing nian shen mei xin tai mian mian guan.Desheng Wang - 1993 - [Hangzhou]: Xin hua shu dian Beijing fa xing suo fa xing.
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  30. Shen mei xin li xue.Mingzheng Qiu - 1993 - Shanghai: Xin hua shu dian Shanghai fa xing suo fa xing.
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  31. Xian dai xin li mei xue.Zhengmin Cheng (ed.) - 1993 - Beijing: Jing xiao Xin hua shu dian.
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  32. Schönheit und Konflikt: Umrisse einer allgemeinen psychoanalytischen Ästhetik.Sebastian Leikert - 2012 - Giessen: Psychosozial-Verlag.
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  33. Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.Peg Brand Weiser - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 245-272.
    This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...)
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  34. Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
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  35. Am I present in imaginary worlds? Intentions, actions, and flow in mediated experiences and fiction.Federico Pianzola, Giuseppe Riva, Karin Kukkonen & Fabrizia Mantovani - 2022 - Behavioral and Brain Sciences 45:e293.
    We support the idea of applying cultural evolution theory to the study of storytelling, and fiction in particular. However, we suggest that a more plausible link between real and imaginary worlds is the feeling of “presence” we can experience in both of them: we feel present when we are able to correctly and intuitively enact our embodied predictions.
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  36. The Transformative Power of Literary Perspectives.Íngrid Vendrell-Ferran - 2023 - Journal of Aesthetic Education 57 (3):12 - 30.
    This paper employs the concept of “transformative experience” to develop a radical version of aesthetic cognitivism, according to which engaging with literary perspectives might lead the reader to experience not only an epistemic but also a personal transformation. It is argued that the reader’s imaginative and empathic abilities when subjected to the aesthetic norms that govern a literary work can mobilize other aspects of her psychology, eliciting in this way a change in her core values and, consequently, in the way (...)
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  37. Art and enchantment: how wonder works.Patrick Curry - 2023 - Abingdon, Oxon: Routledge.
    This book considers the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, the (...)
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  38. Ästhetik und Gewalt: physische Gewalt zwischen künstlerischer Darstellung und theoretischer Reflexion.Christoph auf der Horst (ed.) - 2013 - Göttingen: V & R unipress.
    English summary: The relationship of art to physical violence in European cultural history has always been intricate. Aestheticised violence in the fine arts, on the stage or in literature has often been discredited, but at the same time - not least because of the contiguity of violence and sexuality - it is received with pleasure. In a survey of literary examples from antiquity, the Renaissance and modernity, the author begins by elucidating the development in Europe of the troubled relationship between (...)
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  39. Empirische Ästhetik: Kognitiv-semiotische Prozesse der Wirklichkeits-Konstruktion in Alltag, Kunst und Design.Klaus Schwarzfischer - 2016 - Hamburg: Verlag Dr. Kovac.
    Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...)
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  40. Psikhologii︠a︡ na esteticheskoto prezhivi︠a︡vane.Bili︠a︡na Ĭordanova - 2016 - Blagoevgrad: Universitetsko izdatelstvo "Neofit Rilski,".
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  41. The aesthetics of emotion: up the down staircase of the mind-body.Gerald C. Cupchik - 2016 - Cambridge, United Kingdom: Cambridge University Press.
    Argues that relations between mind and body are analogous to those between subject matter and style in art.
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  42. The outward mind: materialist aesthetics in Victorian science and literature.Benjamin Morgan - 2017 - Chicago: University of Chicago Press.
    Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as (...)
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  43. Li Zehou's aesthetics as a form of cognition.Rafal Banka (ed.) - 2018
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  44. L'amour de l'art, ou, L'évanescence du discours.Christian Martin - 2019 - Paris: L'Harmattan.
    Emu aux larmes à l'écoute d'une musique, en arrêt devant ce tableau, vous ressentez un plaisir indéfinissable que n'a su provoquer aucune autre oeuvre. Celle-ci excite vos émotions, captive votre corps, court-circuite votre réflexion. "Que c'est beau!". Perdu en elle, vous fusionnez avec le mystère de sa présence en un acte de communion proche de l'amour romantique ou de l'extase mystique. Vous l'aimez, tout simplement! Entremêlant objet, culture et sujet, la relation artistique superpose aux significations de tous, un plaisir, des (...)
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  45. Brain, beauty, & art: essays bringing neuroaesthetics into focus.Anjan Chatterjee & Eileen R. Cardillo (eds.) - 2022 - New York, NY: Oxford University Press.
    When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by (...)
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  46. Somaesthetics in Baumgarten? The Founding of Aesthetics and the Body.Alessandro Nannini - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):103-118.
    In the presentation of his project about ‘somaesthetics’, Richard Shusterman claimed that the recurring neglect of the body in aesthetics was disastrously introduced by Alexander Gottlieb Baumgarten (1714–1762) in his first formulation of aesthetics as a discipline in the mid-eighteenth century. In the present essay I aim to call this thesis into question, investigating for the first time the role of the body in Baumgarten’s thought and focusing on its significance for the founding of aesthetics. First, I consider Baumgarten’s doctrine (...)
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  47. Naturästhetik.Zhuofei Wang - 2016 - In Handbuch Umweltethik. Stuttgart: Metzler Verlag. pp. 142-147.
  48. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  49. Intelligible Beauty.James Shelley - 2022 - Aristotelian Society Supplementary Volume 96 (1):147-164.
    Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...)
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  50. Towards a Materialist Theory of Art.Florian Endres - 2019 - Continental Thought and Theory: A Journal of Intellectual Freedom 2 (4):50-61.
    Art, for Hegel, is not only distinct but self-distinguishing of and from nature – it happens in and through the latter. It liberates us from being merely natural creatures, and it does so by a dynamic of a cut or break - even though this liberation is achieved only through natural sensuousness, and hence, keeps us tethered to nature in some particular way. Inspired by Todd McGowan’s emphasis on the central role of contradiction in Hegel’s philosophy, this paper considers the (...)
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