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  1. Making Sense of Affective Property.Li-Hsiang Hsu - manuscript
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  2. Moral Beauty, Inside and Out.Ryan P. Doran - forthcoming - Tandf: Australasian Journal of Philosophy 1:1-19.
    In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.
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  3. 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. Modelos estéticos en las ciencias humanas: un estudio epistemológico - Traducción de Facundo Bey.Lorenzo Bartalesi & Facundo Bey - 2020 - Boletín de Estética 51:8-36.
    Starting from the assumption that aesthetic is an anthropological fact which like language or symbolic thought belongs to the behavioral, cognitive and social register of our species, the article aims to clarify the uses of the category of aesthetic in the human sciences (social anthropology, cognitive psychology, evolutionary anthropology). The epistemological analysis focuses on the implicit assumptions that guide the different methodologies and leads to the elaboration of a conceptual map of the several models of aesthetic adopted in the contemporary (...)
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  5. Dual Character Art Concepts.Shen‐yi Liao, Aaron Meskin & Joshua Knobe - 2020 - Pacific Philosophical Quarterly 101 (1):102-128.
    Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...)
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  6. Was Ist Ein Original?: Eine Begriffsbestimmung Jenseits Genieästhetischer Stereotype.Doris Reisinger (ed.) - 2020 - Berlin: Transcript Verlag.
    There are fierce debates about the concept of the original. Can forgeries be as good as originals? Might copies be even better than originals in specific cases? And isn't the time of the original even over? In debates like these the question of what an original actually is tends to be relegated to the background. This book focuses on this crucial point: What exactly is an original? How can that concept be defined in a way that helps not only to (...)
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  7. A Consideration of Carroll’s Content Theory.David Sackris & Rasmus Rosenberg Larsen - 2020 - Journal of Value Inquiry 54 (2):245-255.
    In this paper, we consider Noël Carroll’s Content Theory (CT) (2015) and argue that a key problem with CT is that it can be interpreted in two distinct ways: as a descriptive theory of aesthetic experience and as a normative prescriptive theory. Although CT is presented as a descriptive theory of experience, much of what Carroll says implies that CT can also be understood as a theory about how one ought to look at artworks. We argue that when understood as (...)
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  8. A Poetics of Designing.Claudia Westermann - 2019 - In Thomas Fischer & Christiane M. Herr (eds.), Design Cybernetics: Navigating the New. Basel, Switzerland: Springer. pp. 233-245.
    The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...)
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  9. Art, Moral Understanding, Radical Changes.Elvio Baccarini - 2018 - Rivista di Estetica 69:40-53.
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  10. Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...)
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  11. Not Music, but Musics: A Case for Conceptual Pluralism in Aesthetics.Adrian Currie & Anton Killin - 2017 - Estetika 54 (2):151-174.
    We argue for conceptual pluralism about music. In our view, there is no right answer to the question ‘What is music?’ divorced from some context or interest. Instead, there are several, non-equivalent music concepts suited to different interests – from within some tradition or practice, or by way of some research question or field of inquiry. We argue that unitary definitions of music are problematic, that the role music concepts play in various research questions should motivate conceptual pluralism about music, (...)
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  12. Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    ABSTRACT: I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
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  13. Analyzing Antiqueness: A Response to Curtis and Baines.Anton Killin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):195-197.
    Aestheticians should be excited by the prospects of a philosophy of antiques. It is to their merit that Curtis and Baines (2016) ignite philosophical discussion about this aesthetically and historically important category, so far overlooked by philosophers. And I agree with much they have to say on the topic. For one, I think the Adjectival Thesis they proffer is sound. That is, the term ‘antique’ does not denote a kind of object (it is not a kind sortal); rather, it modifies (...)
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  14. 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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  15. Aesthetic Representation of Purposiveness and the Concept of Beauty in Kant’s Aesthetics. The Solution of the ‘Everything is Beautiful’ Problem.Mojca Küplen - 2016 - Philosophical Inquiries 4 (2):69-88.
    In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...)
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  16. Humour is a Funny Thing.Alan Roberts - 2016 - British Journal of Aesthetics 56 (4):355-366.
    This paper considers the question of how immoral elements in instances of humour affect funniness. Comic ethicism is the position that each immoral element negatively affects funniness and if their cumulative effect is sufficient, then funniness is eliminated. I focus on Berys Gaut’s central argument in favour of comic ethicism; the merited response argument. In this journal, Noël Carroll has criticized the merited response argument as illegitimately conflating comic merit with moral merit. I argue that the merited response argument, and (...)
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  17. Cognitive Function of Beauty and Ugliness in Light of Kant’s Theory of Aesthetic Ideas.Mojca Küplen - 2015 - In Andras Benedek and Kristof Nyiri (ed.), Beyond Words: Pictures, Parables, Paradoxes (Series Visual Leaning, vol. 5). Peter Lang Publisher. pp. 209-216.
  18. Poetic Opacity: How to Paint Things with Words.Jesse J. Prinz & Eric Mandelbaum - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford University Press. pp. 63-87.
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  19. (2015). Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois.Martina Sauer - 2015 - Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...)
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  20. 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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  21. Sibley on ‘Beautiful’ and ‘Ugly’.Andrea Sauchelli - 2014 - Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  22. The Critical Imagination.James Grant - 2013 - Oxford University Press.
    The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...)
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  23. Functional Beauty, Perception, and Aesthetic Judgements.Andrea Sauchelli - 2013 - 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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  24. John Michael Krois. Bildkörper und Körperschema. Schriften zur Verkörperungstheorie ikonischer Formen. [REVIEW]Martina Sauer - 2013 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 13 (4).
  25. Verantwortung - Vom Aufladen mit Bedeutung in Kunst und Sprache. Zu den Konsequenzen aus den kulturanthropologischen Ansätzen von Cassirer, Warburg und Böhme.Martina Sauer - 2013 - In Oxen Kathrin & Sagert Dietrich (eds.), Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). Leipzig, Germany: Evangelische Verlagsanstalt. pp. 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  26. Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation: Considerations From Wittgenstein, Language, and Music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...)
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  27. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  28. Metaphor and Criticism.James Grant - 2011 - British Journal of Aesthetics 51 (3):237-257.
    The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...)
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  29. Why Sibley is Not a Generalist After All.Anna Bergqvist - 2010 - British Journal of Aesthetics 50 (1):1-14.
    In his influential paper, ‘General Criteria and Reasons in Aesthetics’, Frank Sibley outlines what is taken to be a generalist view (shared with Beardsley) such that there are general reasons for aesthetic judgement, and his account of the behaviour of such reasons, which differs from Beardsley's. In this paper my aim is to illuminate Sibley's position by employing a distinction that has arisen in meta-ethics in response to recent work by Jonathan Dancy in particular. Contemporary research involves two related yet (...)
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  30. Unifying Conceptual Spaces: Concept Formation in Musical Creative Systems. [REVIEW]Alex McLean - 2010 - Minds and Machines 20 (4):503-532.
    We examine Gärdenfors’ theory of conceptual spaces, a geometrical form of knowledge representation (Conceptual spaces: The geometry of thought, MIT Press, Cambridge, 2000 ), in the context of the general Creative Systems Framework introduced by Wiggins (J Knowl Based Syst 19(7):449–458, 2006a ; New Generation Comput 24(3):209–222, 2006 b ). Gärdenfors’ theory offers a way of bridging the traditional divide between symbolic and sub-symbolic representations, as well as the gap between representational formalism and meaning as perceived by human minds. We (...)
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  31. Experience of Meaning, Secondary Use and Aesthetics.Michel ter Hark - 2010 - Philosophical Investigations 33 (2):142-158.
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  32. Thick Aesthetic Concepts.Roman Bonzon - 2009 - Journal of Aesthetics and Art Criticism 67 (2):191-199.
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  33. Can Film Be A Philosophical Medium?David Davies - 2008 - Postgraduate Journal of Aesthetics 5 (2):1-20.
    A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language does? To answer (...)
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  34. The Structure of Aesthetic Properties.Rafael De Clercq - 2008 - Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...)
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  35. The Problem With Sentimental Art.Nada Gatalo - 2008 - Postgraduate Journal of Aesthetics 5 (2):20-31.
    If we feel confident in criticizing art for being sentimental, we ought to be able to precisely state how and why sentimentality is an aesthetic fault. This entails demonstrating that sentimental art fails to perform some function that is essential to art. In this paper I will argue that any critique of sentimental art that does not satisfy such a condition is not a legitimate aesthetic critique. Additionally I will put forth a genuinely aesthetic critique of sentimental art, establishing why (...)
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  36. The Lover of the Beautiful and the Good: Platonic Foundations of Aesthetic and Moral Value.John Neil Martin - 2008 - Synthese 165 (1):31-51.
    Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated gradable (...)
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  37. Is Music a Pure Icon?Felicia Kruse - 2007 - Transactions of the Charles S. Peirce Society 43 (4):626 - 635.
    : In his landmark book, Peirce's Theory of Signs, T. L. Short argues that music signifies as a pure icon. A pure icon, according to Peirce, is not a likeness. It "does not draw any distinction between itself and its object" (EP2:163), and it "serves as a sign solely and simply by exhibiting the quality it serves to signify" (EP2:306). In music, this quality consists of the specifically musical feelings or ideas contained in the piece in question, and such musical (...)
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  38. 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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  39. A Critical Assessment Of The Role Of The Imagination In Kant’s Exposition Of The Mathematical Sublime.Richard Stopford - 2007 - Postgraduate Journal of Aesthetics 4 (3):24-31.
    Kant argues in the Critique of Judgment (CJ) that there are two distinct modes of the sublime. This essay will concentrate on the mathematical mode. It is helpful to begin an examination of the mathematical sublime by elucidating the difference between logical estimation and aesthetic estimation; it is aesthetic estimation under strain, so Kant argues, that instigates the moment of the sublime. Logical estimation forms the cognitive basis of scientific calculations. He argues that scientific enquiry only requires an understanding of (...)
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  40. The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors.Malcolm Budd - 2006 - British Journal of Aesthetics 46 (2):133-143.
    My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...)
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  41. Sibley's Legacy.Brandon Cooke - 2005 - Journal of Aesthetic Education 39 (1):105-118.
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  42. Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties.Rafael De Clercq - 2005 - 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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  43. Conceptual And Nonconceptual Modes Of Music Perception.Mark Debellis - 2005 - Postgraduate Journal of Aesthetics 2 (2):45-61.
    What does it mean to say that music perception is nonconceptual? As the passages from Meyer and Budd illustrate, one frequently encounters claims of this kind: it is often suggested that there is a level of perceptual contact with, or understanding or enjoyment of, music—one in which listeners typically engage—that does not require conceptualization. But just what does a claim of this sort amount to, and what arguments may be adduced for it? And is all musical hearing nonconceptual, or are (...)
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  44. Reading Sibley.George Dickie - 2004 - British Journal of Aesthetics 44 (4):408-412.
    Haydar claim that Frank Sibley offers a criterion for distinguishing aesthetically valenced from non-aesthetically valenced properties. I argue that they have misunderstood what Sibley was doing and that he never even intended to offer any such criterion. They also argue that Sibley was wrong to claim that inherently aesthetic merits are reversible. They claim that aesthetic merits—for example, elegance—are irreversible and offer some arguments for their view. I produce a counterexample to their claim about elegance and suggest that such counterexamples (...)
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  45. Aesthetic Concepts: Essays After Sibley. [REVIEW]Aaron Meskin - 2004 - British Journal of Aesthetics 44 (1):90-93.
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  46. Reflections on Aesthetic Judgement.B. R. Tilghman - 2004 - British Journal of Aesthetics 44 (3):248-260.
    Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and that allows ontological claims about supervenient (...)
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  47. Brady, Emily, and Jerrold Levinson, Eds. Aesthetic Concepts: Essays After Sibley.Ronald Hepburn - 2003 - Review of Metaphysics 56 (3):635-637.
  48. Oxford Companion to Aesthetics.Jerrold Levinson (ed.) - 2003 - Oxford University Press.
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  49. On an Apparent Truism in Aesthetics.Paisley Nathan Livingston - 2003 - British Journal of Aesthetics 43 (3):260-278.
    It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...)
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  50. Sibley and His Legacy.R. A. Sharpe - 2003 - Philosophical Books 44 (4):310-316.
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