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1 — 50 / 113
  1. added 2019-06-10
    A Consideration of Carroll’s Content Theory.David Sackris & Rasmus Rosenberg Larsen - forthcoming - Journal of Value Inquiry:1-11.
    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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  2. added 2019-06-06
    Metaphor and Criticism BSA Prize Essay, 2010: Articles.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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  3. added 2019-06-05
    Book Review: God Who Creates: Essays in Honor of W. Sibley TownerGod Who Creates: Essays in Honor of W. Sibley TownerEdited byBrownWilliam P.andMcBrideS. DeanJr.,, 2000. 273 Pp. $24.00. ISBN 0-8028-4626-2. [REVIEW]V. Steven Parrish - 2001 - Interpretation: A Journal of Bible and Theology 55 (4):442-442.
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  4. added 2019-05-15
    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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  5. added 2019-04-30
    Art, Moral Understanding, Radical Changes.Elvio Baccarini - 2018 - Rivista di Estetica 69:40-53.
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  6. added 2019-04-22
    Dual Character Art Concepts.Shen-yi Liao, Aaron Meskin & Joshua Knobe - manuscript
    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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  7. 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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  8. added 2018-06-30
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...)
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  9. added 2018-06-14
    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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  10. added 2018-05-23
    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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  11. added 2018-05-23
    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. added 2017-02-23
    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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  13. added 2017-02-08
    Aesthetic/Non-Aesthetic and the Concept of Taste: A Critique of Sibley's Position.Ted Cohen - 1973 - Theoria 39 (1-3):113-152.
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  14. added 2017-02-01
    Long Live Supervenience.Nick Zangwill - 1992 - Journal of Aesthetics and Art Criticism 50 (4):319-322.
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  15. added 2017-01-28
    "Frank Kupka": Jean Cassou and Denise Fedit. [REVIEW]Ralph Berry - 1965 - British Journal of Aesthetics 5 (4):412.
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  16. added 2017-01-24
    Sibley's Legacy.Brandon Cooke - 2005 - Journal of Aesthetic Education 39 (1):105-118.
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  17. added 2017-01-22
    Sibley.Colin Lyas - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  18. added 2016-12-12
    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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  19. added 2016-12-08
    Experience of Meaning, Secondary Use and Aesthetics.Michel ter Hark - 2010 - Philosophical Investigations 33 (2):142-158.
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  20. added 2016-12-08
    The Lover of the Beautiful and the Good: Platonic Foundations of Aesthetic and Moral Value.John 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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  21. added 2016-12-08
    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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  22. added 2016-12-08
    Concepts on the Move.Annette W. Balkema & Henk Slager (eds.) - 2002 - Brill | Rodopi.
    In order to give an impetus to the production of an apparatus of aesthetic concepts, in line with Deleuze and Guattari’s claim to create new concepts for a changing world, this volume publishes statements and discussions of ten Concept on the Move workshops, as well as texts and discussions of the concluding Concept on the Move symposium. The integral outcome of the workshops, the symposium and the discussions does not, however, present some sort of blueprint for the future of visual (...)
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  23. added 2016-10-18
    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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  24. added 2016-10-18
    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.
  25. added 2016-08-15
    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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  26. added 2015-12-14
    (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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  27. added 2015-04-05
    F. N. Sibley, "Perception: A Philosophical Symposium". [REVIEW]Anthony J. Lisska - 1976 - The Thomist 40 (1):168.
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  28. added 2015-04-05
    Objectivity and Aesthetic Judgment in the Philosophy of Frank Sibley.Ken Walter Gatzke - 1974 - Dissertation, University of Illinois at Urbana-Champaign
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  29. added 2015-04-04
    Sibley, F. N. -"Perception: A Philosophical Symposium". [REVIEW]J. M. Hinton - 1973 - Philosophy 48:91.
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  30. added 2015-04-04
    "Perception: A Philosophical Symposium", Edited by F. N. Sibley. [REVIEW]D. Locke - 1972 - Mind 81:627.
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  31. added 2015-03-24
    Aesthetic Concepts: Essays After Sibley.Derek Matravers - 2002 - Mind 111 (444):912-916.
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  32. added 2015-03-23
    Sibley and the Art of Persuasion.Nick McAdoo - 2001 - In Emily Brady & Jerrold Levinson (eds.), Aesthetic Concepts: Essays After Sibley. Oxford University Press.
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  33. added 2015-03-23
    Perception-Philosophical Symposium-Sibley, Fn.Aj Lisska - 1976 - The Thomist 40 (1):168-172.
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  34. added 2015-03-20
    The Idea of Order at Key West.Raymond Aaron Younis - 1992 - Explicator 50 (2).
  35. added 2015-03-19
    Sibley, Frank. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Benjamin F. Ward - 2003 - Review of Metaphysics 56 (3):678-679.
  36. added 2015-03-19
    Brady, Emily, and Jerrold Levinson, Eds. Aesthetic Concepts: Essays After Sibley.Ronald Hepburn - 2003 - Review of Metaphysics 56 (3):635-637.
  37. added 2015-03-18
    Sibley and His Legacy.R. A. Sharpe - 2003 - Philosophical Books 44 (4):310-316.
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  38. added 2015-03-18
    Review: Sibley's Aesthetics. [REVIEW]Malcolm Budd - 2002 - Philosophical Quarterly 52 (207):237 - 246.
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  39. added 2015-03-18
    Introduction : Sibley's Vision.Emily Brady - unknown
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  40. added 2015-01-20
    The Dehumanization of Art.José Ortega Y. Gasset - 1930 - The Symposium: A Critical Review 1 (2):194-205.
    Translation of: La deshumanización del arte (1924).
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  41. 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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  42. added 2014-11-03
    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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  43. added 2014-04-03
    Supervenience, Essentialism and Aesthetic Properties.Gregory Currie - 1990 - Philosophical Studies 58 (3):243 - 257.
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  44. added 2014-04-02
    The Beautiful, the Dainty and the Dumpy.Nick Zangwill - 1995 - British Journal of Aesthetics 35 (4):317-329.
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  45. added 2014-04-01
    Realism, Supervenience, and Irresolvable Aesthetic Disputes.John W. Bender - 1996 - Journal of Aesthetics and Art Criticism 54 (4):371-381.
  46. added 2014-03-30
    The Concept of the Aesthetic.Nick Zangwill - 1998 - European Journal of Philosophy 6 (1):78–93.
    Can the contemporary concept of the ‘aesthetic’ be defended? Is it in good shape or is it sick? Should we retain it or dispense with it? The concept of the aesthetic is used to characterize a range of judgements and experiences. Let us begin with some examples of judgements which aestheticians classify as aesthetic, so that we have some idea of what we are talking about. These paradigm cases will anchor the ensuing discussion. Once we have some idea of which (...)
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  47. added 2014-03-27
    Scruton, Sibley, and Supervenience.John E. MacKinnon - 2000 - Journal of Aesthetics and Art Criticism 58 (4):383-392.
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  48. added 2014-03-25
    Aesthetic Supervenience: For and Against.JE MacKinnon - 2001 - British Journal of Aesthetics 41 (1):59-75.
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  49. added 2014-03-24
    The Role of Meaning in Music.Eddy M. Zemach - 2002 - British Journal of Aesthetics 42 (2):169-178.
    It has been persuasively argued that music refers. For example, a passage that resembles the demeanour of people under the sway of emotion E is seen as itself being E and, thus, as referring to E. Yet what is the purpose of such reference? Serious music, I say, works as a proof. A passage that refers to E is cast as a well-formed formula in a calculus. That formula is then creatively developed in accordance with the rules of that calculus (...)
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  50. added 2014-03-22
    The Problem of Non-Perceptual Art.James Shelley - 2003 - British Journal of Aesthetics 43 (4):363-378.
    Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...)
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