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  1. Aesthetic Knowledge.Keren Gorodeisky & Eric Marcus - forthcoming - Philosophical Studies:1-29.
    What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...)
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  2. The Art of Immoral Artists.Shen-yi Liao - forthcoming - In Carl Fox & Joe Saunders (eds.), The Routledge Handbook of Philosophy and Media Ethics. New York: Routledge.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
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  3. Immoral Artists.Erich Hatala Matthes - forthcoming - In James Harold (ed.), The Oxford Handbook of Ethics and Art.
    This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...)
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  4. Drawing the Line: What to Do with the Work of Immoral Artists From Museums to the Movies.Erich Hatala Matthes - 2022 - New York: Oxford University Press, USA.
    Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists. Spurred in part by the #metoo movement, and given more access than ever thanks to social media and the internet in general, the public has turned an alert and critical eye (...)
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  5. Does Chiara Have an Artistic Scent?I. Neminemus - 2021 - Social Sciences Research Network.
    In a recent article, Ms. Brozzo (2020) supposed that some perfumes were works of art on the grounds that they met some ‘hard’ definitions of art. This, however, is predicated upon a definitive holism that is not true. Her argument is also founded upon several definitions which she has taken axiomatically, despite their being too contentious to allow for this, and her every condition of olfactory art is cleared by non-art.
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  6. Aesthetic Archaeology.Jakub Stejskal - 2021 - Critical Inquiry 48 (1):144-166.
    The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact should in the first place be part (...)
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  7. Beauty, Art and the Western Tradition.Derek Allan - 2020 - In Rohan Curnow, Robert Andrews & Matthew Del Nevo (eds.), Beauty and the Christian Tradition. Sydney: St Paul's Publications. pp. 1-21.
    Examines the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself. Also discusses the death of art-as-beauty from Manet onward and certain implications for aesthetics (the philosophy of art). Includes relevant reproductions. (The essay is a longer version of my paper "The Birth and Death of Beauty in Western Art" also listed on PhilPapers.).
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  8. In Praise of Depth: Or, How I Stopped Worrying and Learned to Love the Hidden.Joshua Landy - 2020 - New Literary History 1 (51):145-76.
    In recent years, some prominent scholars have been making a surprising claim: examining literary texts for hidden depths is overblown, misguided, or indeed downright dangerous. Such examination, they’ve warned us, may lead to the loss of world Heidegger warned of (Gumbrecht), to the world-denying metaphysics Nietzsche warned of (Nehamas), or to the suspicious form of hermeneutics Ricoeur warned of (Best, Marcus, Moi). This paper seeks to suggest that, though the concerns are understandable, there’s ultimately nothing to worry about. The fact (...)
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  9. The Cinema of Disorientation.Dominic Lash - 2020 - Edinburgh, UK: Edinburgh University Press.
    Precisely, perhaps, because they are so immediately absorbing, narrative films can also be profoundly confusing and disorienting. This fascinating book neither proposes foolproof methods for avoiding confusion; nor does it suggest that disorientation is always a virtue. Instead it argues that the best way to come to terms with our confusion is to look closely at exactly what is confusing us, and why. At the heart of the book are original close readings of four important recent films: David Lynch's INLAND (...)
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  10. Ordinary Monsters: Ethical Criticism and the Lives of Artists.Christopher Bartel - 2019 - Contemporary Aesthetics 17.
    Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...)
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  11. Art for Goodness Sake.Miguel Benitez - 2019 - The Chesterton Review 45 (1):123-127.
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  12. The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...)
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  13. The Biology of Art.Richard A. Richards - 2019 - Cambridge University Press.
    Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...)
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  14. Beauty and Utility in Kant’s Aesthetics: The Origins of Adherent Beauty.Robert R. Clewis - 2018 - Journal of the History of Philosophy 56 (2):305-335.
    within western philosophy, there is a long and rich tradition of treating the beautiful and the good as closely related and mutually reinforcing.1 Different models of the relation have been proposed. An ‘identity’ model can be seen in Plato’s identification of the beautiful and the good in the Symposium and perhaps in the Greek notion of kalokagathia.2 Yet, according to Plato’s Republic, the form of the good illuminates, and differs from, the forms of beauty and truth: “both knowledge and truth (...)
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  15. Expressivism and Arguing About Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
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  16. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
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  17. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  18. The Limitations of the Exculpatory Critique: A Response to Mikkel Bolt Rasmussen.Grant Kestner - 2017 - Nordic Journal of Aesthetics 25 (53).
    This essay constitutes a response to Mikkel Bolt Rasmussen’s essay “A Note on Socially Engaged Art Criticism”. In particular, the essay focuses on the concept of an “exculpatory critique”. This term refers to a set of arguments in contemporary art criticism which contend that artistic practices that engage directly with processes of social or political change sacrifice their aesthetic validity while also providing an ideological justification for existing systems of domination. Kester seeks to demonstrate some of the shortcomings involved in (...)
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  19. The Space of Reception: Framing Autonomy and Collaboration.Jennifer A. McMahon & Carol A. Gilchrist - 2017 - In Brad Buckley & John Conomos (eds.), Who Runs the Artworld: Money, Power and Ethics. Faringdon, UK: Libri Publishing. pp. 201-212.
    In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...)
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  20. A Note on Socially Engaged Art Criticism.Mikkel Bolt Rasmussen - 2017 - Nordic Journal of Aesthetics 25 (53).
    This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond the (...)
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  21. Thoughts on Film: Critically Engaging with Both Adorno and Benjamin.Laura D'Olimpio - 2016 - Educational Philosophy and Theory 48 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...)
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  22. Faits et valeurs en esthétique: approches et enjeux actuels.Filippo Fimiani, Jacinto Lageira, Barbara Formis & Evangelos Athanassopoulos - 2016 - Nouvelle Revue d'Esthétique 18 (2):5-9.
    Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...)
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  23. Hegel and Semiotics: Beyond the End of Art.William D. Melaney - 2016 - In K. Bankov (ed.), New Semiotics: Between Tradition and Innovation Proceedings of the Twelfth World Congress of Semiotics. New Bulgarian University. pp. 10 pages.
    This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...)
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  24. An Autonomist View on the Ethical Criticism of Architecture.Ricardo Miguel - 2016 - [email protected] (5):131-141.
    It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim that there (...)
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  25. The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art.Andrea Sauchelli - 2016 - Journal of Aesthetic Education 50 (1):1-15.
    The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that some (...)
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  26. Aesthetic Value, Artistic Value, and Morality.Andrea Sauchelli - 2016 - In David Coady, Kimberley Brownlee & Kasper Lipper-Rasmussen (eds.), Blackwell Companion to Applied Philosophy. Blackwell. pp. 514-526.
    This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
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  27. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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  28. A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  29. A Kantian Theory of Art Criticism.Emine Hande Tuna - 2016 - Dissertation, University of Alberta
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...)
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  30. The Boulevards of Extinction.A. Brunneis - 2015 - Wipf & Stock.
    In over 600 aphorisms, essays, parables, and dialogues, the author attempts to engage the long tradition of modern literary philosophy. Though richly represented by a host of notable figures—from Renaissance humanists to Enlightenment philosophes, transcendentalists to existentialists—this tradition has fallen into abeyance since the mid-twentieth century. It is hoped that this book will play a small role in helping to reinvigorate the genre.
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  31. Aesthetic Disobedience.Jonathan A. Neufeld - 2015 - Journal of Aesthetics and Art Criticism 73 (2):115-125.
    This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of a conflict (...)
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  32. (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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  33. Adaptive Naturalism in Herder’s Aesthetics.Rachel Zuckert - 2015 - Graduate Faculty Philosophy Journal 36 (2):269-293.
    I discuss an apparent tension between two aspects of Johann Gottfried Herder’s aesthetic theory: his emphasis on and endorsement of art’s cultural embeddedness and historical variation, and his reliance on natural norms of artistic value. I propose that Herder’s essay, “Shakespeare,” suggests a possible resolution to this tension, a position I call “adaptive naturalism.” On this view, aesthetic value comprises a work’s capacity to promote the exercise of human natural capacities in harmony with the (natural or social) environment. Thus such (...)
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  34. Art and Pornography. [REVIEW]Christopher Bartel - 2014 - British Journal of Aesthetics 54 (4):510-512.
  35. The Limits of Aesthetic Empiricism.Fabian Dorsch - 2014 - In Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 75-100.
    In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into (...)
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  36. Only noise if you can see.Fimiani Filippo - 2014 - Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...)
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  37. Avant-Garde.Dustin Garlitz - 2014 - In Sherwood Thompson (ed.), Encyclopedia of Diversity and Social Justice. Rowman & Littlefield Publishers.
  38. Numbing the Heart: Racist Jokes and the Aesthetic Affect.Tanya Rodriguez - 2014 - Contemporary Aesthetics 12.
    People sometimes resist the idea that racist humor fails on aesthetic grounds because they find it funny. They make the case that we can enjoy its comic aspects by controlling our attention, by focusing on a joke’s rhythm or delivery rather than on its racist content. Ironic intent may reside with the joke teller and/or the audience. I discuss how arguments for the immorality of racist jokes fall short. Ironic racist jokes may be acceptable to an audience that already rejects (...)
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  39. Non‐Inferentialism About Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...)
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  40. 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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  41. Moderate Autonomism Revisited.Rafe Mcgregor - 2013 - Ethical Perspectives 20 (3):403-426.
    In this paper I propose a new argument for moderate autonomism. I call this the ‘critical argument’ to distinguish it from the empirical argument of James C. Anderson and Jeffrey T. Dean, and the no-error argument of James Harold. My strategy is to first employ the criticism of Matthew Arnold and F.R. Leavis to demonstrate the moralist failure to account for the complexity of the relationship between literature and morality, and then offer a more promising alternative. I set out the (...)
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  42. Cinematic.Aaron Smuts - 2013 - Nordic Journal of Aesthetics 23 (46):78-95.
    Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...)
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  43. Die Grenzen des ästhetischen Empirismus.Fabian Dorsch - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):269-281.
    In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die (...)
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  44. Artwork and Document in the Photography of Louise Lawler.Sherri Irvin - 2012 - Journal of Aesthetics and Art Criticism 70 (1):79-90.
    What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears that (...)
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  45. Relativo ma non troppo: de novo a favor da Objectividade na Execução Musical.António Lopes - 2012 - Disputatio 4 (34):739-753.
    The paper offers some arguments in favour of the view that there are aesthetic properties of performances of works of Western classical music that always count as good-making features of such performances.
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  46. The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...)
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  47. Editoriale–L'estetica all 'opera. Focus Genette'.Filippo Fimiani & Pierre-Henry Frangne - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1).
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...)
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  48. Die Komödie der Tragödie: Shakespeares Sturm am Umschlagplatz von Mythos und Moderne, Rache und Recht, Tragik und Spiel.Katrin Trüstedt - 2011 - Konstanz: Konstanz University Press.
  49. Esthetische normativiteit. Tegen empirische en evolutionaire verklaringen.Rob van Gerwen - 2011 - Algemeen Nederlands Tijdschrift voor Wijsbegeerte 103 (2):126-138.
    Aesthetic normativity is the core issue of philosophical aesthetics. It cannot be solved by statistical knowledge or neurophysiology, nor by evolutionary explanation. I argue that aesthetic normativity concerns how we see things. We can see things wrongly and by suitable prompting someone may help us seeing it aright. So aesthetic normativity is to do with human interaction.
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  50. The Value of Fictional Worlds (or Why 'the Lord of the Rings' is Worth Reading).James Harold - 2010 - Contemporary Aesthetics 8.
    Some works of fiction are widely held by critics to have little value, yet these works are not only popular but also widely admired in ways that are not always appreciated. In this paper I make use of Kendall Walton’s account of fictional worlds to argue that fictional worlds can and often do have value, including aesthetic value, that is independent of the works that create them. In the process, I critique Walton’s notion of fictional worlds and offer a defense (...)
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