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  1. Unplanned Coordination: Ensemble Improvisation as Collective Action.Ali Hasan & Jennifer Kayle - forthcoming - Journal of Social Ontology.
    The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. In this article, we present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective action, (...)
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  2. The Arbitrariness of Aesthetic Judgment.David Sackris - forthcoming - Journal of Value Inquiry:1-22.
    Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s possible to appreciate artwork (...)
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  3. 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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  4. The Selectivity of Aesthetic Explanation.Moonyoung Song - 2021 - Journal of Aesthetics and Art Criticism 79 (1):5-15.
    It is widely agreed that an artwork having certain non-aesthetic properties explains its having a certain aesthetic property. One interesting feature of such an explanation is its selectivity—it cites only some of the non-aesthetic properties on which the presence of the aesthetic property depends. Hence a question arises as to what distinguishes the selected non-aesthetic properties from the unselected ones. I answer this question by proposing a selection principle modeled on Laura Franklin-Hall’s selection principle for causal explanation, according to which (...)
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  5. Making Sorrow Sweet: Emotion and Empathy in the Experience of Fiction. In A. Houen (Ed.), Affect and Literature (Cambridge Critical Concepts, Pp. 190-210). Cambridge: Cambridge University Press. Doi:10.1017/9781108339339.011.A. E. Denham, A. E. Denham & A. Denham - 2020 - In Denham, A. (2020). Making Sorrow Sweet: Emotion and Empathy in the Experience of Fiction. In A. Houen (Ed.), Affect and Literature (Cambridge Critical Concepts, pp. 190-210). Cambridge: Cambridge University Press. doi:10.1017/9781108339339.011. Cambridge, UK: pp. 190-210.
    The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...)
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  6. The Vanity of Small Differences: Empirical Studies of Extrinsic Factors and Artistic Value.Shen-yi Liao, Aaron Meskin & Jade Fletcher - 2020 - Aesthetic Investigations 4 (1):412-427.
    To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...)
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  7. Functional Beauty, Pleasure, and Experience.Panos Paris - 2020 - Australasian Journal of Philosophy 98 (3):516-530.
    I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...
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  8. Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...)
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  9. A Journey to Soul-Touching Research in Social Sciences and Humanities.Quan-Hoang Vuong - 2020 - OSF Preprints 2020 (3):1-6.
    We researchers in the humanities and social sciences, similar to the archaeologists but only less literally, are constantly digging through unknown dirt and even uncharted territories in hopes of finding “diamonds.”.
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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. De Gustibus: Arguing About Taste and Why We Do It By Peter Kivy. [REVIEW]Eileen John - 2019 - Analysis 79 (3):581-583.
    De Gustibus: Arguing about Taste and Why We Do It By KivyPeterOxford University Press, 2015. xii + 174 pp.
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  12. 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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  13. The Default Theory of Aesthetic Value.James Shelley - 2019 - British Journal of Aesthetics 59 (1):1-12.
    The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...)
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  14. Of Primary Features in Aesthetics: A Critical Assessment of Generalism and a Limited Defence of Particularism.Peter Shiu-Hwa Tsu - 2019 - British Journal of Aesthetics 59 (1):35-49.
    Contemporary analytic aesthetics has seen a heated debate about whether there are general critical principles that determine the merits/demerits of an artwork. The so-called generalists say ‘yes’, whereas the so-called particularists say ‘no’. On the particularists’ view, a feature that is a merit in one artwork might well turn out to be a defect in another, so critical principles purporting to define merits and defects are pretty much in vain. Against this, the generalists argue that while some features change their (...)
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  15. 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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  16. The Meditations of Manuel de la Vega.Cora Cruz - 2018 - New York, NY, USA: Peter Lang.
    The Meditations of Manuel de la Vega addresses the "hard" problem of consciousness in a nonreductive way. Which is to say, the question is posited as to why, no matter how much structural or functional explanation we may devise, this does not quite satisfy attempts to grasp the essence, the "what it is like," of being an embodied consciousness. The book’s method aims to be faithful to its subject by its choice of format. It does not intend to offer fully (...)
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  17. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...)
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  18. Rationally Agential Pleasure? A Kantian Proposal.Keren Gorodeisky - 2018 - In Lisa Shapiro (ed.), Pleasure: a History. Oxford University Press. pp. 167-194.
    The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...)
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  19. Pictures: Their Power in Practice.Dominic McIver Lopes - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 36-51.
    What are pictures good for? “Nothing” recurs as the apparently irrepress- ible reply of a motley collection iconophobes from Plato to the mediaeval iconoclasts, to parents concerned about comic books, to postmoderns in a lather over “scopic regimes”. In the aftermath of Nelson Goodman’s Languages of Art (1976), philosophers doubled down on theories of depiction and pictorial experience, but they have not rushed to work on the value of pictures. Those few who have written about pictorial value have taken for (...)
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  20. New Prospects for Aesthetic Hedonism.Mohan Matthen - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge. pp. 13-33.
    Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...)
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  21. On Form, and the Possibility of Moral Beauty.Panos Paris - 2018 - Metaphilosophy 49 (5):711-729.
    There is a tendency in contemporary (analytic) aesthetics to consider- ably restrict the scope of things that can be beautiful or ugly. This peculiarly modern tendency is holding back progress in aesthetics and robbing it of its potential contribution to other domains of inquiry. One view that has suffered neglect as a result of this tendency is the moral beauty view, whereby the moral virtues are beautiful and the moral vices are ugly. This neglect stems from an assumption to the (...)
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  22. Kant on Informed Pure Judgments of Taste.Emine Hande Tuna - 2018 - Journal of Aesthetics and Art Criticism 76 (2):163-174.
    Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...)
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  23. Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’.Keren Gorodeisky - 2017 - Australasian Philosophical Review 1 (1):79-84.
    While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of the problems Matthen raises (...)
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  24. The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  25. E quando ser o que se é tornou-se uma fundada suspeita: elementos de um estética de classe e do preconceito.Francisco Luciano Teixeira Filho - 2016 - O Público E o Privado 14 (28):223-251.
    O presente artigo relata a estética de classe de um grupo social que foi chamado de pirangueiro. A partir de uma pesquisa observacional, com amparo referencial nas teorias do habitus e do campo, em Bourdieu, baseada na técnica de flanagem, reconstruiu-se a ideia do subcampo da moda de resistência, que se apresenta como contraposição ao campo da moda dominante. Com essa moda de resistência, o jovem pirangueiro traz um elemento de auto-distinção e, ao mesmo tempo, um critério de preconceito.
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  26. The Heart of the Matter: Forgiveness as an Aesthetic Process.A. G. Holdier - 2016 - In Court Lewis (ed.), The Philosophy of Forgiveness - Volume II: New Dimensions of Forgiveness. Wilmington, DE: Vernon Press. pp. 47-70.
    This paper assesses the aesthetic components of the experience of forgiveness to develop a procedural model of the phenomenological process that negotiates cognitive judgments and understanding with emotional affective states. By bringing the Greek concepts of kalokagathia and eudaimonia into conversation with Ricoeur’s “solicitude,” I suggest that the impetus for engaging in the process of forgiveness is best understood narratively as the pursuit of a life well lived (in terms of beauty). Consequently, forgiveness is revealed as a technique for developing (...)
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  27. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  28. An Autonomist View on the Ethical Criticism of Architecture.Ricardo Miguel - 2016 - Philosophy@Lisbon (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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  29. 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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  30. 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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  31. Tonality, Musical Form, and Aesthetic Value.Walter Horn - 2015 - Perspectives of New Music 53.
    It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...)
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  32. Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  33. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...)
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  34. 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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  35. O Valor da Arte.António Lopes - 2014 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...)
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  36. Beyond Art.Dominic McIver Lopes - 2014 - Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  37. 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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  38. Introduzione.Elisa Caldarola, Quattrocchi Davide & Gabriele Tomasi - 2013 - In Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.), Wittgenstein, l’estetica e le arti. Roma - Bari: Carocci.
  39. Judging Covers.P. D. Magnus, Cristyn Magnus & Christy Mag Uidhir - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
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  40. 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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  41. 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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  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. Fleshy Canvas.Kimberly Baltzer-Jaray & Tanya Rodriguez - 2012 - In Robert Arp (ed.), Tattoos — Philosophy for Everyone: I Ink, Therefore I Am. Chichester, West Sussex, UK: Wiley-Blackwell. pp. 38-50.
    In this paper, we first investigate a bit of feminist and hermeneutical aesthetics. Building upon these theories, we expand the discussion of art to include the fleshy canvas.We argue that a feminist philosophy of art suggests a sound theoretical framework by which one can maintain that skin art is just that – art. In its contemporary practice, tattooing has become a new form of art, and feminist theory provides context for interpretation. The tattooed body may agitate conventional conceptions of fine (...)
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  44. 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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  45. Heidegger’s Allegory of Reading: On Nietzsche and the Tradition.William D. Melaney - 2012 - In Alfred Denker Babette Babich (ed.), Hiedegger und Nietzsche. Brill. pp. 190-98.
    Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' of (...)
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  46. On Architecture as a Spatial Art.Andrea Sauchelli - 2012 - Nordic Journal of Aesthetics 23 (43):53-64.
    I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as (non-spatial) function, materials, ornamentation, and so on cannot all be reduced to spatial values.
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  47. Interactivity, Inhabitation and Pragmatist Aesthetics.Phillip Deen - 2011 - Game Studies 11 (2).
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  48. 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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  49. Encountering Individuality: Schlegel's Romantic Imperative as a Response to Nihilism.Keren Gorodeisky - 2011 - Inquiry: An Interdisciplinary Journal of Philosophy 54 (6):567-590.
    According to Friedrich Schlegel: “The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science”; “[P]oetry and philosophy should be made unified”, and “life and society [should be made] poetic”. The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...)
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  50. Why Sibley Is (Probably) Not a Particularist After All.C. Kirwin - 2011 - British Journal of Aesthetics 51 (2):201-212.
    Anna Bergqvist claims that Frank Sibley—despite his own claims to the contrary—should be considered a particularist when it comes to aesthetics. In this paper I argue that whilst Sibley does hold many of the views that Dancy advances in his Ethics without Principles , Bergqvist is certainly wrong to present Sibley's position as ‘uncontroversially’ particularist. In fact, the relationship between Sibley's account of judgement in aesthetics and Dancy's ethical particularism serves to highlight several ambiguities involved in the particularist–generalist debate as (...)
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