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  1. Making Sense of Affective Property.Li-Hsiang Hsu - manuscript
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  2. Dewey's aesthetics.Tom Leddy - unknown - Stanford Encyclopedia of Philosophy.
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  3. Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience.Corey Abel - forthcoming - In Leslie MArsh Paul Franco (ed.), Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. Penn State UP.
    This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important treatment of (...)
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  4. Subjectivity in Film: Mine, Yours, and No One's.Sara Aronowitz & Grace Helton - forthcoming - Ergo.
    A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...)
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  5. Being Moved by Art: A Phenomenological and Pragmatist Dialogue.Simon Høffding, Carlos Vara Sánchez & Tone Roald - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):85-102.
    This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...)
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  6. Aesthetic Experience as Interaction.Bence Nanay - forthcoming - Journal of the American Philosophical Association:1-13.
    The aim of this article is to argue that what is distinctive about aesthetic experiences has to do with what we do -- not with our perception or evaluation, but with our action and, more precisely, with our interaction with whatever we are aesthetically engaging with. This view goes against the mainstream inasmuch as aesthetic engagement is widely held to be special precisely because it is detached from the sphere of the practical. I argue that taking the interactive nature of (...)
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  7. Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience.Leslie MArsh Paul Franco (ed.) - forthcoming - Penn State UP.
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  8. Art training and personality traits as predictors of aesthetic experience of different art styles among Polish students.Karolina Pietras & Karolina Czernecka - forthcoming - Polish Psychological Bulletin:466-474.
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  9. Knowledge of things and aesthetic testimony.Chris Ranalli - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    Many philosophers believe that aesthetic testimony can provide aesthetic knowledge. This leaves us with the question: why does getting aesthetic knowledge by experience – by seeing a painting up close, or witnessing a performance first-hand – nevertheless seem superior to aesthetic testimony? I argue that it is due to differences in their epistemic value; in the diversity of epistemic goods each one provides. Aesthetic experience, or the experience of art or other aesthetic objects, affords multiple, distinctive epistemic goods whereas aesthetic (...)
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  10. In Defence of the Acquaintance Principle in Aesthetics.Andrea Sauchelli - forthcoming - Episteme:1-19.
    Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...)
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  11. Symposium on John Dewey's" Art as Experience"[Introduction].Ralph A. Smith - forthcoming - Journal of Aesthetic Education.
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  12. Living Form and Living Criticism.Katie Terezakis - forthcoming - In Michael Thompson (ed.), Georg Lukacs Reconsidered: Essays of Politics, Philosophy, and Aesthetics. Continuu,.
  13. 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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  14. Beyond situational meaning: From Dewey’s aesthetic experience to sensuous abstraction for deep learning.Qing Archer Zhang - forthcoming - Educational Philosophy and Theory.
    In his 1934 book Art as Experience John Dewey explores the relationship between human experience and art. His theory builds on the conception of experience inspired by Darwinian biology as the dyna...
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  15. What Grounds the Pro Tanto Obligation to Not Destroy Heritage?Quince Pan - 2024 - Dissertation, King's College London
    What grounds the pro tanto obligation to not destroy heritage? In other words, why is it by default wrong to destroy heritage without justification? The property rights view answers: some people and social groups own heritage. The reverence view answers: we are obliged to respect things with non-instrumental value. The moral rights view answers: our predecessors, contemporaries and successors have rights to have their cherishings respected and cultural and epistemic goods protected. The moral harm view answers: destroying heritage causes morally (...)
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  16. Order and Change in Art: Towards an Active Inference Account of Aesthetic Experience.Sander Van de Cruys, Jacopo Frascaroli & Karl Friston - 2024 - Philosophical Transactions of the Royal Society B 379 (20220411).
    How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...)
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  17. Fictionalism and Aesthetic Experience in The Beast and the Sovereign.Ammon Allred - 2023 - Journal of Speculative Philosophy 37 (3):415-425.
    ABSTRACT This article analyzes the figure of the end of the world in the final lecture of Derrida’s The Beast and the Sovereign seminar series (the last seminar series he gives). The author argues that Derrida uses the final line of a Paul Celan poem (“The world is gone. I must carry you.”) as a valedictory refrain in order to show the political and existential stakes of his ontological investigations. The article situates these stakes within Derrida’s fictionalism, his belief that (...)
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  18. Two Approaches to Aesthetic Experience.Noël Carroll - 2023 - The Journal of Aesthetic Education 57 (4):1-17.
    Abstract:This article examines two approaches to aesthetic experience, especially with respect to the practice of art criticism. The two approaches are (1) aesthetic experience construed as experience necessarily valued for its own sake and (2) aesthetic experience characterized in terms of its content. In this article, the content approach is defended as the one most suitable to the practice of art criticism.
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  19. The Place of Action in the Landscape of Aesthetic Experience.David R. Charles - 2023 - Open Philosophy 6 (1).
    Advocates of ordinary aesthetics argue that aesthetic experiences found in everyday life can have an impact on our ethical being. This raises the question of how, specifically, action arises from aesthetic experience. Although this matter affects both Aesthetics and Ethics, the current literature provides few details on potential mechanisms. Using neurophysiological evidence, this article proposes specific action profiles and associated mechanisms for aesthetic experiences. To achieve this, it is argued that aesthetic experience originates within the mind and that ordinary aesthetic (...)
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  20. The TikTok Experience and Everything Everywhere All At Once: A Brief Analysis of Film Form.Doğa Çöl & Ömer Said Birol - 2023 - Intermedia International e-Journal 10 (18):178-194.
    The TikTok experience refers to a user’s interaction with the platform while scrolling through various videos. The user can change what they are viewing instantly on one screen much like a TV viewer, the only difference being that whatever is being watched is in the form of short videos made specifically for the platform. These videos vary in style and form and are made to be viewed within the platform itself. All the content that a user watches within the mobile (...)
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  21. A Rhythmic Process of Harmonization: Whitehead’s Concept of Aesthetic Experience. [REVIEW]Botond Csuka - 2023 - Espes. The Slovak Journal of Aesthetics 12 (1):138-141.
    Book review of Dadejík, O., Kaplický, M., Ševčík, M., and Zuska, V. (2021) Process and Aesthetics: An Outline of Whiteheadian Aesthetics and Beyond. Prague: Karolinum Press. ISBN 978-80-246-4726-5.
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  22. Somaesthetics and Sport (review). [REVIEW]Botond Csuka - 2023 - Journal of the Philosophy of Sport 50 (2):300-304.
    Somaesthetics and Sport (ed. Andrew Edgar, Brill, 2022) is a multifaceted collection of essays: Richard Shusterman’s theoretical framework is robust enough to lend unity to the volume, but it mostly functions as a springboard for the individual papers, never suffocating their theoretical explorations or making the book repetitive or a boring read. The ten essays also communicate with one another through certain recurring notions such as agency, somatic awareness, the Suitsian account of games or the interdisciplinary intertwining of philosophical arguments (...)
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  23. The Perniciousness of Higher-Order Evidence on Aesthetic Appreciation.Sackris David & Larsen Rasmus - 2023 - Dialogue:1-20.
    We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...)
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  24. Aesthetic experience in the political philosophy of A. Kojève: towards understanding the practice and theory of the total state.Pavel Egorov - 2023 - Sotsium I Vlast 4 (98):21-36.
    Introduction. The article is focused on analyzing the aesthetic aspect of A. Kojève’s philosophy, the ability of his philosophy, from an aesthetic point of view, to clarify a number of key problems of the modern political and cultural environment. The purpose of the study is to determine the epistemological attitude of A. Kojève’s philosophy able to clarify the way in which his philosophy problematizes the current cultural and political reality. Methods. Hermeneutics, comparative analysis and deconstruction are used as research methods. (...)
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  25. The Layers of Aesthetic Experience. A Comparison between Fritz Kaufmann and Ernst Cassirer.Antonucci Elio - 2023 - Journal of Aesthetics and Phenomenology 10 (2):195-210.
    The article compares Fritz Kaufmann and Ernst Cassirer’s conceptions of aesthetics, focusing in particular on their characterisation of the experience of apprehension of art objects. Firstly, analysing Kaufmann’s early investigation of the experience of the reception of art images and Cassirer’s observations on art as a symbolic form, it argues that the two philosophers conceptualise the reception of art objects in a similar way, as an experience structured across different layers of meaning constitution that are based on specific functions of (...)
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  26. The limits of aesthetic seeing.Pablo Fontoura - 2023 - Perspectiva Filosófica 50 (2):92-108.
    This article explores the concept of sight perception from both cognitive and aesthetic perspectives, by examining the limits of visual attention. It discusses how conscious and unconscious mechanisms can influence what individuals see and may experience aesthetically. It also presents empirical research employing eye-tracking to analyze the visual behavior of visitors of an art exhibition viewing a painting of Japanese artist Isson Tanaka (1908-1977). The study demonstrates that indiscernible aspects of vision interact on the limits of perception, which gives birth (...)
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  27. A Sensible Experientialism?James Grant - 2023 - Philosophy and Phenomenological Research 107 (1):53–79.
    Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...)
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  28. Epistemic and Aesthetic Conflict.Zoe Jenkin - 2023 - British Journal of Aesthetics 63 (4):457-479.
    Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity.
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  29. Aesthetic Experience and Empathy in Vasily Sesemann’s Phenomenological Aesthetics.Dalius Jonkus - 2023 - Journal of Aesthetics and Phenomenology 10 (2):211-225.
    Vasily Sesemann’s aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of (...)
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  30. A Fitting-Attitude Approach to Aesthetic Value?Uriah Kriegel - 2023 - British Journal of Aesthetics 63 (1):57-73.
    It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...)
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  31. Edith Landmann-Kalischer: Essays on Art, Aesthetics, and Value.Edith Landmann-Kalischer - 2023 - Oxford: Oxford University Press. Edited by Samantha Matherne. Translated by Daniel O. Dahlstrom.
    This volume brings together essential essays by an important but neglected thinker in early twentieth-century German philosophy, Edith Landmann-Kalischer. As the first English translation of her writings, this volume represents a landmark step in the effort to restore to its rightful place her philosophy and, in particular, its methodologically unified approach to aesthetic, moral, and epistemic value. The three essays translated - “On the Cognitive Value of Aesthetic Judgments: A Comparison of Sensory Judgments and Value Judgments” (1905), “On Artistic Truth” (...)
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  32. Attention, Affect, and Aesthetic Experience.Henrik Kaare Nielsen - 2023 - Nordic Journal of Aesthetics 32 (65-66).
    The article suggests a conceptualization of the interrelationship between attention, affect, and aesthetic experience. It supplements classical aesthetic theory by integrating knowledge from neurophysiology, developmental psychology, and psychoanalysis. Furthermore, the article proposes a distinction between a variety of types of affect that are discussed with a view to their potential contribution to elaborating the concept of aesthetic experience in the Kantian tradition and to reflecting different qualities of attention.
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  33. Democratic freedom as an aesthetic achievement: Peirce, Schiller and Cavell on aesthetic experience, play and democratic freedom.Michael Räber - 2023 - Philosophy and Social Criticism 49 (3):332-355.
    In this essay, I reconsider the constitution of democratic freedom in aesthetic terms. My interest is in articulating a conception of aesthetic freedom that can be mapped onto a conception of democratic freedom. For this purpose, I bring together Charles Sanders Peirce’s ontology, which comprises fragments of an aesthetic theory, Friedrich Schiller’s concept of aesthetic play and Stanley Cavell’s democratic perfectionism. By providing a philosophical framework for constructing an aesthetics and politics that supports the recent aesthetic turn in political theory, (...)
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  34. The Phenomenological Image: A Husserlian Inquiry into Reality, Phantasy, and Aesthetic Experience.Claudio Rozzoni - 2023 - De Gruyter.
    Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among images, (...)
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  35. Can Music Speak? The Language of Art and the Communicability of Aesthetic Experience.Roger W. H. Savage - 2023 - In Sam McAuliffe (ed.), Gadamer, Music, and Philosophical Hermeneutics. Springer Verlag. pp. 159-171.
    The notion that music’s expressive force is the spring of its affective power calls for a consideration of the language music speaks. Hermann Kretzschmar’s effort to set out a method for explicating music’s affects through discursive means falls short in this regard. Conversely, Hans-Georg Gadamer’s reflections on the language of art opens the way to a hermeneutical consideration of music’s affective significance. Gadamer’s critique of Kant’s subjectivization of aesthetics disabuses us of the romantic conceit that music is a “language beyond (...)
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  36. Beyond Mimesis: Aesthetic Experience in Uncanny Valleys.Jörg Sternagel, James Tobias & Dieter Mersch (eds.) - 2023 - Lanham: Rowman & Littlefield Publishers.
    This book gathers an interdisciplinary group of thinkers to ask if intersubjective acts of relating can be transferred to artificial beings without remainder. Using the uncanny valley model developed by Masahiro Mori, this significant contribution to performance philosophy presents a clear framework to consider aesthetic experience beyond mimesis.
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  37. Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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  38. Review: Hooked, by Rita Felski. [REVIEW]Nicholas Wiltsher - 2023 - British Journal of Aesthetics 63 (2):286-289.
    In her new book Hooked, Rita Felski continues a project of criticizing literary criticism that she began in The Limits of Critique (2015).
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  39. There is no aesthetic experience of the genuine.Mark Windsor - 2023 - Analysis 83 (2):305-312.
    Many hold that aesthetic appreciation is sensitive to the authenticity or genuineness of an object. In a recent body of work, Carolyn Korsmeyer has defended the claim that genuineness itself is an aesthetic property. Korsmeyer’s aim is to explain our aesthetic appreciation of objects that afford a sense of being ‘in touch with the past’. In this paper, I argue that genuineness cannot explain our appreciation of these objects. There is no aesthetic experience of the genuine.
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  40. Does a plausible construal of aesthetic value give us reason to emphasize some aesthetic practices over others?Andrew Wynn Owen - 2023 - Proceedings of the European Society for Aesthetics 15:522-532.
    I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...)
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  41. Morality as an Aesthetic Experience - Based on Dewey’s Naturalistic View -. 주선희 - 2023 - Journal of the Daedong Philosophical Association 105:305-327.
    이 논문의 주된 목적은 듀이의 자연주의적 관점에서 도덕적 경험과 심미적 경험의 연속 성의 의미를 밝히는 것이다. 심미적 경험을 모든 경험의 완결적 국면으로 보는 듀이에 따 르면, 여타의 경험과 마찬가지로 도덕적 경험 또한 심미적 경험이 될 수 있다. 그런데 듀 이는 어떻게 도덕적 경험이 심미적 경험이 될 수 있는지를 구체적으로 해명하지 않았다. 그 결과 듀이의 윤리학은 심미적 경험의 관점에서 이해되기보다 과학적이고 실험적인 방 법 및 그 결과만을 우선시하는 이론으로 오해되는 측면이 있다. 연구자는 듀이가 가능성으 로만 제시한 도덕적 경험과 심미적 경험의 연속성 (...)
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  42. Ästhetische Erfahrung.Emmanuel Alloa & Christoph Haffter - 2022 - In Handbuch Kunstphilosophie. Springer. pp. 365-370.
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  43. Varieties of the Lifeworld: Phenomenology and Aesthetic Experience.Iulian Apostolescu & Stefano Marino - 2022 - Continental Philosophy Review 55 (4):409-416.
    In this contribution we first sketch an outline of the concept of lifeworld (_Lebenswelt_), to introduce the readers to the guest-edited collection of essays _Varieties of the Lifeworld: Phenomenology and Aesthetic Experience_, special issue of the “Continental Philosophy Review.” We trace back the origin of the concept of lifeworld to Husserl’s late phenomenology, although also explaining (on the basis of the careful historical-conceptual reconstructions offered by some distinguished scholars of Husserl and the phenomenological movement) that the development of Husserl’s phenomenology (...)
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  44. Cognition and Practice: Li Zehou's Philosophical Aesthetics.Rafal Banka - 2022 - Albany, NY, USA: SUNY Press.
    This is the first book on the role of cognition in the aesthetic theory of Li Zehou (1930–2021), one of China's most important and influential contemporary philosophers. The cognitive dimension and its integration with practice is discussed by examining one of Li's pivotal concepts: "subjectality," a human subject shaped by the world in which they live, including beauty and aesthetic experience. Li's theory is also contextualized in the threefold inspiration coming from Confucian, Kantian, and Marxist philosophies, which differently conceptualize the (...)
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  45. On Wittgenstein’s Notion of a Surveyable Representation: Rituals, Aesthetics, and Aspect-Perception.Nir Ben-Moshe - 2022 - Australasian Journal of Philosophy 100 (4):825-838.
    I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the solution (...)
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  46. Aesthetic Values Are Distal Versions of Practical Values.Tom Cochrane - 2022 - Journal of Aesthetics and Art Criticism 81 (1):83-84.
    I believe the first thing to say about value is that it is something that we do. We value things. There is no value out there independent of valuing beings. Thi.
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  47. Virtual Reality and Aesthetic Experience.Roberto Diodato - 2022 - Philosophies 7 (2):29.
    The problem of aesthetic experience in a virtual environment could be reformulated as: what can we learn about aesthetics from the perspective of ‘aesthetic experience in virtual environments’, given the specific nature of such an environment? The discourse goes in circles, because it is always from theories elaborated in the field of the so-called ‘real’ that we develop the difference, but it is a process typically philosophical, that, on the other hand, can make sense only if it can be shown (...)
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  48. Thick and Perceptual Moral Beauty.Ryan P. Doran - 2022 - Australasian Journal of Philosophy:1-18.
    Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...)
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  49. Aesthetic Animism.Ryan P. Doran - 2022 - Philosophical Studies 179 (11):3365-3400.
    I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...)
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  50. Modelling Culinary Value.Patrik Engisch - 2022 - Journal of Aesthetics and Art Criticism (2):1-12.
    Culinary products have culinary value. That is, they have value qua culinary products. However, what is the nature of culinary value and what elements determine it? In the light of the central and universal role that culinary products play in our lives, offering a philosophical analysis of culinary value is a matter of interest. This paper attempts to do just this. It develops three different possible models of culinary value, two rather restricted ones and a third more encompassing one, rejects (...)
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