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1 — 50 / 112
  1. added 2020-04-24
    Taste, Traits, and Tendencies.Alexander Dinges & Julia Zakkou - forthcoming - Philosophical Studies:1-24.
    Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...)
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  2. added 2020-03-17
    Narrative Justice.Rafe McGregor - 2018 - Rowman & Littlefield International.
    This important new book provides an original and compelling argument for a new theory of aesthetic education. Rafe McGregor proposes a model of interdisciplinary inquiry, applying a combined philosophical and critical approach to illuminate issues in a social science. The book makes an original contribution to the field of narrative criminology.
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  3. added 2019-12-16
    Truth, Art, and Knowledge (A Commentary on James O YoungÂ's Art and Knowledge).Michael Watkins & Sheldon Wein - unknown
    While much of James O. Young’s Art and Knowledge is devoted to showing how works of art might be of cognitive value, we will focus on a prior claim, defended in the first chapter of Art and Knowledge, that “art” ought to be defined such that only works with cognitive value count as artworks. We begin by noting that it is not very clear—despite the considerable attention Young devotes to the matter—just what it is for an artwork to have cognitive (...)
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  4. added 2019-12-16
    Art and Knowledge.Iva Vlah - 2003 - Croatian Journal of Philosophy 3 (1):102-105.
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  5. added 2019-10-28
    How to Play the Platonic Flute: Mimêsis and Truth in Republic X.Gene Fendt - 2018 - In Heather L. Reid & Jeremy C. DeLong (eds.), The Many Faces of Mimēsis: Selected Essays from the Third Interdisciplinary Symposium on the Heritage of Western Greece,. Sioux City, IA, USA: Parnassos Press. pp. 37-48.
    The usual interpretation of Republic 10 takes it as Socrates’ multilevel philosophical demonstration of the untruth and dangerousness of mimesis and its required excision from a well ordered polity. Such readings miss the play of the Platonic mimesis which has within it precisely ordered antistrophes which turn its oft remarked strophes perfectly around. First, this argument, famously concluding to the unreliability of image-makers for producing knowledge begins with two images—the mirror (596e) and the painter. I will show both undercut the (...)
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  6. added 2019-10-06
    The Cognitive Dimension of Art: Aesthetic and Educational Value.Alexandra Mouriki & Alexandra Mouriki-Zervou - 2011 - International Journal of Learning: Annual Review 18 (1):1-12.
    The question of whether art is a source of knowledge is a question of epistemic as well as of aesthetic interest which has significant pedagogical implications as well. This issue, both in its epistemic and aesthetic dimensions, is addressed here under the general perspective of the contemporary cognitivist - anti-cognitivist debate. Consequently, it is asked: a) can art be a means of knowledge and if it does, is knowledge obtained through art of the same kind with scientific knowledge? and b) (...)
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  7. added 2019-08-12
    Aesthetic Gestures: Elements of a Philosophy of Art in Frege and Wittgenstein.Nikolay Milkov - 2020 - In Shyam Wuppuluri & Newton da Costa (eds.), Wittgensteinian (adj.) Looking at the World from the Viewpoint of Wittgenstein's Philosophy. Berlin: Springer. pp. 506-18.
    Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...)
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  8. added 2019-08-02
    Can Film Be A Philosophical Medium?David Davies - 2008 - Postgraduate Journal of Aesthetics 5 (2):1-20.
    A recent panel at the annual meetings of the American Society for Aesthetics had the title “Can films philosophize?” The answer is, obviously, no, if we take this question literally. But books can’t philosophize either, in this sense. People philosophize, and they generally use natural language as the medium in which they carry out this activity. So our question is, can film serve as a philosophical medium in the ways, or in some of the ways, that language does? To answer (...)
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  9. added 2019-06-06
    Rethinking Aristotle’s Poetics: The Pragmatic Aspect of Art and Knowledge.Anoop Gupta - 2010 - Journal of Aesthetic Education 44 (4):60.
    And in general it is a sign of the man who knows and of the man who does not know that the former can teach, and therefore we think art more truly knowledge than experience is; for the artist can teach, and men of experience cannot. When pragmatism first gained favor in the early twentieth century, some British philosophers like Russell regarded it as evidencing their perception of America’s crude and enterprising spirit.1 The Imperial jab lay in this: that just (...)
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  10. added 2019-06-06
    On ‘Obscenity and Aesthetic Value’.Joseph Bien - 2010 - Southwest Philosophy Review 26 (2):51-53.
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  11. added 2019-06-06
    Aesthetic Consciousness and Aesthetic Non-Differentiation: Gadamer, Schiller, and Lukács.John Pizer - 1989 - Philosophy Today 33 (1):63-72.
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  12. added 2019-05-06
    Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
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  13. added 2019-05-02
    The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.
    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
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  14. added 2019-04-30
    From Trust to Body. Artspace, Prestige, Sensitivity.Filippo Fimiani - 2017 - In Felice Masi & Maria Catena (eds.), The Changing Faces of Space. Cham, Switzerland: Springer Verlag. pp. 277-288.
    What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...)
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  15. added 2019-04-05
    The Puzzle of Philosophical Testimony.Christopher Ranalli - forthcoming - European Journal of Philosophy.
    An epistemologist tells you that knowledge is more than justified true belief. You trust them and thus come to believe this on the basis of their testimony. Did you thereby come to know that this view is correct? Intuitively, there is something intellectually wrong with forming philosophical beliefs on the basis of testimony, and yet it's hard to see why philosophy should be significantly epistemically different from other areas of inquiry in a way that would fully prohibit belief by testimony. (...)
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  16. added 2019-03-21
    Finding Art in the World.Raymond Kolcaba - 2015 - Philosophy in the Contemporary World 22 (1):91-103.
    The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of art's domain (...)
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  17. added 2019-03-20
    Cognitive Interpretation of Kant’s Theory of Aesthetic Ideas.Mojca Kuplen - 2019 - Estetika 56 (12):48-64.
    The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.
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  18. added 2019-01-07
    Cézanne - Van Gogh - Monet. Genese der Abstraktion, second editon of PhD thesis from 1999/2000.Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  19. added 2018-09-24
    Solving the Puzzle of Aesthetic Assertion.Andrew Morgan - 2017 - Southwest Philosophy Review 33 (1):95-103.
    Most of us think that we can obtain knowledge about the aesthetic properties of objects via testimony – at least sometimes. We can learn that a painting is beautiful by reading a book, or learn that a film is awful by talking to a friend (as long as our sources are reliable). At the same time, if we go on to share this knowledge we have to carefully qualify it as second-hand in order to avoid misleading our audience. Simply stating (...)
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  20. added 2018-08-27
    What Jancis Robinson Didn’T Know May Have Helped Her.David C. Sackris - 2019 - Erkenntnis 84 (4):805-822.
    A position has been advanced by a number of philosophers, notably by Burnham and Skilleås, that certain knowledge is required to aesthetically appreciate a fine wine. They further argue that pleasure is not an integral part of aesthetically appreciating wine. Their position implies that a novice cannot aesthetically appreciate a fine wine. This paper draws on research into tasting and psychology to rebut these claims. I argue that there is strong evidence from both the average consumer and from wine experts (...)
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  21. added 2018-08-03
    Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Küplen - 2018 - Itinera 15:39-56.
    In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible to us, (...)
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  22. added 2018-04-26
    Don't Take My Word for It: On Beliefs, Affects, Reasons, Values, Rationality, and Aesthetic Testimony.Daniel Whiting - 2017 - In Paul Noordhof, Ema Sullivan-Bissett & Helen Bradley (eds.), Art and Belief. Oxford University Press.
    Aesthetic testimony is not a source of knowledge; it is not even a source of rational belief. If, for example, Holly tells Harry that Wim Wenders’ Paris, Texas is good, Harry cannot come to know or rationally believe that the film is good on the basis of Holly’s testimony alone. This chapter outlines a novel argument for this view, one which serves also to explain it. That argument appeals to four principles connecting rationality and reasons, reasons and values, belief and (...)
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  23. added 2018-03-28
    Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  24. added 2018-03-28
    Kant, Quasi‐Realism, and the Autonomy of Aesthetic Judgement.Robert Hopkins - 2001 - European Journal of Philosophy 9 (2):166-189.
    Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one’s mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...)
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  25. added 2018-02-10
    Virginia Woolf, Literary Style, and Aesthetic Education. Simoniti - 2016 - Journal of Aesthetic Education 50 (1):62-79.
    Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have for (...)
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  26. added 2018-01-16
    Frauds, Posers And Sheep: A Virtue Theoretic Solution To The Acquaintance Debate.Madeleine Ransom - 2019 - Philosophy and Phenomenological Research 98 (2):417-434.
    The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...)
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  27. added 2017-08-22
    The Objectivity of Truth, Morality, and Beauty.Steven James Bartlett - 2017 - Willamette University Faculty Research Website.
    Whether truth, morality, and beauty have an objective basis has been a perennial question for philosophy, ethics, and aesthetics, while for a great many relativists and skeptics it poses a problem without a solution. In this essay, the author proposes an innovative approach that shows how cognitive intelligence, moral intelligence, and aesthetic intelligence provide the basis needed for objective judgments about truth, morality, and beauty.
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  28. added 2017-07-05
    Does the New Classicism Need Evolutionary Theory?Ray Scott Percival - 2016 - In Elizabeth Millán (ed.), After the Avant-Gardes: Reflections on the Future of the Fine Arts. Chicago: Open Court Publishers. pp. 109-126.
    In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...)
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  29. added 2017-04-21
    Thought Experiments in Aesthetics.Paisley Livingston & Mikael Pettersson - 2016 - In K. Brownlee, D. Coady & K. Lippert-Rasmussen (eds.), A Companion to Applied Philosophy. Wiley-Blackwell. pp. 501–513.
    In the burgeoning literature on thought experiments (e.g., Cohen 2005; Freese 1995; Gendler 2000; Häggqvist 1996, 2009; Ierodiakonou and Roux 2011; Sorensen 1992), examples are drawn from almost all areas of philosophy. One exception, however, is aesthetics. There are good reasons why this is so: there are very few interesting theory‐ oriented thought experiments in aesthetics, which is unsurprising since there are few well‐developed theories to test in this field (see Chapter 34, Applied Aesthetics). We argue in this chapter, however, (...)
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  30. added 2017-02-25
    The Uses of Aesthetic Testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...)
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  31. added 2017-02-23
    Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...)
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  32. added 2017-02-16
    The Aesthetic Situation.Arthur Szathmary - 1938 - Philosophical Review 47:665.
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  33. added 2017-02-15
    Aesthetic Capitalism.Eduardo de la Fuente & Peter Murphy (eds.) - 2014 - Brill.
    Aesthetic Capitalism offers an innovative analysis of contemporary capitalism and its use of image, symbolism, creativity and other aesthetic elements to produce economic value.
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  34. added 2017-02-15
    Aesthetic Histories.Evental Aesthetics - 2013 - Evental Aesthetics 2 (3):1-86.
    In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.
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  35. added 2017-02-15
    Aesthetic Case Studies and Discipline-Based Art Education.Ronald Moore - 1993 - Journal of Aesthetic Education 27 (3):51-62.
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  36. added 2017-02-15
    Aesthetic Choices of Dextrals and Sinistrals.A. Mead & Jp Mclaughlin - 1989 - Bulletin of the Psychonomic Society 27 (6):516-516.
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  37. added 2017-02-14
    The Centrality of Aesthetic Explanation.Natural Law, Moral Constructivism & Duns Scotus’S. Metaethics - 2012 - In Jonathan Jacobs (ed.), Reason, Religion, and Natural Law: From Plato to Spinoza. Oxford University Press.
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  38. added 2017-02-14
    Knowledge: Aesthetic Psychology and Appreciative Virtues.Matthew Kieran - 2011 - In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. pp. 32.
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  39. added 2017-02-14
    Art and the Aesthetic.Armen T. Marsoobian - 2004 - In Armen Marsoobian & John Ryder (eds.), The Blackwell Guide to American Philosophy. Blackwell. pp. 364.
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  40. added 2017-02-14
    The Art Management of Aesthetic Organizing.P. Guillet de Monthoux - 2000 - In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications.
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  41. added 2017-02-14
    The Aesthetic Conceptualization of Nzuri.Kariamu Welsh-Asante - 1993 - In The African Aesthetic: Keeper of the Traditions. Greenwood Press. pp. 1--20.
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  42. added 2017-02-13
    Aesthetic Functionalism.Sven Ove Hansson - 2005 - Contemporary Aesthetics 3.
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  43. added 2017-02-13
    The Aesthetic Dissonance of Industrial Wind Machines.Jon Boone - 2005 - Contemporary Aesthetics 3.
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  44. added 2017-02-13
    What Do We Mean by Aesthetic Conduct?J. M. Schaeffer - 1996 - Revue Internationale de Philosophie 50 (198):669-680.
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  45. added 2017-02-12
    Aesthetic Attributions: The Case of Poetry.Anna Christina Ribeiro - 2012 - Journal of Aesthetics and Art Criticism 70 (3):293-302.
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  46. added 2017-02-12
    On" Joy" as Aesthetic Value: Based on Wang Jiucheng's Stamp Cartoons.Wang Xu-Xiao - 2011 - Journal of Aesthetic Education (Misc) 3:013.
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  47. added 2017-02-12
    The Necessary Testimony Memory of the Holocaust and Identitary Constructions.Giovanni Leghissa - 2010 - Rivista di Estetica 45:45-64.
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  48. added 2017-02-11
    Aesthetic Meanings and Aesthetic Emotions: How Historical and Intentional Knowledge Expand Aesthetic Experience.Paul J. Silvia - 2013 - Behavioral and Brain Sciences 36 (2):157-158.
    This comment proposes that Bullot & Reber's (B&R's) emphasis on historical and intentional knowledge expands the range of emotions that can be properly viewed as aesthetic states. Many feelings, such as anger, contempt, shame, confusion, and pride, come about through complex aesthetic meanings, which integrate conceptual knowledge, beliefs about the work and the artist's intentions, and the perceiver's goals and values.
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  49. added 2017-02-10
    Aesthetic Illusions of Freedom? Aesthetic Ideology and a Praise of Aesthetic Appearance.Agnieszka Rejniak-Majewska - 2009 - Art Inquiry. Recherches Sur les Arts 11:71-90.
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  50. added 2017-02-10
    Aesthetic Design: Dialogue and Learning. A Case Study of Landscape Architecture. [REVIEW]Satinder P. Gill - 1995 - AI and Society 9 (2-3):273-285.
    In this paper the concept of knowledge in seen as embodying dialogue and learning in a shared practice. Sharing a practice involved sharing representations of practice. This necessitates the sharing of experiential knowledge at various levels and in various forms. It is proposed that participatory design can therefore be seen as consisting in dialogue and learning for the development of future practices and representations. The discussion in this paper is situated within the domain of landscape architecture. A study is made (...)
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