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  1. 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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  2. A Semantic Solution to the Problem with Aesthetic Testimony.James Andow - 2015 - Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...)
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  3. Kierkegaard, Paraphrase, and the Unity of Form and Content.Antony Aumann - 2013 - Philosophy Today 57 (4):376-387.
    On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...)
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  4. 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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  5. In Defense of Aesthetic Value.Monroe C. Beardsley - 1979 - Proceedings and Addresses of the American Philosophical Association 52 (6):723 - 749.
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  6. Three Kinds of Realism About Photographs.Jiri Benovsky - 2011 - Journal of Speculative Philosophy 25 (4):375-395.
    In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow us, (...)
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  7. Science and Art: The New Golem: From the Transdisciplinary to an Ultra-Disciplinary Epistemology.R. Berger - 1990 - Diogenes 38 (152):124-146.
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  8. On 'Obscenity and Aesthetic Value'.Joseph Bien - 2010 - Southwest Philosophy Review 26 (2):51-53.
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  9. The Aesthetic Dissonance of Industrial Wind Machines.Jon Boone - 2005 - Contemporary Aesthetics 3.
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  10. 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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  11. Philosophy of the Film: Epistemology, Ontology, Aesthetics Ian Jarvie New York and London: Routledge & Kegan Paul, 1987. Pp. 407. $41.50. [REVIEW]Charles B. Daniels - 1988 - Dialogue 27 (3):554.
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  12. 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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  13. 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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  14. Kunst und Wissen in der Moderne.Andreas Dorschel (ed.) - 2009 - Böhlau.
    The relationship between art and knowledge is subject to historical change. In the early 19th century, the view was still prevalent that art was about eternal values, especially beauty, whereas science was entirely involved in historical time: The former was seen as contemplative, the latter as searching. But ever since, most artists have given up that stance and hence the once imagined detachment from historical time. They search, and sometimes research, too. Does that mean that art and science have come (...)
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  15. Erwartung und Vorurteil in der Musik.Andreas Dorschel - 2004 - In Dem Ohr voraus. Erwartung und Vorurteil in der Musik. Universal Edition. pp. 12-23.
    Art is whatever it is mediated through anticipations of diverse kinds. To the temporal art of music such anticipations are crucial. Composers and performers build up expectations in their musical works and interpretations, thwart them, delay their fulfillment, fulfill them. Some of these expectations arise on the level of chosen genre, others are peculiar to the individual composition. Listeners, correspondingly, may adjust their expectations or, alternatively, attempt to uphold them at any price, turning them into prejudices. And, as anything in (...)
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  16. The Empiricist Looks at a Poem.Gene Fendt - 1997 - Philosophy and Literature 21 (2):306-318.
    Why would an empiricist look at a poem? And if he did, what could he find? This paper begins with Hume's programmatic statement for literary renewal based on the empirical principles set forth in the first Enquiry, and raises the question about the worth of poetry according to those principles. There is little "abstract reasoning concerning quantity or number, or experimental reasoning concerning matter of fact and existence" in poetry and so "commit it to the flames." The second Enquiry allows (...)
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  17. Inducing Visibilities: An Attempt at Santiago Ramón y Cajal's Aesthetic Epistemology.Erna Fiorentini - 2011 - Studies in History and Philosophy of Science Part C 42 (4):391-394.
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  18. 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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  19. The Aesthetic.Alan Goldman - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  20. Is There a Transmedial Dispositif? Aesthetic Epistemes and the Question of Disciplinarity.Asbjørn Grønstad - 2012 - Nordic Journal of Aesthetics 23 (42).
    In this article, I argue that one has yet to acknowledge the extent to which the notion of the aesthetic and its content is institutionally negotiated. A central question that we ought to bear in mind is: does the organization of “aesthetic knowledge” that the traditional disciplines facilitate promote or prevent insight into meta-aesthetic and transaesthetic concerns?
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  21. Rethinking Aristotle’s Poetics: The Pragmatic Aspect of Art and Knowledge.Anoop Gupta - 2010 - Journal of Aesthetic Education 44 (4):60-80.
    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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  22. Toward an Aesthetics of New-Media Environments.Eran Guter - 2016 - Proceedings of the European Society for Aesthetics.
    In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...)
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  23. A Whiteheadian Aesthetic.B. J. H. - 1961 - Review of Metaphysics 15 (2):346-346.
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  24. Aesthetic Functionalism.Sven Ove Hansson - 2005 - Contemporary Aesthetics 3.
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  25. The Marxist Aesthetic of Stefan Morawski.Louis Harap - 1976 - Science and Society 40 (3):341 - 351.
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  26. Aesthetic Legacies.Kathleen Marie Higgins - 1994 - Review of Metaphysics 47 (4):827-829.
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  27. Memories of Art.William Hirstein - 2013 - Behavioral and Brain Sciences 36 (2):146 - 147.
    Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
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  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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  29. 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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  30. I Poeti Sono «mentitori Per Professione»? Il Valore Cognitivo Della Letteratura [are Poets «liars By Profession»? The Cognitive Value Of Literature].Wolfgang Huemer - 2008 - la Società Degli Individui 32:9-25.
    Fin dall’antichità esiste una tensione tra filosofia e letteratura, a cui David Hume ha dato voce dicendo che i poeti sono «mentitori per professione»: i testi letterari, in quanto opere di finzione che parlano di persone che non sono mai esistite e di eventi che non sono mai accaduti, non contengono proposizioni vere. Ciò implica, però, che essi sono privi di qualsiasi valore cognitivo. Questo articolo cerca di mostrare che tale atteggiamento anticognitivista si basa su una concezione errata del progresso (...)
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  31. Soft Logic: The Epistemic Role of Aesthetic Criteria.Paul Humble - 2001 - British Journal of Aesthetics 41 (2):236-238.
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  32. Kunst, Kontext und Erkenntnis.Christoph Jäger - 2005 - In Christoph Jäger & Georg Meggle (eds.), Kunst und Erkenntnis. mentis. pp. 9-39.
  33. Kunst Und Erkenntnis (Art and Knowledge).Christoph Jäger & Georg Meggle (eds.) - 2005 - mentis.
    Dient Kunst der Erkenntnis? Vermittelt sie Einsichten oder Wissen? Und wenn ja: auf welche Weise? Sind ästhetische Urteile wahr oder falsch? Beruht unsere Wertschätzung von Kunst auf ihren kognitiven Funktionen? Zu diesen Fragen, die zu den klassischen Themen der Kunstphilosophie gehören, beziehen zehn Philosophen aus dem deutschen Sprachraum in Originalbeiträgen Position. Der Band dokumentiert den gegenwärtigen Stand der Kontroversen zwischen kognitivistischen und nichtkognitivistischen Theorien der Kunst und der Kunstbewertung. Mit Beiträgen von Rüdiger Bittner, Sabine A. Döring, Christoph Jäger, Bernd Kleimann, (...)
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  34. Aesthetic Ineffability.Silvia Jonas - 2017 - Philosophy Compass 12 (2):e12396.
    This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic ineffability within the (...)
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  35. Figures of Simplicity: Sensation and Thinking in Kleist and Melville.Birgit Mara Kaiser - 2011 - State University of New York Press.
    Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of thinking, one that (...)
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  36. What Mary Didn't Read: On Literary Narratives and Knowledge.László Kajtár - 2016 - Ratio 29 (3):327-343.
    In the philosophy of art, one of the most important debates concerns the so-called ‘cognitive value’ of literature. The main question is phrased in various ways. Can literary narratives provide knowledge? Can readers learn from works of literature? Most of the discussants agree on an affirmative answer, but it is contested what the relevant notions of truth and knowledge are and whether this knowledge and learning influence aesthetic or literary value. The issue takes on a wider, not only philosophical, importance (...)
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  37. 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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  38. The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation.Matthew Kieran - 2010 - Philosophical Quarterly 60 (239):243-263.
    Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...)
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  39. The Acquaintance Principle, Aesthetic Autonomy, and Aesthetic Appreciation.Amir Konigsberg - 2012 - British Journal of Aesthetics 52 (2):153-168.
    The acquaintance principle (AP) and the view it expresses have recently been tied to a debate surrounding the possibility of aesthetic testimony, which, plainly put, deals with the question whether aesthetic knowledge can be acquired through testimony—typically aesthetic and non-aesthetic descriptions communicated from person to person. In this context a number of suggestions have been put forward opting for a restricted acceptance of AP. This paper is an attempt to restrict AP even more.
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  40. Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Kuplen - 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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  41. Beauty, Ugliness and the Free Play of Imagination: An Approach to Kant's Aesthetics.Mojca Küplen - 2015 - Springer Verlag.
    At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...)
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  42. Cognitive Function of Beauty and Ugliness in Light of Kant’s Theory of Aesthetic Ideas.Mojca Küplen - 2015 - In Andras Benedek and Kristof Nyiri (ed.), Beyond Words: Pictures, Parables, Paradoxes (Series Visual Leaning, vol. 5). Peter Lang Publisher. pp. 209-216.
  43. Aesthetic Value.Joel J. Kupperman - 1972 - American Philosophical Quarterly 9 (3):259 - 264.
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  44. A Modest Defense of Aesthetic Testimony.Brian Laetz - 2008 - Journal of Aesthetics and Art Criticism 66 (4):355-363.
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  45. 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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  46. The Necessary Testimony Memory of the Holocaust and Identitary Constructions.Giovanni Leghissa - 2010 - Rivista di Estetica 45:45-64.
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  47. What Are Aesthetic Properties?Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191 - 227.
    [Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in (...)
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  48. 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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  49. Sensible Atoms: A Techno-Aesthetic Approach to Representation. [REVIEW]Sacha Loeve - 2011 - NanoEthics 5 (2):203-222.
    This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...)
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  50. Knowing Art: Essays in Epistemology and Aesthetics.Dominic Lopes & Matthew Kieran (eds.) - 2006 - Springer.
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