Aesthetic Qualities

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
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Beauty (131)
Humour* (743)
Style (46)
The Sublime (197)
The Tragic (29)

572 found
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  1. Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey.Eliot Bates - 2010 - Ethnomusicology 54 (1):81-105.
    In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...)
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  2. Pictorial Experience and the Awareness of Style.Katerina Bantinaki - 2018 - In J. Pelletier & A. Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London, UK: Routledge.
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  3. L’estetica tra sensorialità e affettività.Roberta Guccinelli - 2007 - Materiali di Estetica 14:237-272.
  4. Qualitative Immediacy and the Communicative Act.Eugene Halton - 1982 - Qualitative Sociology 3 (5):162-181.
    Qualitative immediacy (also termed quality in its philosophical sense and aesthetic quality) is of fundamental importance within the pragmatic conception of meaning as interpretive act, and yet it has been virtually ignored by social scientists. The concept is traced through its foundations in Peirce's philosophy, its development in Dewey's theory of aesthetic experience, and its relation to the general pragmatic conception of the self. The importance of the "I" in Mead's view of the self is seen as similar to Firstness (...)
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  5. Aesthetic Appreciation of Silence.Erik Anderson - 2020 - Contemporary Aesthetics 18.
    We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence can (...)
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  6. Atmospheric Design and Experience with an Exemplary Study of Olafur Eliasson's “The Weather Project”.Zhuofei Wang - 2018 - Contemporary Aesthetics 16 (1).
    In past decades, the subject of atmosphere has gone beyond the physio-meteorological scope and become a new concept of aesthetics. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere is neither a purely subjective state nor an objective thing, but essentially is a quasi-object pervaded by a specific emotional quality and a ubiquitous phenomenon forming the foundation of our life experience. In this respect, a decisive factor is not what we perceive but how (...)
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Aesthetic Qualities, Misc
  1. Human Experiences & System Design.Jesús Aparicio de Soto - 2020 - ResearchGate GmbH: DOI: 10.13140/RG.2.2.11741.286.
    Delineating some essential distinctions between qualitative and quantitative analyses, and focusing on usable design, this sketch briefly outlines the benefits of combining both points of view when researching human behavior, abbreviating some key cultural considerations (DOI: 10.13140/RG.2.2.11741.28642).
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  2. What Makes Heavy Metal ‘Heavy’?Jason Miller - 2022 - Journal of Aesthetics and Art Criticism 80 (1):70-82.
    In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if (...)
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  3. Five Counterexamples to a Definition of Dirt.Terence Rajivan Edward - manuscript
    This paper considers five counterexamples to Mary Douglas's definition of dirt, one of which is extracted from a scene from George Eliot's novel Middlemarch and another from Marilyn Strathern's essay on anthropology at home.
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  4. A Fitting-Attitude Approach to Aesthetic Value?Uriah Kriegel - forthcoming - British Journal of Aesthetics.
    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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  5. The Pragmatic Constraint and Revisionary Ontologies of Art.Eric Wilkinson - 2021 - American Society for Aesthetics Graduate E-Journal 13 (1):19-22.
    At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...)
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  6. Connecting Beauty and Love.Nick Riggle - forthcoming - In Christy Mag Uidhir & Alex King (eds.), Art and Philosophy: New Essays at the Intersection. Oxford University Press.
    In aesthetics there is a long tradition according to which beauty is the object of love. Is there a way of making sense of aesthetic affect as a kind of love? I suggest that there is by taking up a thought from Frank Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kind of life we live. I show how we might think that aesthetic (...)
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  7. Can Food Be Art in Virtue of Its Savour Alone?Mohan Matthen - 2021 - Critica 53 (157).
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...)
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  8. In a Silent Way.Erik Anderson - 2020 - Journal of Aesthetics and Culture 12 (1).
    I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that (...)
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  9. Aesthetic Properties: Context Dependent and Perceptual.Kendall L. Walton - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1).
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.
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  10. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  11. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart: Franz Steiner Verlag.
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
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  12. Originalism and Anti-Originalism: Style and Authenticity in Aesthetic Appreciation.Lisa Giombini - 2020 - Debates in Aesthetics 15 (1):52-73.
    Since the mid-Sixties, philosophers have debated over the aesthetic relevance of authentic art-objects, perfect replicas, and restoration. In particular, a dispute has ensued concerning the cogency of our penchant for original artworks. Originalists argue that authenticity, the quality of an object being of undisputed origin or authorship, is a necessary condition for aesthetic experience, since the appreciation of an artwork presupposes its correct identification. Anti-originalists retort that we have no art-relevant reason to favour originals over visually-indistinguishable duplicates. To this extent, (...)
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  13. Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...)
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  14. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  15. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  16. Pleasure and Transcendence: Two Paradoxes of Sublimity.Tom Hanauer - 2018 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle, UK: Cambridge Scholars Publishing. pp. 29-44.
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  17. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2017 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  18. Beauty: New Essays in Aesthetics and the Philosophy of Art.Wolfgang Huemer & Íngrid Vendrell Ferran (eds.) - 2019 - München, Deutschland: Philosophia.
    The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in philosophy (...)
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  19. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  20. Notes on Traditional Kitsch.Aleksa Ĉelebonović - 1969 - In Gillo Dorfles (ed.), Kitsch: The World of Bad Taste. New York: Bell Publishing. pp. 280-289.
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  21. Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  22. Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...)
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  23. On "Aesthetics as Philosophy of Perception".Nicholas Silins - 2019 - Studi di Estetica:227-233.
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  24. Nietzsche (as) Educator.Babette Babich - 2019 - Educational Philosophy and Theory 51 (9):871-885.
  25. Einführung in die philosophische Ästhetik.Maria Elisabeth Reicher - 2005 - Darmstadt: Wissenschaftliche Buchgesellschaft.
    Dieses Buch ist eine bewusst systematisch orientierte Einführung in die grundlegendsten Fragen der philosophischen Ästhetik. Es richtet sich in erster Linie an Studierende der Philosophie, aber auch an interessierte Laien und Vertreter/innen anderer Disziplinen. Zusammenfassungen, Übungsaufgaben und Literaturhinweise am Ende jedes Kapitels machen es auch für das Selbststudium geeignet. Aus dem Inhalt: I. Was ist philosophische Ästhetik? – Auf der Suche nach einer Definition der philosophischen Ästhetik – Die Gegenstände der philosophischen Ästhetik – Die Fragen der philosophischen Ästhetik – Die (...)
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  26. Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
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  27. What is the Uncanny?Mark Windsor - 2019 - British Journal of Aesthetics 59 (1):51-65.
    I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state directed towards particular objects in the world which are characteristically eerie, creepy, and weird. Third, I look at Edgar Allan Poe’s ‘The Fall of the House of Usher’ (...)
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  28. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
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  29. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...)
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  30. Go Bleep Yourself!: Why Censorship is Funny.Robert T. Valgenti - 2016 - Angelaki 21 (3):103-114.
    This essay argues that the use of the censor's bleep for comedic effect in cases when an actual expletive is not present can contribute not only to our understanding of traditional theories of humor but also uncover a deep connection between censorship, humor, and human speech. The essay begins with a description of the phenomenon of “unnecessary censorship” within the context of prime-time television and the growing use of profane and indecent language. To understand why unnecessary censorship works as a (...)
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  31. A Timeless Sublime?: Reading the Feminine Sublime in the Discourse of the Sacred.Patrick Wright - 2010 - Angelaki 15 (2):85-100.
  32. The Sublime Reader.Robert R. Clewis (ed.) - 2018 - London: Bloomsbury.
    The first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been overlooked. As such, it will be of use and interest across the humanities and allied disciplines.
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  33. Josef Albers, "So ist Kunst ... Erlebnis", Weimarer Verlagsgesellschaft: Wiesbaden 2018.Martina Sauer - 2018 - Wiesbaden, Germany: Weimarer Verlagsgesellschaft.
    This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...)
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  34. Do Gestalt Effects Show That We Perceive High-Level Aesthetic Properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, which (...)
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  35. Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
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  36. Empirical Aesthetics.William Seeley - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics (2 ed.). New York, NY, USA: Oxford University Press.
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  37. ‘Nothing but Nonsense’: A Kantian Account of Ugliness.Matthew Coate - 2018 - British Journal of Aesthetics 58 (1):51-70.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] does it mean for a thing to be ugly, or perhaps better, for something to be judged as such? We should admit that the matter is not transparent. Maybe that seems odd, since we find things ugly all the time; should not this be plain as day, then? But usually, it is what seems (...)
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  38. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...)
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  39. Naturästhetik in der Planungsethik.Gesine Schepers - 2017 - In Karsten Berr (ed.), Architektur- und Planungsethik. Zugänge, Perspektiven, Standpunkte. RaumFragen: Stadt – Region – Landschaft. Wiesbaden: Springer. pp. 195-203.
  40. Some Ways to Speculative Aesthetics.Tom Sparrow - 2017 - Philosophy Today 61 (3):523-38.
    Continental philosophy is witnessing a global renaissance of speculative philosophy. And while some corners of this movement are gaining traction in art- and architecture-theoretical circles, its application to philosophical aesthetics has been forestalled in favor of metaphysical and, secondarily, epistemological inquiry. This essay tracks some of the ways that speculative aesthetics is emerging, and opening new pathways, within the renaissance. It accomplishes three primary tasks. First, it enumerates several of the ways that the name “speculative aesthetics” has been mobilized in (...)
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  41. A Kantian Analytic of the Ugly.Christopher Buckman - 2017 - International Philosophical Quarterly 57 (4):365-380.
    Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a representation (...)
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  42. The Virtue of Subtlety and the Vice of a Heavy Hand.Alex King - 2017 - British Journal of Aesthetics 57 (2):119-137.
    Subtlety is a concept as deeply intertwined with aesthetic judgements as virtually any other. But it is not clear what makes subtlety a good property of an artwork, or indeed if it is one. In this paper, I explore this under-discussed issue. First, I spend some time setting out hallmarks of subtlety and discussing different ways in which subtlety might be valuable. I then go on to defend a particular view about why subtlety is aesthetically valuable, by thinking through why (...)
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  43. The Aesthetic Potential of the Element of Earth.Marzenna Jakubczak - 2002 - Analecta Husserliana:253-263.
  44. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...)
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