Aesthetic Qualities

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
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Beauty (201)
Humour* (825)
Style (82)
The Sublime (254)
The Tragic (88)

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  1. OK Computer? Aushandlungen der digitalen Zukunft in einem Schlüsselwerk der Popmusik – eine sozialwissenschaftliche und ethische Rekonstruktion.Oliver Zöllner - 2024 - In Michael Fischer & Markus Tauschek (eds.), Konstruieren – Imaginieren – Inszenieren: Zukunftsentwürfe in der Populärkultur. Münster, New York: Waxmann. pp. 237-260.
    This chapter analyzes a pivotal music production – British band Radiohead's seminal album "OK Computer" (1997) – as a document of its time and contemporaneity, focusing on its modes of reflection of attitude and practice from a philosophical perspective. After scrutinizing the details of the album's production values, music, lyrics, and artwork, the article distils the 'habitus' of the work and compares it with related musical documents. These findings of reconstructive social research are subsequently deepened with insights from reconstructive ethics, (...)
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  2. The Separability Thesis.Iris Spoor - 2024 - The Journal of Aesthetics and Art Criticism 81 (4):476-484.
    Debates over the metaphysical status of aesthetic properties have persisted for decades in Aesthetics. One question that consistently arises in any discussion of aesthetic properties is whether they are fundamentally evaluative or descriptive in character. Aesthetic properties are often treated as parallel to moral properties which means many philosophers take it for granted that aesthetic properties are fundamentally evaluative. There are some philosophers, like Frank Sibley and Jerrold Levinson, who take the road less traveled and treat aesthetic properties as primarily (...)
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  3. Schelling's 'Art in the Particular': Re-orienting Final Cause.Nat Trimarchi - manuscript
    F. W. Schelling’s Principle of Art returns us to an ancient epic sensibility, as argued elsewhere, laying the foundations for how we might reverse the ‘modern mythology’ at the core of humanity’s ecological/existential crisis. This paper advances that argument by examining Schelling’s systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (the Principle). This suggests how Schelling’s ‘affirming principles’ determine the (...)
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  4. Delineating beauty: On form and the boundaries of the aesthetic.Panos Paris - 2024 - Ratio 37 (1):76-87.
    Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by (...)
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  5. Mathematical beauty: On the aesthetic qualities of formal language.Deborah De Rosa - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 16 (2):121-131.
    The paper proposes a reflection on mathematical beauty, considering the possibility of aesthetic qualities for formal language. Through a concise overview of the way this question is understood by some famous scientists and mathematicians, we turn our attention to Gian-Carlo Rota’s theoretical proposal: his reflections as a mathematician and philosopher offer a perspective, of phenomenological matrix, fruitful for looking at the question. Rota’s contribution allows us to focus on the role of competence, acquired through effort, sedimentation and habit of repetition, (...)
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  6. Motivational Internalism & Disinterestedness.Ryan P. Doran - forthcoming - British Journal of Aesthetics.
    According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection, and show that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...)
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  7. Authenticity and Implicature.Gregory Currie & Jon Robson - 2023 - Journal of Aesthetics and Art Criticism 81 (3):387-391.
    In her book Things, Carolyn Korsmeyer argues that authenticity or what she often calls “genuineness” is “an aesthetically salient property” (2019, 34), a proper.
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  8. Art, Affectivity, and Aesthetic Value: Geiger on the Role of Emotions in Aesthetic Appreciation.Íngrid Vendrell Ferran - 2023 - Journal of Aesthetics and Phenomenology 10 (2):143 - 159.
    This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions (...)
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  9. Merging philosophical traditions for a new way to research music: On the ekphrastic description of musical experience.Andrzej Krawiec - 2024 - British Journal of Aesthetics 64 (1):107-125.
    This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...)
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  10. Perceiving Aesthetic Properties.Alberto Voltolini - 2023 - British Journal of Aesthetics 63 (3):417-434.
    In this paper, I want to claim that, in conformity with overall intuitions, there are some aesthetic properties that are perceivable. For they are high-level properties that are not only grasped immediately, but also attended to holistically—just like the grouping properties they depend on and that are responsible for the Gestalt effects or switches through which they are grasped. Yet, unlike such grouping properties, they are holistically attended to in a disinterested modality, where objects and their properties are regarded for (...)
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  11. Mothers and Daughters: Ancient and Modern Myths.Ellen Handler Spitz - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 354-370.
    Psychoanalysis has tended, in its discussions of the entanglements between women, to weight negative aspects--recalcitrant guilt, envy, and rage. This essay seeks to redistribute that balance by adding to the scales a goodly measure of the strength that derives from female-to female intergenerational bonding. The following pages are dedicated to one regal grandmother, two wise daughters, a stepmother who never quite realized that she had become a real mother, and a very real mother who died too young but whose articulate (...)
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  12. Leonardo da vinci and Creative Female Nature.Mary D. Garrard - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 326-353.
    Possibly the most celebrated artist of all time, Leonardo da vinci has been examined from every conceivable perspective except a feminist one. A feminist perspective seeks, of course, not only to include women in history but also to expose gender-based conceptual biases that have distorted scholarship. Such a bias has led scholars to ignore an important dimension of Leonardo's art and thought: his unusual valorization of the feminine in a period when the female sex was disparaged, both socially and philosophically. (...)
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  13. Monologues from "Four Intruders Plus Alarm Systems" and "Safe".Adrian Piper - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 235-244.
    Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our (...)
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  14. Interweaving Feminist Frameworks.Beth Ann Dobie - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 215-234.
    When interpreting works of art, there are many available le theoretical perspectives to which one can appeal. One factor that may influence the choice is what issues are present in the work on wishes to address. In discussing the artwork of Nancy Spiro, I shall illustrate how all three frameworks of sexual difference--experiential difference, positional difference in discourse, and difference as psychoanalysis--can be employed in critiquing works of art. After discussing Spero's work, I shall show how the perspectives can be (...)
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  15. Disgust, Embodied Affect, and the Portrayal of Native Americans in Classic Hollywood Westerns.Dan Flory - 2021 - Journal of Aesthetics and Art Criticism 79 (4):465-478.
    During the early part of the classic Hollywood sound period (1930–60), filmmakers sharpened a standardized way to portray Native American characters in Westerns. Such figures were depicted as disgusting by virtue of being beyond the pale in terms of their “acceptable” moral behavior, as measured by common white sensibilities of the era. This behavior was attributed to their nonwhiteness and therefore presumptively stemmed from their allegedly subhuman, “savage” nature. This stock depiction of Native American characters became one of creatures who (...)
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  16. The Poetic as an Aesthetic Category.Uriah Kriegel - 2023 - Journal of Aesthetics and Art Criticism 81 (1):46-56.
    Poems are not the only things we sometimes call poetic. We experience as poetic also prose passages, as well as films, music, visual art, and even occurrences in daily life. But what is it exactly for something to be poetic in this wider sense? Discussion of the poetic in this sense is virtually nonexistent in the extant analytic literature. The aim of this article is to get a start on trying to come to grips with this phenomenon—the poetic as an (...)
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  17. 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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  18. Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments.Michel-Antoine Xhignesse - 2023 - New York: Routledge.
    Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...)
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  19. Value of Art.Harry Drummond - 2023 - Internet Encyclopedia of Philosophy.
    The Value of Art Philosophical discourse concerning the value of art is a discourse concerning what makes an artwork valuable qua its being an artwork. Whereas the concern of the critic is what makes the artwork a good artwork, the question for the aesthetician is why it is a good artwork. When we refer to … Continue reading Value of Art →.
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  20. Games: Agency as Art, by C. Thi Nguyen.Gwen Bradford - 2022 - Mind 131 (523):1037-1044.
    This book is a total joy to read. Thi Nguyen’s energy radiates from every page – the prose is truly delightful, with all sorts of poetic turns of phrase enliven.
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  21. Performance and practice : situating the aesthetic qualities of theories.Steven French - 2020 - In Milena Ivanova & Steven French (eds.), The Aesthetics of Science: Beauty, Imagination and Understanding. New York: Routledge.
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  22. 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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  23. Pictorial Experience and the Awareness of Style.Katerina Bantinaki - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge.
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  24. L’estetica tra sensorialità e affettività.Roberta Guccinelli - 2007 - Materiali di Estetica 14:237-272.
  25. 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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  26. 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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  27. 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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  28. La Beauté tragique: Olkowski, Deleuze, and the Ruin of Representation. [REVIEW]Joseph Nechvatal - 2001 - Film-Philosophy 5 (2).
    Dorothea Olkowski _Gilles Deleuze and the Ruin of Representation_ Berkeley: University of California Press, 1999 ISBN 0-520-21693-8 298 pp.
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Aesthetic Qualities, Misc
  1. Aesthetic properties.Sonia Sedivy - 2024 - In A. R. J. Fisher & Anna-Sofia Maurin (eds.), The Routledge Handbook of Properties. London: Routledge.
    Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...)
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  2. (Book Review) Jochen Briesen: Ästhetische Urteile und ästhetische Eigenschaften. Sprachphilosophische und metaphysische Überlegungen.. Frankfurt/Main: Klostermann, 2020, 307 S. [REVIEW]Maria Elisabeth Reicher - 2023 - Göttingische Gelehrte Anzeigen 275 (1/2):143–159.
    Jochen BRIESEN verteidigt in diesem Buch einen Dispositionalismus in Bezug auf ästhetische Eigenschaften und eine „hybride“ Auffassung in Bezug auf ästhetische Urteile: Er vertritt die Ansicht, dass mit jedem ästhetischen Urteil zwei Sprechakte vollzogen werden, nämlich ein expressiver und ein assertiver Sprechakt. Mit dem assertiven Sprechakt wird dem Gegenstand eine ästhetische Eigenschaft zugeschrieben. Die ästhetische Eigenschaft ist eine dispositionelle Eigenschaft, nämlich die Disposition, unter bestimmten (idealen) Bedingungen in einem Rezipienten einen bestimmten mentalen Zustand zu verursachen. Dieser mentale Zustand ist die (...)
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  3. Hip: Personal Style and Aesthetic Property.Saul Fisher - 2023 - Bloomsbury Contemporary Aesthetics Case Studies and Articles.
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  4. The Unexamined Cup is not Worth Drinking.Kristopher G. Phillips - 2011-03-04 - In Fritz Allhoff, Scott F. Parker & Michael W. Austin (eds.), Coffee. Wiley‐Blackwell. pp. 34–45.
    This chapter contains sections titled: What Is It Like to Be a Philosopher of Coffee? What Is It Like to Drink Coffee? Why Is the Unexamined Cup Not Worth Drinking?
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  5. 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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  6. The Folk Concept of Art.Elzė Sigutė Mikalonytė & Markus Kneer - manuscript
    What is the folk concept of art? Does it track any of the major definitions of art philosophers have proposed? In two preregistered experiments (N=888) focusing on two types of artworks (paintings and musical works), we manipulate three potential features of artworks: intentional creation, the possession of aesthetic value, and institutional recognition. This allows us to investigate whether the folk concept of art fits an essentialist definition drawing on one or more of the manipulated factors, or whether it might be (...)
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  7. Aesthetics in Motion. On György Szerdahely’s Dynamic Aesthetics.Botond Csuka - 2018 - In Anthropologische Ästhetik in Mitteleuropa (1750–1850). Anthropological Aesthetics in Central Europe (1750–1850). (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 9). Hannover, Németország: pp. 153-180.
    György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...)
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  8. Imperfectionist Aesthetics in Art and Everyday Life.Peter Cheyne (ed.) - 2023 - London: Routledge.
    This book presents interdisciplinary research on the aesthetics of perfection and imperfection. Broadening this growing field, it connects the aesthetics of imperfection with issues in areas including philosophy, music, literature, urban environment, architecture, art theory, and cultural studies. -/- The contributors to this volume argue that imperfection has value in being open and inclusive. The aesthetics of imperfection is thus typified by organic, unpolished production and the avoidance of perfect finish, instead representing living and natural change, and opposing the consumerist (...)
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  9. Cultura & Diseño de Experiencias.Jesús Aparicio de Soto - 2022 - Figshare, Digital Science and Research Solutions Ltd: DOI: 10.6084/M9.FIGSHARE.21317.
    This overview opens with a discussion of human holistic and analytic kinds of understanding, comparing eastern and western viewpoints, focusing on their impact for usability studies. Then, the understanding of human groups and the ability to reach group agreements are briefly addressed moving on to a comparative detail regarding their impact on commercial relations. Further on, this allows approaching systems’ design while focusing on culture, moving on to a cross-country research review. Finally, based on a folkloric sketch for Chile, a (...)
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  10. 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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  11. Five counterexamples to a definition of dirt.Terence Rajivan Edward - 2023 - IOSR Journal Of Humanities And Social Science (IOSR-JHSS) 28 (12):73-74.
    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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  12. 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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  13. 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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  14. Connecting Beauty and Love.Nick Riggle - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a thought from Frank (...)
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  15. 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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  16. 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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  17. Aesthetic Properties: Context Dependent and Perceptual.Kendall L. Walton - 2020 - Journal of Aesthetics and Art Criticism 78 (1):79-84.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.
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  18. Really Boring Art.Andreas Elpidorou & John Gibson - 2022 - Ergo: An Open Access Journal of Philosophy 8 (30):190-218.
    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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  19. 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. 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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  20. 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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  21. 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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  22. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. 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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