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  1. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...)
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  2. Fictional Reality.Kyle Blumberg & Ben Holguín - manuscript
    This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant approaches (...)
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  3. Cinema and Death: on image and immortality.Milad Roshani Payan - 2018 - Tehran: Qoqnoos ltd.
    Cinema and Death: on Image and Immortality (سینما و مرگ: درباره نامیرایی و تصویر / Sīnimā va marg : darbārah-ʼi nāmīrāyī va taṣvīr) is a Persian book on philosophy of film, written by Milad Roshani Payan. in February 2020, the book won the highest award in the most prestigious book award in Iran, called Iran's Book of the Year Awards, in dramatic arts category. The book is divided into six chapters, and in each chapter, the relationship between cinema and death (...)
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  4. Pittura: A Gendered Template for Painting.Peg Weiser - 2023 - In The Routledge Companion to the Philosophies of Painting and Sculpture. pp. 322-336. Translated by Noel Carroll & Jonathan Gilmore.
    Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman--Artemisia Gentileschi, among others--ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely (...)
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  5. Privacy, Feminism, and Moral Responsibility in the Work of Elizabeth Lane Beardsley.Julie Van Camp - 2022 - Journal of the History of Women Philosophers and Scientists 1 (1):99-114.
    I wonder why women philosophers, once recognized, too often seem to drop from the intellectual radar screen or, at least, to drop mainly to the land of footnotes and bibliographies. I consider one distinguished moral philosopher, Elizabeth Lane Beardsley, both to highlight her philosophical contributions and as a case study that suggests more widespread problems in recognizing t5he work of female philosophers and ensuring their rightful place in our professional dialogue. I consider sociological and professional factors which might partially explain (...)
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  6. Olympia's Maid: Reclaiming Black Female Subjectivity.Lorraine O'Grady - 1994 - In Joanna Frueh, Cassandra L. Langer & Arlene Raven (eds.), New Feminist Criticism: Art, Identity, Action. Icon.
    This first-ever article of cultural criticism on the black female body was to prove germinal and continues to be widely referenced in scholarly and other works. Occasionally, controversial, it has been frequently anthologized, most recently in Amelia Jones, ed., The Feminism and Visual Cultural Reader, 2nd edition (Routledge, 2010). The first part of this article--delivered in a panel of the College Art Association early in 1992--was published in Afterimage 20:1 (Summer 1992). The revised version, including "Postscript," originally appeared in the (...)
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  7. Posing Modernity: The Black Model from Manet and Matisse to Today.Denise Murrell - 2018 - Yale University Press.
    This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Edouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. (...)
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  8. Cinémas africains, hybridation culturelle et nomadisme : le parcours d’une reconnaissance.Lelievre Samuel - 2017 - In Thivat Patricia-Laure (ed.), Voyages et exils au cinéma. Presses universitaires du Septentrion. pp. 155-172.
  9. Beauty and the State: Female Bodies as State Apparatus and Recent Beauty Discourses in China.Eva Kit Wah Man - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 368-384.
    The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary discourses of female beauty. (...)
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  10. Orientalism Inside/Out: The Art of Soody Sharifi.Cynthia Freeland - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 347-367.
    "Orientalism" is a term made prominent by critic Edward Said in his 1978 book of that title. . . . Said specifically used the term to designate a field of self-constituted experts who proposed to explain the Orient to the West. . . . This essay explores the visual artwork of Soody Sharifi who left Iran before the Islamic Revolution of 1979, but returns to photograph women and girls. After a trip back to Iran in 1999, she began a self-portrait (...)
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  11. Beauty between Disability and Gender: Frida Kahlo in Paper Dolls.Fedwa Malti-Douglas - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 243-255.
    Beauty, disability, and gender crossing: The first two, though provocative, are not an altogether unexpected pair. Disability can be an object of beauty, as Anita Silvers has shown, just as it can be fetishized. Yet one more often thinks of beauty and disability as opposites. But what is gender crossing doing in this mix? Sometimes, apparently, when beauty is conjugated with disability in an atmosphere of glamour and celebrity, games with gender result. this is certainly the case with the representation (...)
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  12. Savages, Wild Men, Monstrous Races: The social Construction of Race in the Early Modern Era.Gregory Velazco Y. Trianosky - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 45-71.
    The modern conception of race is often thought by philosophers to have developed during the eighteenth and nineteenth centuries in response to a unique confluence of scientific, philosophical, and imperial forces; and in recent decades some impressive work has been done to excavate the details of its construction during this period. . . . I will argue, however, that an analysis of the visual images created by Europeans during the first half-century after 1492 reveals that the essential elements of the (...)
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  13. "A New Kind of Beauty": From Classicism to Karole Armitage's Early Ballets.Sally Banes - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 266-288.
    For the generation of feminists who emerged in the 1960s and 1970s, female beauty was suspect, for it simply pandered to male desire. And for the modernist artists of that period, beauty in art had long since been banished. but for Armitage's generation, already empowered by the political gains of feminism on the one hand, and engaged in a postmodernist challenge to the values of artistic modernism on the other, beauty in art and in the female body could once again (...)
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  14. A Man Pretending to be a Woman: On Yasumasa Morimura's "Actresses".Kaori Chino - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 252-265. Translated by Reiko Romii.
    The "Actresses" series by Yasumasa Morimura brutally exposes the position, attitude, or stance we assume when we see this body of work. The viewer's one-sided gaze, inflicted upon the women Morimura has impersonated, is repelled and hurled back to the viewer as the point questions: "Who are you?" and "What is your position?" You yourself, not an abstract human being, are being interrogated here. It is easy to speak lofty ideas while casting ourselves as objective transparent beings: disappearing borders, the (...)
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  15. Beauty (Re)Discovers the Male Body.Susan Bordo - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 112-154.
    Putting classical art to the side for the moment, the naked and near-naked female body became an object of mainstream consumption first in Playboy and its imitators, then in movies, and only then in fashion photographs. With the male body, the trajectory has been different. Fashion has taken the lead, the movies have followed. Hollywood may have been a chest-fest in the fifties, but it was male clothing designers [e.g., Calvin Klein] who went south and violated the really powerful taboos--not (...)
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  16. Malcolm's Conk and Danto's Colors; or, Four Logical Petitions Concerning race, Beauty, and Aesthetics.Paul C. Taylor - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 57-64.
    In this essay I want to consider how Penola's (character in Toni Morrison's novel, The Bluest Eye) circumstance es motivate her petition--"asking for beauty"--and two others, after which I will offer my own petition concerning the practice of aesthetics.
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  17. 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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  18. 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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  19. 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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  20. World, Class, Tragicomedy: Johannesburg, 1994.Liam Kruger - 2023 - College Literature 50 (2-3):349-382.
    Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...)
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  21. 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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  22. From the Crooked Timber of Humanity, Beautiful Things Can Be Made.Anita Silvers - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 197-221.
    Why is it commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment, but to be repelled by real people whose physiognomies resemble the depicted ones? More generally, what makes perceiving pictured physically anomalous individuals so different from perceiving physically anomalous people themselves? . . . I will suggest how we can theorize human beauty, as we do beauty in art, so as to savor, rather than rebuff, novelty, disproportionateness, and even crookedness in the human shape. For (...)
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  23. Epistemic Injustice and the Body in Photography.Marta Maliszewska - 2023 - Polish Journal of Aesthetics 68:89-99.
    This paper analyzes the role of the viewers of photographs of violence. The main argument is that due to the characteristic of the medium, both the photographer and the photographed subjects shape the image. The customary overlooking of the photographed subjects’ agency is conceptualized as epistemic injustice first committed by the photographer and then by the viewer. A method of interpreting war photographs influenced by critical fabulation and listening to images is proposed to overcome it. Even though every case of (...)
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  24. Forgetful and Drowsy: The Affective Atmospheres in Contemporary Latvian Photography.Jana Kukaine & Janis Taurens - 2023 - Polish Journal of Aesthetics 68:57-74.
    In the article, we advance the notion of an affective atmosphere for analyzing the works of art by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus (b. 1978). The spatial relations of bodies and environments and the photographed sub- jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that we describe as forgetful and drowsy. In the selected images, the affective atmospheres enact the ambiguities of the Soviet legacies, along with the challenges of neoliberal rationality affecting (...)
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  25. Vending Machine Values.Michael J. Muniz - 2015-05-26 - In Luke Cuddy (ed.), BioShock and Philosophy. Wiley. pp. 161–167.
    Steinman indicates that his ability to understand beauty is limited by his imagination. Beauty, as it has been traditionally defined, is an ultimate value, an ideal on same level as truth and goodness. Many of the ancient Greeks believed that symmetry represented order, and order was beautiful because it revealed a type of cosmic justice and truth that no person could deny. So, when Steinman's application of beauty comes into play, he is definitely emphasizing the order and justice that beauty (...)
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  26. A real eye opener. La fotografía de Vivian Maier.Pablo Pavesi - 2017 - Boletín de Estética 13 (40):61-75.
    Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...)
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  27. Las ruinas: una poética del tiempo.Gustavo Cataldo Sanguindetti - 2024 - Boletín de Estética 62 (Estética):35-69.
    El artículo explora la forma estética de las ruinas como una poética del tiempo donde se articulan fuerzas contrapuestas que configuran una singular vivencia de la historicidad humana. Orientándose por las indicaciones de Martin Heidegger y Georg Simmel, reflexiona acerca de valor estético-existencial de las ruinas y su réplica subjetiva en el sentimiento de nostalgia, así como su importancia para el reconocimiento de la unidad narrativa de la existencia humana.
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  28. Emoções Musicais.Federico Lauria - 2023 - Compêndio Em Linha de Problemas de Filosofia Analítica, Ricardo Santos e David Yates (Eds.), Lisboa: Centro de Filosofia da Universidade de Lisboa.
    A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...)
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  29. From the Sympathetic Principle to the Nerve Fibres and Back. Revisiting Edmund Burke’s Solutions to the ‘Paradox of Negative Emotions’.Botond Csuka - 2020 - In Piroska Balogh & Gergely Fórizs (eds.), Angewandte anthropologische Ästhetik. Konzepte und Praktiken 1700–1900/ Applied Anthropological Aesthetics. Concepts and Practices 1700–1900. (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 11). Hannover: Wehrhahn Verlag. pp. 139–173.
    The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human body and (...)
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  30. 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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  31. Am I present in imaginary worlds? Intentions, actions, and flow in mediated experiences and fiction.Federico Pianzola, Giuseppe Riva, Karin Kukkonen & Fabrizia Mantovani - 2022 - Behavioral and Brain Sciences 45:e293.
    We support the idea of applying cultural evolution theory to the study of storytelling, and fiction in particular. However, we suggest that a more plausible link between real and imaginary worlds is the feeling of “presence” we can experience in both of them: we feel present when we are able to correctly and intuitively enact our embodied predictions.
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  32. Stellvertretung: Zur Szene der Person.Katrin Trüstedt - 2021 - Konstanz: Konstanz University Press.
    Current crises give new urgency to the question of speaking and acting for others. How does one advocate for those whose voices are not heard? For stateless people, future generations, non-human actors, environments? The question of the possibilities and limits of representation arises anew against this backdrop and can be turned differently through the technique of "representation by proxy" (Stellvertretung) that steps in here. This technique does not prove to be a mere exception for supposed borderline cases. Rather, as this (...)
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  33. Editorial: On modes of participation.Ioannis Bardakos, Dalila Honorato, Claudia Jacques, Claudia Westermann & Primavera de Filippi - 2021 - Technoetic Arts 19 (3):221-225.
    In nature validation for physiological and emotional bonding becomes a mode for supporting social connectivity. Similarly, in the blockchain ecosystem, cryptographic validation becomes the substrate for all interactions. In the dialogue between human and artificial intelligence (AI) agents, between the real and the virtual, one can distinguish threads of physical or mental entanglements allowing different modes of participation. One could even suggest that in all types of realities there exist frameworks that are to some extent equivalent and act as validation (...)
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  34. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  35. Time Frames: Graphic Narrative and Historiography in Richard McGuire’s Here.Laura Moncion - 2017 - Imaginations 7 (2):199-213.
    Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...)
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  36. Methodological lessons for the integration of philosophy of science and aesthetics: The case of representation.Julia Sanchez-Dorado - 2017 - In Otávio Bueno, Steven French, George Darby & Dean Rickles (eds.), Thinking About Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science Together. New York: Routledge.
  37. Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes.Emmanuel Alloa (ed.) - 2013 - München: Fink.
    Bilder sind, anders als es eine hartnäckige ästhetische Tradition will, nicht bloß Raumkünste, sondern gehorchen einer ganz eigenen Zeitlichkeit. Was auf der Bildoberfläche liegt, ist bereits mit einem Blick zu erfassen, und doch entfaltet sich der ganze Detailreichtum der Bilderscheinung erst ganz allmählich. Diesem langsamen In-Erscheinung-Treten der Bilder steht die Plötzlichkeit gegenüber, mit der sie auftauchen und wieder verschwinden. Sie bannen einzelne Augenblicke, wirken dadurch oft schockhaft, traumatisch, überfordernd; selbst in filmischen Sequenzen tritt dieses Plötzliche auf, in Momenten der Montage (...)
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  38. Uno sguardo filosofico alla teoria della sensazione di Aristotele.Lorenzo Maria Pacini - manuscript
    splorando con interesse il vasto mondo delle scienze filosofiche, l’autore del presente saggio si è proposto di indagare la cosiddetta teoria della sensazione . Tema trattato da molti pensatori, sin dall’antichità esso ha affascinato ed occupato la specula zione di tuttele branche della materia, riscuotendo particolare successo ai giorni nostri con leneuroscienze, il cui progresso sta permettendo di coniugare la riflessione filosofica con lescoperte scientifiche, aprendo nuovi scenari di approfondimento e ridefinizione concettuale.Senza la pretesa di una completa esaustività, la presente (...)
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  39. Player Engagement with Games: Formal Reliefs and Representation Checks.Karl Egerton - 2022 - Journal of Aesthetics and Art Criticism 80 (1):95-104.
    Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...)
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  40. Introduction: Ecocriticism and Narrative Form.Liza B. Bauer, Cord-Christian Casper, Hannah Klaubert & Anna Sophia Tabouratzidis - 2021 - Substance 50 (3):3-13.
    Narrative has proven itself a continuous as well as adaptable means for environmentally oriented expression. Its role goes beyond the mediation of pre-existing knowledge imported into the realm of storytelling from other domains; rather, influential models of the natural world tend to circulate as storyworlds. This special issue of SubStance proceeds from the premise that narratives are not only a sequence of signs encoding a story but also “invisible, elusive representations that exist only in the mind”. Narrative forms generate and (...)
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  41. Revisionist Architecture.Karim Gorgi - 2019 - Journal of Urban Society's Arts 6 (2):81-86.
    This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...)
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  42. La intuición en la filosofía de Arthur Schopenhauer.Clara Zimmermann - 2021 - Logos Revista de Filosofía 137:6-29.
    In the present work, we will analyze the concept of intuition mainly in relation to the epistemological and the metaphysical theses of Schopenhauerian theory. In the first section, we will discuss the central axes of Schopenhauer’s metaphysical system, especially regarding the concept of will (Wille) and the relationship that this entails with his theory of knowledge. Then, we will examine the difference that the German philosopher establishes between representative —or mediated— rational knowledge and direct —or immediate— intuitive knowledge. Likewise, we (...)
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  43. Deleuze’s The Logic of Sense - Irfan Ajvazi.Irfan Ajvazi - 2021 - Idea Books.
    Deleuze’s The Logic of Sense- Irfan Ajvazi.
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  44. The Structure of Analog Representation.Andrew Y. Lee, Joshua Myers & Gabriel Oak Rabin - 2023 - Noûs 57 (1):209-237.
    This paper develops a theory of analog representation. We first argue that the mark of the analog is to be found in the nature of a representational system’s interpretation function, rather than in its vehicles or contents alone. We then develop the rulebound structure theory of analog representation, according to which analog systems are those that use interpretive rules to map syntactic structural features onto semantic structural features. The theory involves three degree-theoretic measures that capture three independent ways in which (...)
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  45. Depicting Properties’ Properties.John Kulvicki - 2021 - Journal of the American Philosophical Association 7 (3):312-328.
    Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can perceive properties (...)
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  46. Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis 86 (4):853-874.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  47. The Sculpted Image?Robert Hopkins - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 187-205.
    Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...)
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  48. 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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  49. Reproducing Refugees: Photographia of a Crisis.Anna Carastathis & Myrto Tsilimpounidi - 2020 - London, UK: Rowman and Littlefield International.
    Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of (...)
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  50. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
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