This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories

30 found
Order:
  1. Philosophy of Animal-Made Art | فلسفه هنرِ جانور-ساخت.Pouya Lotfi Yazdi - manuscript
    This work has been presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – Aug 2020. In this article, first of all, I (hereafter: the writer) have presented an interpretation of aesthetic universality (hereafter: φ) and it is argued that each definition of art has to admit φ. This perspective is a Kantian perspective and this view on φ is also a minimalist and subjective perspective one (there could be an objective interpretation of (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  3. Measuring Metaaesthetics: Challenges and Ways Forward.David Moss & Lance S. Bush - 2021 - New Ideas in Psychology 62.
    A growing body of psychological research seeks to understand how people's thinking comports with long-standing philosophical theories, such as whether they view ethical or aesthetic truths as subjective or objective. Yet such research can be critically undermined if it fails to accurately characterize the philosophical positions in question and fails to ensure that subjects understand them appropriately. We argue that a recent article by Rabb et al. (2020) fails to meet these demands and propose several constructive solutions for future research.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  4. Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  5. When True Judges Differ: Reply to Durà‐Vilà.James Shelley - 2015 - Journal of Aesthetics and Art Criticism 73 (3):345-348.
    I defend my reading of Hume's "Of the Standard of Taste" against objections raised by Victor Durà‐Vilà. Two points are central to my defense. One is that Hume takes the joint verdict of true judges to indicate, rather than constitute, the standard of beauty. Two is that Hume requires a joint verdict because individual verdicts need not be expressive of human nature.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  6. How Does Inclusive Design Relate to Good Design? Designing as a Deliberative Enterprise.Ann Heylighen & Matteo Bianchin - 2013 - Design Studies 34 (1):93-110.
    Underlying the development of inclusive design approaches seems to be the assumption that inclusivity automatically leads to good design. What good design means, however, and how this relates to inclusivity, is not very clear. In this paper we try to shed light on these questions. In doing so, we provide an argument for conceiving design as a deliberative enterprise. We point out how inclusivity and normative objectivity can be reconciled, by defining the norm of good design in terms of a (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  7. Hume and the Joint Verdict of True Judges.James Shelley - 2013 - Journal of Aesthetics and Art Criticism 71 (2):145-153.
    Malcolm Budd speaks for many when he locates the "principal weakness" of Hume's account of the standard of taste in Hume's "blithe optimism about the uniformity of response of his true judges of artistic value". I argue that Hume's optimism is not blithe. I argue, in particular, that it follows from Hume's definition of a true judge that true judges will never disagree, and that it follows from his appeal to the test of time that true judges will agree often (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   18 citations  
  8. Explorations of Universal Order and Beauty in Paul Hindemith's Symphony Die Harmonie der Welt.Siglind Bruhn - 2010 - Nordic Journal of Aesthetics 21 (39).
    On 11 August 1957, the Munich Opera Festival premiered a recently completed opera by the celebrated German composer Paul Hindemith, Die Harmonie der Welt. Hindemith bases the dramaturgical and musical features of this opera on the scientific and spiritual content found in the writings of the 17th-century mathematician, astronomer and philosopher Johannes Kepler. Six years before he started working on this opera, the composer responded to a commission received from the Swiss conductor and patron of contemporary composers, Paul Sacher, by (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  9. Arts, Language and Hermeneutical Aesthetics: Interview with Paul Ricoeur (1913-2005).R. D. Sweeney - 2010 - Philosophy and Social Criticism 36 (8):935-951.
    Responding to the interlocutors, Ricoeur, utilizing Kantian aesthetic theory, addresses the nature of the work of art, its universality and communicability, and explores its temporality — its ‘transhistoricity’ — by utilizing concepts derived from medieval philosophy, including ‘sempiternality’ and ‘monstration’. He expands on hermeneutics, defends it against charges of relativism, expatiates on the danger of aestheticism, and explains the value of mimesis in art. He explores the different art forms, focusing with Merleau-Ponty on Cézanne as a model of the ‘ipseity’ (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  10. Aesthetic Value, Intersubjectivity and the Absolute Conception of the World.G. Anthony Bruno - 2009 - Postgraduate Journal of Aesthetics 6 (3).
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  11. The Problem of Free Harmony in Kant's Aesthetics.Kenneth F. Rogerson - 2008 - State University of New York Press.
    "In this book, Kenneth F. Rogerson explores the first half of Kant's Critique of Judgment, entitled the "Critique of Aesthetic Judgment.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   6 citations  
  12. The Subjective Universality of Aesthetic Judgements Revisited.Bart Vandenabeele - 2008 - British Journal of Aesthetics 48 (4):410-425.
    When we are touched by the beauty of something, we cannot help judging that the experienced feeling of pleasure ought to be shared by others. In Kantian terms, a pure judgement of taste requires or demands everyone else's assent. I examine some of the major intricacies of Kant's account and aim to correct some distorted views of it. I argue that the autonomy (or ‘heautonomy’) of the judgement of taste is not presupposed but made possible by the modal requirement as (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  13. Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   15 citations  
  14. Kant's Rationalist Aesthetics.Rachel Zuckert - 2007 - Kant-Studien 98 (4):443-463.
    It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  15. A Gadamerian Critique of Kuhn’s Linguistic Turn: Incommensurability Revisited.Amani Albedah - 2006 - International Studies in the Philosophy of Science 20 (3):323 – 345.
    In this article, I discuss Gadamer's hermeneutic account of understanding as an alternative to Kuhn's incommensurability thesis. After a brief account of Kuhn's aesthetic account and arguments against it, I argue that the linguistic account faces a paradox that results from Kuhn's objectivist account of understanding, and his lack of historical reflexivity. The statement 'Languages are incommensurable' is not a unique view of language, and is thus subject to contest by incommensurable readings. Resolving the paradox requires an account of incommensurability (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  16. Aesthetic Judgment and Perceptual Normativity.Hannah Ginsborg - 2006 - Inquiry: An Interdisciplinary Journal of Philosophy 49 (5):403 – 437.
    I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, involves the awareness (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   14 citations  
  17. Thinking the Particular as Contained Under the Universal.Hannah Ginsborg - 2006 - In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press.
    In a well-known passage from the Introduction to Kant’s Critique of Judgment, Kant defines the power or faculty of judgment [Urteilskraft] as "the capacity to think the particular as contained under the universal" (Introduction IV, 5:179).1 He then distinguishes two ways in which this faculty can be exercised, namely as determining or as reflecting. These two ways are defined as follows: "If the universal (the rule, the principle, the law) is given, then judgment, which subsumes the particular under it... is (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   26 citations  
  18. Ellen Dissanayake’s Evolutionary Aesthetic.Stephen J. Davies - 2005 - Biology and Philosophy 20 (2-3):291-304.
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  19. The Riddle of Aesthetic Principles.Vojko Strahovnik - 2004 - Acta Analytica 19 (33):189-208.
    The problem of aesthetic principles and that of the nature of aesthetic reasons get confronted. If aesthetic reasons play an important role in our aesthetic evaluations and judgments, then both some general aesthetic principles and rules could support them (aesthetic generalism) or again their nature may be particularistic (aesthetic particularism). A recent argument in support of aesthetic generalism as proposed by Oliver Conolly and Bashshar Haydar is presented and criticized for its misapprehension of particularism. Their position of irreversible aesthetic generalism (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  20. Aesthetic Universals.Denis Dutton - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 203--214.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   6 citations  
  21. Kant, Quasi-Realism, and the Autonomy of Aesthetic Judgement.Robert Hopkins - 2001 - European Journal of Philosophy 9 (2):166–189.
    Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   30 citations  
  22. Response to Victor H. Mair's Review of "of Birds, Beasts, and Other Artists: An Essay on the Universality of Art".Ben-Ami Scharfstein - 1991 - Philosophy East and West 41 (1):89-92.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  23. Understanding Works of Art: Universality, Unity and Uniqueness.Petra von Morstein - 1982 - British Journal of Aesthetics 22 (4):350-362.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  24. The Meaning of Universal Validity in Kant's Aesthetics.Kenneth F. Rogerson - 1981 - Journal of Aesthetics and Art Criticism 40 (3):301-308.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  25. The Paradox of the Universal in Art.Hubert G. Alexander - 1974 - Southwestern Journal of Philosophy 5 (1):49-58.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  26. Is a Universal Science of Aesthetics Possible?Archie J. Bahm - 1972 - Journal of Aesthetics and Art Criticism 31 (1):3-7.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  27. Avanindranath Tagore's Concept of Aesthetic Universality.S. K. Nandi - 1959 - Journal of Aesthetics and Art Criticism 18 (2):255-257.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark  
  28. Nationalism, Internationalism, and Universality in Literature.Joseph Remenyi - 1946 - Journal of Aesthetics and Art Criticism 5 (1):44-49.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark  
  29. Spinoza’s Ethics.Irfan Ajvazi - manuscript
  30. I. Is Art Purely Cultural or Does It Centrally Involve a Biological Component?Stephen Davies - unknown
    Dissanayake is an ethologist. She is interested in human behavioral predispositions that are universal and innate because they have proved to enhance survival, which is defined as reproductive success (1995:36, 2000:21), and, hence, became selected for at the genetic level. Such behaviors must date back at least to the late Pleistocene (20,000 years ago) since it is then that human biological evolution reached its present condition. Subsequent changes involved cultural evolution, a predisposition that is itself based on evolutionary characteristics of (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark