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  1. The Public Cost of Private Ownership of Artworks.Catharine Abell - 2005 - Philosophy in the Contemporary World 12 (2):76-81.
    I argue that artworks are of public value because aesthetic experience of them contributes to the development of our aestheticjudgement. I use two accounts of aesthetic judgement to explore how it might do so and how the private ownership of artworks could affect the development of our aesthetic judgement.
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  2. A Pluralistic Analysis of Aesthetic Value.Henry David Aiken - 1950 - Philosophical Review 59 (4):493-513.
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  3. Ethics and Aesthetics Are One and the Same?Hanne Appelqvist - 2013 - In Peter Sullivan Michael Potter (ed.), Wittgenstein's Tractatus. History and Interpretation. Oxford University Press. pp. 40.
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  4. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...)
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  5. The Limits of Faultless Disagreement.Carl Baker - manuscript
    Some have argued that the possibility of faultless disagreement gives relativist semantic theories an important explanatory advantage over their absolutist and contextualist rivals. Here I combat this argument, focusing on the specific case of aesthetic discourse. My argument has two stages. First, I argue that while relativists may be able to account for the possibility of faultless aesthetic disagreement, they nevertheless face difficulty in accounting for the intuitive limits of faultless disagreement. Second, I develop a new non-relativist theory which can (...)
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  6. Artistic Research.Annette Balkema & Henk Slager (eds.) - 2004 - Rodopi.
    Currently, advanced art education is in the process of developing research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the (...)
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  7. On Good and Evil in Philosophy of Art and Aesthetic Theory.Edward G. Ballard - 1969 - Southern Journal of Philosophy 7 (3):273-287.
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  8. EATON, MM-Merit, Aesthetic and Ethical.S. Bates - 2003 - Philosophical Books 44 (2):187-188.
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  9. Beauty and Aesthetic Value.Monroe C. Beardsley - 1962 - Journal of Philosophy 59 (21):617-628.
    This paper affirms the proposition, denied by albert hofstadter ("journal of philosophy", volume 59, 1962), that the study of the meaning and ground of value judgments is a proper branch of aesthetics. hofstadter objects that the use of 'aesthetic value' involves a "category mistake"; however, this objection is based on an apparent failure to understand a derivative or instrumental definition. hofstadter's own position is also criticized. it is argued (a) that his theory of aesthetic validity, while commendable in some respects, (...)
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  10. Cognitive and Aesthetic Values in Artistic Work and Scientific Work.Grzegorz Białkowski & Helena Białkowska - 1978 - Dialectics and Humanism 5 (2):39-52.
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  11. Authenticity and Aesthetic Value in the Visual Arts.William Bossart - 1961 - British Journal of Aesthetics 1 (3):144-159.
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  12. Aesthetics and Ethics: Incommensurable, Identical or Conflicting?Lothar Bredella - 1996 - In Gerhard Hoffmann & Alfred Hornung (eds.), Ethics and Aesthetics: The Moral Turn of Postmodernism. C. Winter. pp. 29--51.
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  13. The Ethics and Aesthetics of Topiary.Isis Brook & Emily Brady - 2003 - Ethics and the Environment 8 (1):127-42.
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  14. For Artistic Reasons.John Bruce - 1967 - Journal of Aesthetics and Art Criticism 25 (3):255-258.
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  15. Objectivity and the Aesthetic Value of Nature: Reply to Parsons.Malcolm Budd - 2006 - British Journal of Aesthetics 46 (3):267-273.
    The Aesthetic Appreciation of Nature I advance a view of the aesthetic value of nature that Glenn Parsons seeks to contest. Here I attempt to show three things. The first is that his critique of my view of the aesthetic value of a natural thing is malfounded. The second is that his proposed alternative, which is intended to vindicate the claim to objectivity of certain judgements of the aesthetic value of a natural thing, is unconvincing. And the third is that, (...)
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  16. Artistic Value.Malcolm Budd - 2004 - In Peter Lamarque & Stein Haugom Olsen (eds.), Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology. Blackwell. pp. 262--273.
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  17. The Aesthetic, the Cognitive, and the Ethical: Criticism and Discursive Responsibility.Seán Burke - 1999 - In David Fuller & Patricia Waugh (eds.), The Arts and Sciences of Criticism. Oxford University Press.
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  18. Morality and Aesthetics.Noël Carroll - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 3--279.
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  19. A Brief Description of Cultural and Artistic Growth in Flushing.Ma Chengkuan - 2007 - Chinese Studies in History 41 (2):68-70.
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  20. The Artistic Side.G. K. Chesterton - 2001 - The Chesterton Review 27 (1/2):21-23.
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  21. A Mysterious Case of Missing Value.Earl Conee - 2016 - Philosophic Exchange 45 (1):1-22.
    Sometimes there are conflicts about what we ought to do according to differing evaluative dimensions, like morality and self-interest. After sketching an interpretation of "ought" claims of all sorts, it is argued that there is no overriding evaluation that authoritatively resolves the conflicts. It is further argued that this is not altogether disappointing.
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  22. Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  23. The Artistic Failure Of.Hugh Mercer Curtler - 2004 - Journal of Aesthetic Education 38 (1).
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  24. Ethics and Aesthetics Are One.Collinson Diane - 1985 - British Journal of Aesthetics 25 (3).
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  25. An Artistic Misunderstanding.George Dickie - 1993 - Journal of Aesthetics and Art Criticism 51 (1):69-71.
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  26. Sentimentalität. Über eine Kategorie ästhetischer und moralischer Abwertung.Andreas Dorschel - 2005 - Perspektiven der Philosophie 31 (1):11-22.
    Sentimentality: this term has had an odd career that converted it from an expression of praise into one of abuse. The obvious suspicion is that the word ‚sentimental‘ has had an entirely different meaning in the 20th and 21st centuries (when it has been deployed for abuse) as compared to the 18th century (when it had been used for praise). Scrutiny shows, however, that this is not the case. Rather the very same aspects of sentimentality that had appeared to, e.g., (...)
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  27. Otakar Zich: Aesthetic and Artistic Evaluation, Parts 2 & 3.Roman Dykast - 2010 - Estetika 47 (1):71-95.
    In this important article, first published in 1917, the Czech aesthetician, musicologist, and composer Otakar Zich (1879–1934) distinguishes between two kinds of evaluation of a work of art: aesthetic evaluation and artistic evaluation. He bases this differentiation on two possible attitudes that a perceiver may have towards a work of art. The first originates solely in the perceiver’s experience of the work and his or her search for a feeling of pleasure. It reflects only the subjective preferences of the individual; (...)
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  28. Otakar Zich: Aesthetic and Artistic Evaluation, Part 1.Roman Dykast - 2009 - Estetika 46 (2):179-201.
    In this important article, first published in 1917, the Czech aesthetician, musicologist, and composer Otakar Zich (1879--1934) distinguishes between two kinds of evaluation of a work of art: aesthetic evaluation and artistic evaluation. He bases this differentiation on two possible attitudes that a perceiver may have towards a work of art. The first originates solely in the perceiver’s experience of the work and his or her search for a feeling of pleasure. It reflects only the subjective preferences of the individual; (...)
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  29. Aesthetic Value and the Ethics of Life Affirmation.Rolf Ekman - 1963 - British Journal of Aesthetics 3 (1):54-66.
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  30. Aesthetics and Ethics.Richard Eldridge - 2005 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
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  31. Aesthetic Experience, Aesthetic Value.Forsey Jane - forthcoming - Estetika.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  32. Ethics and Aesthetics, a Postmetaphysical Attraction.J. Fruchtl - 1992 - Philosophische Rundschau 39 (1-2):13-28.
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  33. The Conciliation of Aesthetics and Ethics.G. Gallino - 1992 - Filosofia 43 (2):215-268.
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  34. Korszellem És Műalkotás: Művészetelméleti És Morálbölcseleti Írások.Imre Garaczi - 2004 - Veszprémi Humán Tudományokért Alapítvány.
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  35. Can Aesthetic Value Be Explained?Richard M. Gaskin - 1989 - British Journal of Aesthetics 29 (4):329-340.
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  36. Beauty and the Beastly Cause: Aesthetic Value, Anarchy, and the Theater of Representation in James'sthe Princess Casamassima. [REVIEW]Bruce M. Gatenby - 1994 - Journal of Value Inquiry 28 (2):313-325.
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  37. Between Ethics and Aesthetics: Crossing the Boundaries.Dorota Glowacka & Stephen Boos (eds.) - 2002 - State University of New York Press.
    Rethinks the existing definitions of aesthetics and ethics and the relations between them.
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  38. Beardsley's Legacy: The Theory of Aesthetic Value.Alan Goldman - 2005 - Journal of Aesthetics and Art Criticism 63 (2):185–189.
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  39. Response to Stecker.Alan Goldman - 1991 - Journal of Aesthetics and Art Criticism 49 (3):246-247.
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  40. The Appeal of the Mystery.Alan H. Goldman - 2011 - Journal of Aesthetics and Art Criticism 69 (3):261-272.
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  41. The Experiential Account of Aesthetic Value.Alan H. Goldman - 2006 - Journal of Aesthetics and Art Criticism 64 (3):333–342.
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  42. Aesthetic Value.Alan H. Goldman - 1995 - Westview Press.
    At the heart of aesthetics lie fundamental questions about value in art and the objectivity of aesthetic valuation. A theory of aesthetic value must explain how the properties of artworks contribute to the values derived from contemplating and appreciating works of art. When someone passes judgment on a work of art, just what is it that is happening, and how can such judgments be criticized and defended?In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on (...)
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  43. The Aesthetic Value of Representation in Painting.Alan H. Goldman - 1995 - Philosophy and Phenomenological Research 55 (2):297-310.
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  44. Aesthetic Qualities and Aesthetic Value.Alan H. Goldman - 1990 - Journal of Philosophy 87 (1):23-37.
    To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...)
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  45. The Problem of Defining 'Art' and 'Artistic Value'.Paul James Hamilton - 1975 - Dissertation, Vanderbilt University
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  46. Political Non-Domination and Artistic Freedom.Waldemar Hanasz - 2009 - Art Inquiry. Recherches Sur les Arts 11:33-56.
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  47. A Note on Artistic Criticism.Jean Gabbert Harrell - 1950 - Journal of Philosophy 47 (18):530-532.
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  48. Value Inquiry — Aesthetic Value.Hilde Hein - 1994 - Journal of Value Inquiry 28 (2):141-149.
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  49. Originality and Aesthetic Value.John Hoaglund - 1976 - British Journal of Aesthetics 16 (1):46-55.
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  50. Aesthetics, Ethics and Identity.Harro Höpfl - 2000 - In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications. pp. 197.
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