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  1. added 2020-05-26
    Sensory Argumentation and the Tactile Sublime.Yorick Berta - 2020 - Debates in Aesthetics 15 (1):11-33.
    This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception (...)
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  2. added 2020-05-19
    Die Bedeutung der Fiktion Im Künstlerischen Schaffen Und Genießen.L. Volkmann - 1921 - Annalen der Philosophie 3 (1):579-603.
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  3. added 2020-05-12
    Die Bedeutung der Niederen Empfindungen Fur Die Asthetische Einfuhlung.Johannes Volkelt - 1903 - Philosophical Review 12:676.
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  4. added 2020-05-12
    Die Asthetische Bedeutung des Absoluten Quantums.Max Dessoir - 1903 - Philosophical Review 12:682.
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  5. added 2020-01-12
    The Argument From Sideways Music.Sayid R. Bnefsi - 2020 - Thought: A Journal of Philosophy 9 (1):64-69.
    Recently in Analysis, Ned Markosian (2019) has argued that a popular theory in the metaphysics of time—the Spacetime Thesis—falsely predicts that a normal musical performance is just as aesthetically valuable if it is rotated “sideways,” that is, if it is made to occur all at once. However, this argument falsely assumes that changing how something is oriented in space, and changing its duration in time, are analogous. That said, assuming they were analogous, Markosian’s argument is still unsuccessful. For the analogy (...)
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  6. added 2020-01-06
    The Mimetic Faculty and the Art of Everyday Life.Milan Kroulík - 2019 - Kritike 13 (1):144-160.
    : In this paper I attempt to rethink the relationship between art and life by formulating it based on the rereading of the Benjaminian mimetic faculty by the anthropologist Michael Taussig. Taking this position within history as non-teleological change and based on human activity, to uphold a distinction between original and representation metaphysically becomes impossible. This is important in so far as any notion of primacy becomes obsolete, while at the same time one can work with the historical existence, both (...)
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  7. added 2019-11-06
    Life's Joke: Bergson, Comedy, and the Meaning of Laughter.Russell Ford - 2018 - In Lydia L. Moland (ed.), All Too Human: Laughter, Humor, and Comedy in Nineteenth-Century Philosophy. Cham, Switzerland: pp. 175-193.
    The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as a means for (...)
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  8. added 2019-10-25
    The Art of Convention: An Aesthetic Defense of Confucian Ritual.Irene Liu - 2019 - In Colin Marshall (ed.), Comparative Metaethics: Neglected Perspectives on the Foundations of Morality. New York, USA: Rutledge. pp. 119-138.
    This paper aims to produce a defense of the ethical significance of Confucian ritual. An adequate defense must explain how these conventions are based in a culturally-neutral, objective ground. After a brief account of how Confucians view the relationship between rituals and moral goodness, I consider three sorts of justification. Mencian naturalism appeals to a conception of flourishing that is grounded in human nature. Xunzian consequentialism looks to how ritual brings about social order. I argue that both of these approaches (...)
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  9. added 2019-09-25
    Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...)
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  10. added 2019-08-02
    Art For Art’s Sake In The Old Stone Age.Gregory Currie - 2009 - Postgraduate Journal of Aesthetics 6 (1):1-23.
    Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for art’s (...)
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  11. added 2019-07-28
    Can Aesthetic Theories Of Art Be Rescued From The Problem Of Avant-Garde And Other Non-Perceptual Artworks? – An Exploration Of Non-Perceptual Aesthetic Properties.Angharad Shaw - 2007 - Postgraduate Journal of Aesthetics 4 (1):28-38.
    Proponents of the aesthetic theory of art advocate that the aesthetic domain encompasses all artworks. However, there is a belief that although much art falls under the aesthetic, there are some artworks that do not. Avant-garde artworks are offered as counterexamples to the aesthetic theory as they are artworks that reject the very idea of the aesthetic. This paper explains the idea of non-perceptual aesthetic properties and explores whether it can incorporate avant-garde artworks into the domain of the aesthetic.
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  12. added 2019-06-27
    The Age of the LIst.David Kolb - 1997 - In Urban Preservation as an Aesthetic Proble. Rome: Accademica Danica.
    Our task is the preservation of historic towns. In America as in Europe historic town centers are surrounded by recent additions and suburban sprawl. It is tempting to imagine the task of preservation as protecting our historical heritage from a featureless wave of mediocrity, as the worldwide commercial civilization overwhelms local cultures. This story is familiar from the writings of Kenneth Frampton and others: sprawl, homogenization, loss of distinctive local and regional form. I want to disagree with this story. From (...)
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  13. added 2019-06-25
    Fragmentation and the Formless Center.David Kolb - manuscript
    Centers have been out of intellectual and political fashion, because they have been often oppressive. We both celebrate and worry about postmodern fragmentation as we enact it in our technology, while fearing hidden centralization. But centering is important. I would like to mull over some issues concerning centers and criticism.
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  14. added 2019-06-11
    É Possível Definir Arte? - As Abordagens de Weitz e Danto ao Projeto Definitório.Fernanda Azevedo Silva - 2019 - Dissertation, UFG, Brazil
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  15. added 2019-06-06
    By Grace of Broken Skin: An Aesthetics of Inscriptive Development.Scott Zeman - 2009 - Radical Philosophy Review 12 (1-2):289-313.
    I address the question of the origins and historical meaning of art. Analyzing suggestions from Marx, Derrida, Winnicott, and Todorov, I claim that art doesn’t simply represent conscious, historical events but is also the continuing presentation of the prehistorical break-up of our “original” human family. Indeed,perpetuating yet distancing this archaic scene of community and violence in tension, art performs this mediation not just in history but also as history, as a secretive historiography of splitting and meaning-making. To this end, I (...)
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  16. added 2019-04-18
    An Absolutist Theory of Faultless Disagreement in Aesthetics.Carl Baker & Jon Robson - 2017 - Pacific Philosophical Quarterly 98 (3).
    Some philosophers writing on the possibility of faultless disagreement have argued that the only way to account for the intuition that there could be disagreements which are faultless in every sense is to accept a relativistic semantics. In this article we demonstrate that this view is mistaken by constructing an absolutist semantics for a particular domain – aesthetic discourse – which allows for the possibility of genuinely faultless disagreements. We argue that this position is an improvement over previous absolutist responses (...)
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  17. added 2019-03-13
    Quelle naturalisation de l'esthétique du cinéma ?Hugo Clemot - 2015 - Nouvelle Revue d'Esthétique 2015 (15):111-119.
    Vincent Descombes nous a offert une mise au point historique et conceptuelle qu’on peut tenir pour incontournable sur la question de la naturalisation des Humanités. Ce texte vise à restituer certains éléments de cette contribution trop souvent méconnue et à la prolonger sur la question de la naturalisation de l’esthétique du cinéma, entendue au sens large comme philosophie de l’art cinématographique et comme philosophie de l’expérience esthétique.
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  18. added 2019-01-30
    Encountering Individuality: Schlegel's Romantic Imperative as a Response to Nihilism.Keren Gorodeisky - 2011 - Inquiry: An Interdisciplinary Journal of Philosophy 54 (6):567-590.
    According to Friedrich Schlegel: “The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science”; “[P]oetry and philosophy should be made unified”, and “life and society [should be made] poetic”. The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...)
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  19. added 2018-08-13
    On Not Explaining Anything Away.Eran Guter & Craig Fox - 2018 - In Gabriele M. Mras, Paul Weingartner & Bernhard Ritter (eds.), Philosophy of Logic and Mathematics, Contributions to the 41st International Wittgenstein Symposium. Kirchberg am Wechsel, Austria: Austrian Ludwig Wittgenstein Society. pp. 52-54.
    In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...)
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  20. added 2018-07-27
    Esquisse d’une critique de la raison humoristique.Daniel Schulthess - 2013 - Bulletin de la Société Française de Philosophie 107:36 p.
    Among the salient aspects of laughter; I retain its aptitude to administer a kind of punishment – albeit of a relatively mild character. Henri Bergson did not hesitate to adopt for himself the traditional formula that "laughter chastises the ways of life" (Laughter, I.2). I maintain that laughter, seen under this angle, simultaneously conveys an evaluation (commonly a depreciative one) and an immediately implemented punishment. This twofold nature makes of laughter a very specific kind of behavior. The starting point of (...)
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  21. added 2018-07-23
    "Ah ! comme c’est fin" : réflexions sur l’esthétique de l’humour.Daniel Schulthess - 2018 - In Petru Bejan & Daniel Schulthess (eds.), Le Beau – Actes du XXXVIe Congrès de l’Association des Sociétés de philosophie de langue française (ASPLF), Iaşi, 23-27 août 2016. Iaşi: Editura Universităţii A. I. Cuza. pp. 391-397.
    The article deals with the aesthetic dimension of humour. The author starts with Hannah Arendt’s distinction between labour as a set of tasks necessary for the reproduction of biological life and praxis as an expression of freedom. In the same way the humour would be detached from the “working communication” of everyday life. Humour represents a “break” with ordinary modes of communication. This is done through “transpositions”, which can take the form of objectual transpositions (which play on the equivocal references (...)
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  22. added 2018-04-27
    M-Reading: Fiction Reading From Mobile Phones.Anezka Kuzmicova, Theresa Schilhab & Michael Burke - 2018 - Convergence: The International Journal of Research Into New Media Technology:1–17.
    Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application to (...)
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  23. added 2018-04-20
    Strange Tools: Art and Human Nature.Yuuki Ohta - 2018 - British Journal of Aesthetics 58 (1):101-105.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThis is an ambitious and wide-ranging book. Here are some of its central claims. Human life is pervaded by ‘organized activities’, which are activities in which human agents interact with the environment and other agents, sometimes deliberatively but more typically semi-automatically, yet always intelligently and responsively, exercising the cognitive powers such agents are naturally endowed (...)
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  24. added 2018-03-24
    Pursuing Pankalia: The Aesthetic Theodicy of St. Augustine.A. G. Holdier - 2016 - In Benjamin McCraw & Robert Arp (eds.), The Problem of Evil: New Philosophical Directions. Lanham, MD: Lexington Books. pp. 69-83.
    This chapter summarizes Augustine’s often-neglected aesthetic theodicy that balances his metaphysical definitions of evil and human agency against the ultimately beautiful story Augustine sees God, as the author of all Creation, writing. First, Augustine’s neo-Platonic conception of evil as the “privation of goodness” is explained which effectively eliminates much of the apparent evil in the world under the guise of a preeminent God’s loving care of the Creation which He fashions as good, but is later corrupted. Secondly, Augustine’s conception of (...)
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  25. added 2018-03-05
    Estetická Skúsenosť Dnes. Skúmanie Somaestetiky Vo Vzťahu K Estetike Každodennosti a Estetike Environmentu.Adrián Kvokačka - 2015 - ESPES 4 (2):10-15.
    Title of the paper is the allusion to an article by Richard Shusterman. In the text, I trying to explore in the similar strategy the current state of aesthetic experience. Starting from The End of Aesthetic Experience I follow the notion of aesthetic experience which "will be strengthened and preserved the more it is experienced; it will be more experienced the more we are directed to such experience; and one good way of directing us to such experience is fuller recognition (...)
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  26. added 2018-01-19
    Expressivism and Arguing About Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
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  27. added 2017-11-19
    O Perfume em sua Possibilidades de ser uma Obra de Arte.Oscar José Zanardi - 2014 - Dissertation, UFSC, Brazil
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  28. added 2017-11-19
    O Estatuto do Artífice no Tratado 'Da Pintura' de Leon Battista Alberti.Karen Mylena de Gouvea Osera - 2014 - Dissertation, Unifesp, Brazil
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  29. added 2017-10-29
    Personal Ideals as Metaphors.Nick Riggle - 2017 - Journal of the American Philosophical Association 3 (3):265-283.
    What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think “I am a philosopher” by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she isn’t yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our (...)
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  30. added 2017-09-30
    Über Grundbegriffe der Kunstwissenschaft.Emil Utitz - 1929 - Kant-Studien 34 (1-4):6-69.
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  31. added 2017-09-07
    What Is Art Good For? The Socio-Epistemic Value of Art.Aleksandra Sherman & Clair Morrissey - 2017 - Frontiers in Human Neuroscience 11.
    Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...)
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  32. added 2017-08-30
    An Educational Perspective and a Poststructural Position on Everyday Aesthetics and the Creation of Meaning.Frederick Johannes Potgieter - 2017 - Journal of Aesthetic Education 51 (3):72-90.
    When one starts reading in the nascent field of everyday aesthetics of aestheticians from predominantly the Anglo-American sphere, it soon becomes apparent that some are attempting to carve out an academic niche for everyday aesthetics by defining it against art. I agree with Thomas Leddy, who has the following to say about the problem of philosophical definitions in general: “Although philosophical definition can be valuable, the process of creating a philosophical definition, insofar as it involves making strict distinctions, tends to (...)
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  33. added 2017-08-09
    Pastiche.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 76-78.
    The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.
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  34. added 2017-08-08
    Parody.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd Ed. Oxford University Press. pp. 69-72.
    The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...)
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  35. added 2017-08-08
    The Beauty of the Game.Peg Zeglin Brand Weiser & Myles Brand - 2007 - In Jerry Walls (ed.), Basketball and Philosophy. Lexington: The University Press of Kentucky. pp. 94-103.
    Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!
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  36. added 2017-03-10
    Stock, Kathleen and Katherine Thomson-Jones, Eds. New Waves in Aesthetics. New York: Palgrave Macmillan, 2008, Xix+269 Pp., $95.00 Cloth, $38.00 Paper.William Seeley - 2010 - Journal of Aesthetics and Art Criticism 68 (2):188-191.
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  37. added 2017-02-05
    ‘Mathematics of ballet‘ in the aesthetic component of the philosophical comprehension of dance.V. A. Erovenko - 2015 - Liberal Arts in Russia 4 (4):269-281.
    The article is devoted to aesthetic nature of the philosophy of dance as a rapidly developing area of studying. The aesthetic issues of choreographies in the cognitive context have not been properly studied. The mathematical component of the classical ballet, which is shown through the internal patterns of the expressiveness of the different types of dance movements in the system of artistic thinking, is analyzed in a wide range of the philosophical problems of art of dancing. The substantial triad of (...)
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  38. added 2017-01-25
    La expresión de lo cognoscible y los mundos posibles.Paulo Velez Leon - 2016 - In Jonas Rafael Becker Arenhart, Jaimir Conte & Cezar Augusto Mortari (eds.), Temas em filosofia contemporânea II. Florianópolis/SC, Brasil: Universidade Federal de Santa Catarina. pp. 64-74.
    La noción de mundos posibles, sostiene que nuestro mundo es un mundo entre otros, un subconjunto de todas las cosas que existen. Esto implica aceptar que existen mundos estructuralmente equivalentes con sus propios lenguajes [formales], que entre sí no tienen ningún estatuto privilegiado, p.e., el mundo y lenguaje del arte o el mundo y lenguaje de la física; no obstante, la idea de aceptar otros mundos equivalentes como mundos posibles epistémica y ontológicamente legítimos para acceder y expresar lo cognoscible del (...)
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  39. added 2017-01-05
    Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...)
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  40. added 2016-12-08
    The Ethics of Humor: Can Your Sense of Humor Be Wrong?Aaron Smuts - 2010 - Ethical Theory and Moral Practice 13 (3):333-347.
    I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...)
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  41. added 2016-12-08
    The Retrieval of the Beautiful: Thinking Through Merleau-Ponty's Aesthetics.Galen A. Johnson - 2009 - Northwestern University Press.
    In this elegant new study Galen Johnson retrieves the concept of the beautiful through the framework of Merleau-Ponty’s aesthetics. Although Merleau-Ponty seldom spoke directly of beauty, his philosophy is essentially about the beautiful. In Johnson’s formulation, the ontology of Flesh as element and the ontology of the Beautiful as elemental are folded together, for Desire, Love, and Beauty are part of the fabric of the world’s element, Flesh itself, the term at which Merleau-Ponty arrived to replace Substance, Matter, or Life (...)
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  42. added 2016-12-05
    Reflections on Imitation, Vocal Mimicry, and Entrainment.Anton Killin - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):81-87.
    It is my contention that understanding natural phenomena such as vocal mimicry can bolster theories of the evolution of language and music as well as inform evolutionary and naturalistic aesthetics more generally. In this commentary I present this phenomena as a case study in order to stimulate further aesthetic theorising.
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  43. added 2016-10-27
    Aesthetic Judgements and Motivation.Alfred Archer - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (6):1-22.
    Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for those wishing (...)
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  44. added 2016-10-16
    Notes on Aristotle’s Concept of Improvisation.Andrew Haas - 2015 - Journal of Aesthetics and Phenomenology 2 (1):113-121.
    Improvisation is the origin of art and science, tragedy and comedy, acting and doing, of the self as improvising and improvised. But clearly we cannot use improvisation to explain improvisation. We cannot be satisfied with an argument that improvisation is, well, improvisational--nor simply free-play. Rather, improvisation as αὐτο-σχεδιάζεῖν, means self-schematization.
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  45. added 2016-09-17
    Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...)
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  46. added 2016-08-03
    Rationally Agential Pleasure? A Kantian Proposal.Keren Gorodeisky - 2018 - In Lisa Shapiro (ed.), Pleasure: a History. Oxford University Press. pp. 167-194.
    The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...)
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  47. added 2016-08-03
    19th Century Romantic Aesthetics.Keren Gorodeisky - 2016 - Stanford Encyclopedia of Philosophy.
    The entry aims to explain a core feature of otherwise different variants of romanticism: the commitment to “the primacy of aesthetics.” This commitment is often expressed by the claim that the “aesthetic”—most broadly that which concerns beauty and art—should permeate and shape human life. The entry proposes that this romantic imperative should be understood as a structural or formal demand. On that reading, the romantic imperative requires that we model our epistemological, metaphysical, ethical, political, social and scientific pursuits according to (...)
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  48. added 2016-08-02
    Cultivating an Urban Aesthetic.A. Berleant - 1986 - Diogenes 34 (136):1-18.
  49. added 2016-08-02
    A Note on the Problem on Defining `Art'.Arnold Berleant - 1964 - Philosophy and Phenomenological Research 25 (2):239-241.
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  50. added 2016-07-02
    Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.
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