About this topic
Summary This category contains books and articles related to the history of both aesthetics and the philosophy of art.  It includes works that deal directly with the history of the discipline, works that deal with aesthetic concepts as treated by different authors from a  historical perspective, and works that reflect upon the status of the disciple.
Key works While in other philosophical fields, as the general history of philosophy or the history of some other philosophical disciplines, there are a handful of works that could be cited as the key works in the discipline, in the history of aesthetics or of the philosophy of art, it is difficult to point them out. Nevertheless, it is usual to cite, Tatarkiewicz's History of Aesthetics as one of these, although his review of such history ends up in the 1700s. This means that his work ought to be completed with others that either focus in the later development of the discipline (missing, therefore, comprehensiveness) or that also try a full review of the historical development of the field. Among them, we find Beardsley's Aesthetics from Classical Greece to the Present: a short Introduction written from the perspective of analytical philosophy; Bosanquet's A History of Aesthetics originally published in 1892; Gilbert and Kuhn's A History of Esthetics published in 1939; and Aesthetics: The Key Thinkers edited by Alessandron Giovannelli, and very recent (2012).
Introductions Besides the works already mentioned above, any general encyclopedia on aesthetics serves as a good introduction to the problems addressed by the history of aesthetics and of the philosophy of art. In this sense, both Encyclopedia of Aesthetics and The Routledge Companion to Aesthetics can be considered as good starting points.
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2429 found
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1 — 50 / 2429
  1. The Conquest of Time: The Forgotten Power of Art.Derek Allan - manuscript
    It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...)
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  2. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  3. Ethics and Aesthetics: Alfredo Jaar and the Role of Art in Political Critique.Carolina Drake - manuscript
    Art has a major role in political critique and in the contemporary world of art, ethics, politics, and aesthetics intersect. Using the work of Alfredo Jaar as an example of these intersections, I argue through my reading of Judith Butler, that his art can provide us with better, more egalitarian versions of populations to be perceived as grievable. Once we apprehend grievability, we can affectively apprehend that lives in the context of war and violence are precarious. Here lies the power (...)
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  4. Twentieth Century Aesthetics.M. C. Beardsley - forthcoming - Contemporary Aesthetics.
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  5. Colour in Ancient Art. Jockey Les Arts de la Couleur En Grèce Ancienne … Et Ailleurs. Approches Interdisciplinaires. Pp. 508, B/W & Colour Figs, B/W & Colour Ills, Maps. Athens: École Française d'Athènes, 2018. Paper, €80. Isbn: 978-2-86958-290-3. [REVIEW]Hariclia Brecoulaki - forthcoming - The Classical Review:1-3.
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  6. Decadence & Aesthetics.Sacha Golob - forthcoming - In Desmarais & Weir (eds.), Decadence. Cambridge University Press.
    he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...)
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  7. Encyclopedia of Aesthetics, 2d, Rev. Ed.Michael Kelly (ed.) - forthcoming - Oxford University Press.
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  8. W. PUCHNER Assisted by A.W. WHITE Greek Theatre Between Antiquity and Independence: A History of Reinvention From the Third Century BC to 1830. Cambridge: Cambridge University Press, 2017. Pp. Xvii + 355. £99.99. 9781107059474. [REVIEW]Stavroula Kiritsi - forthcoming - Journal of Hellenic Studies:1-2.
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  9. Agricultural as the Image of Aesthetics and Ethics: A Comparative View.Mara Miller - forthcoming - Pursuit of Comparative Aesthetics.
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  10. Aesthetics and Mobility–A Short Introduction Into a Moving Field.Ossi Naukkarinen - forthcoming - Contemporary Aesthetics.
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  11. The Continuum Companion to Aesthetics. Ribiero (ed.) - forthcoming
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  12. On the Third Realm. Cultural Literacy and Arts Education.Ralph A. Smith - forthcoming - Journal of Aesthetic Education.
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  13. The Compass of Beauty: A Search for the Middle.Lars Spuybroek - forthcoming - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it a competitor of Heidegger’s fourfold.
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  14. International Association of Empirical Aesthetics.Paulina A. Tendera & Jakub Wiśniewski - forthcoming - Estetyka I Krytyka 12 (12):249-252.
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  15. Living Form and Living Criticism.Katie Terezakis - forthcoming - In Michael Thompson (ed.), Georg Lukacs Reconsidered: Essays of Politics, Philosophy, and Aesthetics. Continuu,.
  16. The Stubbornness of Nature in Art: A Reading of §§556, 558 and 560 of Hegel's Encyclopedia.Ioannis Trisokkas - forthcoming - In Joshua Wretzel & Sebastian Stein (eds.), Hegel’s Encyclopedia of the Philosophical Sciences: A Critical Guide. Cambridge University Press.
    Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements of nature (...)
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  17. A: Morris Weitz: Problems in Aesthetics an Introductory Boo\ of Rea. Dings-In.Gianni-ree Vattimo - forthcoming - Rivista di Estetica.
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  18. Jealousy and the Sense of Self: Unamuno and the Contemporary Philosophy of Emotion.Íngrid Vendrell-Ferran - forthcoming - Philosophy and Literature.
    This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...)
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  19. Wittgenstein, Loos, and the Critique of Ornament.Andreas Vrahimis - forthcoming - Estetika.
  20. André Malraux et l’Art : Une Révolution Intellectuelle.Derek Allan - 2021 - New York, NY, USA: Peter Lang.
    Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation entre (...)
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  21. M. Norton Wise. Aesthetics, Industry, and Science: Hermann von Helmholtz and the Berlin Physical Society. 432 Pp., Figs., Bibl., Index. Chicago/London: University of Chicago Press, 2018. $45 (Cloth); ISBN 9780226531359. E-Book Available. [REVIEW]Angela N. H. Creager - 2021 - Isis 112 (1):202-203.
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  22. Schiller on Freedom and Aesthetic Value: Part II.Samantha Matherne & Nick Riggle - 2021 - British Journal of Aesthetics 61 (1):17-40.
    In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...)
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  23. What Makes Kant an Aesthetic Cognitivist About Fine Art? A Response to Young.Aviv Reiter - 2021 - Journal of Aesthetics and Art Criticism 79 (1):108-111.
  24. ‘That They Point Is All There Is to It’: Wittgenstein’s Romanticist Aesthetics.Clinton P. Verdonschot - 2021 - Estetika 58 (1):72–88.
    Why is aesthetics important to Wittgenstein? What, according to him, is the function of the aesthetic? My answer consists of three parts: first, I argue that Wittgenstein finds himself in an aporia of normative consciousness – that is to say, a problem with regard to our awareness of the world in terms of its relation to a norm. Second, I argue that the function of Wittgenstein’s aesthetic writings is to deal with this aporia. Third, through a comparison with Friedrich Schlegel’s (...)
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  25. Kant on Form or Design.James O. Young - 2021 - Journal of Aesthetics and Art Criticism 79 (1):112-115.
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  26. Ecos de 60: Impossibilidade macroestrutural, possibilidades microestruturais. Com Júlia M. Rebouças.Gustavo Ruiz da Silva & Mariana Slerca - 2020 - Revista Avesso: Pensamento, Memória E Sociedade 1 (1):160-171.
    Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.
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  27. Dewey After the End of Art.Roberta Dreon - 2020 - Contemporary Pragmatism 17 (2-3):146-169.
    This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on (...)
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  28. Aesthetic Normativity in Kant’s Account: A Regulative Model.Serena Feloj - 2020 - Con-Textos Kantianos 1 (12):105-122.
    The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to (...)
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  29. Beauty (Mei_, 美) in the _Zhuangzi and Contemporary Theories of Beauty.Peng Feng - 2020 - Journal of Aesthetic Education 54 (2):21.
    Mei in Chinese is normally translated into English as "beauty" or "the beautiful." The nature of mei is not a central theme in Zhuangzi's philosophy; neither is it a concept of particular importance in traditional Chinese aesthetics. The core concepts of Chinese aesthetics, according to historians of Chinese aesthetics, are dao, qi, and xiang, but mei is not one of them.1 In Chinese aesthetic history, we see different points of emphasis in contrast to the prevailing concern with beauty in Western (...)
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  30. Immanuel Kant’s Aesthetics: Beginnings and Ends.David Fenner - 2020 - Con-Textos Kantianos 1 (12):123-142.
    Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...)
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  31. Aesthetic Normativity and the Acquisition of Empirical Concepts.Ido Geiger - 2020 - Con-Textos Kantianos 1 (12):71-104.
    In the Introduction to the Critique of the Power of Judgment, Kant claims that the Critique of Pure Reason accounted for the necessary conditions of experience and knowledge in general, but that it was not a complete transcendental account of the possibility of a particular empirical experience of objects and knowledge of empirical laws of nature. To fill this gap the third Critique puts forward, as an additional transcendental condition, the regulative principle of the purposiveness of nature. In this paper, (...)
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  32. The Cipher of Nature in Kant’s Third Critique: How to Represent Natural Beauty as Meaningful?Moran Godess-Riccitelli - 2020 - Con-Textos Kantianos 1 (12):338-357.
    What is it that we encountered with in our aesthetic experience of natural beauty? Does nature “figuratively speaks to us in its beautiful forms”, 2 to use Kant’s phrasing in the third Critique, or is it merely our way of interpreting nature whether this be its purpose or not? Kant does not answer these questions directly. Rather, he leaves the ambiguity around them by his repeated use of terminology of ciphers when it comes to our aesthetic experience in nature. This (...)
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  33. Response to My Critics: In Defense of Kant’s Aesthetic Non- Conceptualism.Dietmar H. Heidemann - 2020 - Con-Textos Kantianos 1 (12):173-190.
    In this article I respond to objections that Matías Oroño, Silvia del Luján di Saanza, Pedro Stepanenko and Luciana Martínez have raised against my non-conceptualist reading of Kant’s aesthetics. The objections are both, substantial and instructive. I first sketch my non-conceptualist reading of Kant’s doctrine of judgments of taste and then turn to what I take to be the most important criticisms that these authors have put forward. Two difficulties with a non-conceptualist reading of Kant’s aesthetics seem to be central: (...)
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  34. Schematism and Free Play: The Imagination’s Formal Power as a Unifying Feature in Kant’s Doctrine of the Faculties.Jackson Hoerth - 2020 - Con-Textos Kantianos 1 (12):314-337.
    The role of the imagination within Kant’s Critical framework remains an issue for any attempt to unify the three Critique s through the Doctrine of the Faculties. This work provides a reading of the imagination that serves to unify the imagination through its formal capacity, or ability to recognize harmony and produce the necessary lawfulness that grounds the possibility of judgment. The argument of this work exists in 2 parts. 1) The imagination’s formal ability is present, yet concealed, as early (...)
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  35. Nietzsche's Aesthetics.Andrew Huddleston - 2020 - Philosophy Compass 15 (11):1-10.
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  36. Kant on Poetry and Cognition.Iris Vidmar Jovanović - 2020 - Journal of Aesthetic Education 54 (1):1-17.
    Our engagements with poetry often leave us with a sense of having been not only aesthetically pleased and emotionally aroused but intellectually stimulated and cognitively rewarded.1 However, explicating the nature of such intellectual stimulus and accounting for poetry’s cognitive values are not easy tasks, given that poetry does not stand in the same relation to truth and knowledge as do science and philosophy. How then to account for the undeniable experience of having undergone a profound cognitive change after engaging with (...)
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  37. On Aesthetic Judgments and Contemplative Perception in the Critique of the Power of Judgment.Hemmo Laiho - 2020 - Con-Textos Kantianos 1 (12):191-208.
    The paper argues that much of Kant’s largely formalistic account of aesthetic appreciation stands on the idea that the judger is able to engage with the object of her judgment purely sensibly and hence non-conceptually or non-cognitively. This is to say that the judger must be able to ground her judgment on the immediate sensory affection by the object or on the object’s sensible form. The paper also argues that these two purely sensible grounds, accessible in the aesthetic examination of (...)
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  38. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  39. Kant’s Aesthetic Theory: Key Issues. An Introduction by the Guest Editor of the Special Issue.João Lemos - 2020 - Con-Textos Kantianos 1 (12):43-51.
    This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address questions (...)
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  40. Edith Landmann-Kalischer on Aesthetic Demarcation and Normativity.Samantha Matherne - 2020 - British Journal of Aesthetics 60 (3):315-334.
    Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending together a cognitivist (...)
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  41. Matters of Taste: Kant’s Epistemological Aesthetics.Zoltán Papp - 2020 - Con-Textos Kantianos 1 (12):402-428.
    This paper is concerned with what I believe is the epistemological mission of Kant’s doctrine of taste. The third Critique inherits two problems from the first. The evident one is that the categorial constitution of nature must be complemented with the notion of purposiveness. The less evident one is that the transcendental theory of experience needs a common sense in order to secure a common objectivity. The judgment of taste, conceived of by Kant as a ‘cognition in general’ not restricted (...)
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  42. Literary Appreciation in the Framework of Positivism.Vincenz Pieper - 2020 - Journal of Literary Theory 1 (14):76-93.
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  43. Can everything be beautiful? Pan-aestheticism and the Kantian puzzle of the free play of the faculties.Elena Romano - 2020 - Con-Textos Kantianos 1 (12):292-313.
    My contribution deals directly with the problem of Kant’s apparent commitment to pan- aestheticism, which is in particular attached to the task of explaining the possibility of the free play of the faculties. The aim is to provide an overview of the ways in which this problem can be confronted and eventually solved. In this regard, one way to deal with this problem consists in revisiting the assumption that the free play of the faculties is to be understood as simply (...)
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  44. Aesthetic Revelation: Reading Ancient and Medieval Texts After Hans Urs von Balthasar. By Oleg V. Bychkov. Pp. Xviii, 349, Washington, D. C. The Catholic University of America Press, 2010, $79.95. [REVIEW]Norman Russell - 2020 - Heythrop Journal 61 (5):881-882.
  45. Beauty, Ugliness and the Free Play of Imagination.Anthony Savile - 2020 - British Journal of Aesthetics 60 (1):106-110.
    Beauty, Ugliness and the Free Play of Imagination Mojca Küplen Springer. 2015. pp. 152. £74.99.
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  46. Antisubjectivism and the End of Art: Heidegger on Hegel.Alberto L. Siani - 2020 - British Journal of Aesthetics 60 (3):335-349.
    This paper claims that Heidegger’s confrontation with poetry and with Hegel’s end of art thesis can be read as an attempt to restore the highest function of art by deconstructing the ‘modern’ conception of truth underlying Hegel’s thesis. First, I discuss Heidegger’s interpretation of art following his assessment of the failure of metaphysical language to ‘unconceal’ the truth of Being. Second, I analyse, with specific reference to his interpretation of Hölderlin, what I reckon to be the core thread of Heidegger’s (...)
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  47. Figurate and Spectral Architecture: Of the Lithic, Ferric, and Plastic.Lars Spuybroek - 2020 - In Grace and Gravity: Architectures of the Figure. London: Bloomsbury. pp. 115–59.
    The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.
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  48. Grace and Gravity: Architectures of the Figure.Lars Spuybroek - 2020 - London, UK: Bloomsbury.
    A pdf sample that contains the cover, contents page, preface and the back cover with endorsements and blurb.
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  49. Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello.Ioannis Trisokkas - 2020 - Con-Textos Kantianos 12:226-247.
    Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...)
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  50. What is Wrong with Machine Art? Autonomy, Spirituality, Consciousness, and Human Survival.Ioannis Trisokkas - 2020 - Humanities Bulletin 3 (2):9-26.
    There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a considerable amount of research on machine art. It is found that explanations of PRHMA based on the (alleged) fact that machine art lacks an element that is (allegedly) found in human art (for example, autonomy) do not work. Such explanations cannot account for the (...)
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