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2013 found
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1 — 50 / 2013
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  1. The Argument From Extreme Difficulty in Video Games.Aderemi Artis - 2021 - Journal of Aesthetics and Art Criticism 79 (1):64-75.
    Many video games require complex, rapid sequences of skilled bodily movements in order to complete game-world tasks. It is not unreasonable to think that this might interfere with our ability to aesthetically appreciate such video games. I present two versions of this argument from extreme difficulty: a strong version and a weak version. While extant treatments of the aesthetics of video games can be used to rebut the strong version, the weak version remains recalcitrant. I develop a reply to the (...)
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  2. Zeami’s Reply to Plato: Mastering the Art of Sarugaku.Susan V. H. Castro - 2017 - Japan Studies Association Journal 15 (1):1-22.
    Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires no (...)
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  3. Empathie in der Kunst.Íngrid Vendrell-Ferran - forthcoming - In Siegmund Judith (ed.), Handbuch Kunstphilosophie.
    Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  4. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  5. "Theatrical Names and Reference".Michael Y. Bennett - 2015 - Palgrave Communications 1 (1).
    The relationship between “character” and an “actor” appears to be quite straightforward: an actor acts as/plays character [x]. But let us be more specific and reword this formulation: actor [y] acts as/plays Hamlet. Or – for the time of the play – actor [y] is Hamlet. And it is this last statement that is paradoxically utterly true and utterly false. It is in the name of a theatrical character that the tension between actor and character arises. Asking, for example, who (...)
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  6. “Propositions in Theatre: Theatrical Utterances as Events”.Michael Y. Bennett - 2018 - Journal of Literary Semantics 47 (2):147-152.
    Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...)
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  7. "The Philosophy of Theater".Michael Y. Bennett - 2020 - Oxford Bibliographies.
    Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades (...)
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  8. Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies.Nele Van De Mosselaer - 2020 - British Journal of Aesthetics 60 (3):241-251.
    What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology (...)
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  9. Mirjam Rajner: Fragile Images. Jews and Art in Yugoslavia, 1918 – 1945, Leiden/Boston: Brill 2019, 446 S.Martina Bitunjac - 2020 - Zeitschrift für Religions- Und Geistesgeschichte 72 (2):228-230.
  10. Considering Ethics in Dance, Theatre and Performance.Einav Katan-Schmid - 2020 - British Journal of Aesthetics 60 (1):102-105.
    Considering Ethics in Dance, Theatre and PerformanceBannonFionaPalgrave Macmillan. 2018. pp. xxi + 250. £59.99.
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  11. Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation.Srajana Kaikini - 2018 - Deleuze and Guatarri Studies 12 (1):29-44.
    This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...)
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  12. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2019 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  13. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  14. Me and My Avatar: Player-Character as Fictional Proxy.Matt Carlson & Logan Taylor - 2019 - Journal of the Philosophy of Games 1.
    Players of videogames describe their gameplay in the first person, e.g. “I took cover behind a barricade.” Such descriptions of gameplay experiences are commonplace, but also puzzling because players are actually just pushing buttons, not engaging in the activities described by their first-person reports. According to a view defended by Robson and Meskin (2016), which we call the fictional identity view, this puzzle is solved by claiming that the player is fictionally identical with the player character. Hence, on this view, (...)
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  15. Players, Characters, and the Gamer's Dilemma.Craig Bourne & Emily Caddick Bourne - 2019 - Journal of Aesthetics and Art Criticism 77 (2):133-143.
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  16. Batallas culturales en torno al clasicismo.Juan José Gómez Gutiérrez - 2008 - Fragmentos de Filosofía 6 (6):115-142.
    Los valores fascistas calaron, de un modo u otro, en todas las manifestaciones del arte italiano de entreguerras. Sin embargo, no todas las manifestaciones del arte fascista fueron el resultado de nacionalismo exacerbado, provincialismo y aislacionismo. Los conceptos de ‘romanità’, ‘italianità’, ‘latinità, o ‘mediterraneità’, que caracterizaban la producción cultural italiana de esos años, actuaron originalmente como matriz de estilos diferentes y susceptibles de diversas interpretaciones.
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  17. Políticas del urbanismo lúdico. Contracultura y ciudad del situacionismo al neohistoricismo (1943-1989).Juan José Gómez Gutiérrez - 2017 - Arquitectura, Ciudad y Entorno 12 (35):121-136.
    Este artículo ofrece una introducción histórica a la teoría y la práctica situacionista en conexión con la arquitectura funcionalista, las economías urbanas, ejemplos de acción política contracultural y su reincorporación a las lógicas de organización tecnocrática de las ciudades. Ello permite definir, desde una perspectiva histórica, algunas claves interpretativas de los rasgos ideológicos y económicos fundamentales de los sistemas urbanos contemporáneos, lo cual, a su vez puede establecer un contexto desde el que reflexionar sobre las posibilidades actuales de un urbanismo (...)
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  18. The Garden as Art: A New Space for the Garden in Contemporary Aesthetics.John Francis Powell - 2017 - Dissertation,
    Western art gardens have enjoyed a chequered relationship with philosophical aesthetics. At different times, they have been both lauded and rejected as exemplars of art, and, for most of the last 150 or so years, they have been largely ignored. However, during the last 25 years, there has been a welcome resurgence of philosophical interest in such gardens. This study situates the work stemming from this revival of interest in its historical context and assesses its adequacy in accounting for gardens (...)
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  19. On Pictorially Mediated Mind-Object Relations.Jessica Pepp - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy:1-29.
    ABSTRACTWhen I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are...
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  20. Between Sky and Water: The Face of Urban Decorum in the Late Renaissance Houses on Venice's Grand Canal.Desley Luscombe - 2011 - Angelaki 16 (1):41-62.
    Represented as the face of Venice, the houses of the Grand Canal were used during the Renaissance to support the portrayal of the Venetian Republic's unique structure of governance. Paolo Paruta's dialogue, Della perfettione della vita politica, a work of political theory on the Venetian Republic, is one such text used here to examine how in a changing context of modernization, architecture has been presented as a representation of state. Paruta's use of architecture as a representation of state was conceptually (...)
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  21. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  22. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  23. Modernity and the Classical Tradition: Architectural Essays 1980-1987Restructuring Architectural Theory.Mary Bittner Wiseman, Alan Colquhoun, Marco Diani & Catherine Ingraham - 1991 - Journal of Aesthetics and Art Criticism 49 (3):265.
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  24. Salome and the Dance of WritingPictures of Romance: Form Against Context in Painting and Literature.Stephen Melville, Francoise Meltzer & Wendy Steiner - 1989 - Journal of Aesthetics and Art Criticism 47 (1):91.
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  25. Writings on Dance, 1938-68AfterimagesDance Beat, Selected Views and Reviews 1967-1976Watching the Dance Go byI Was There, Selected Dance Reviews and Articles: 1936-1976. [REVIEW]Selma Jeanne Cohen, A. V. Coton, Arlene Croce, Deborah Jowitt, Marcia B. Siegel & Walter Terry - 1979 - Journal of Aesthetics and Art Criticism 37 (3):390.
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  26. L'Architecture Flamboyante En FranceModern French CriticismVersions of Baroque, European Literature in the Seventeenth Century.Robert W. Uphaus, Roland Sanfacon, John K. Simon & Frank J. Warnke - 1972 - Journal of Aesthetics and Art Criticism 31 (1):138.
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  27. The Borzoi Book of Modern DanceThe Ballet Called GisellePractical Kinetography Laban.Anita Page, Margaret Lloyd, Cyril W. Beaumont & Valerie Preston-Dunlop - 1971 - Journal of Aesthetics and Art Criticism 29 (4):552.
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  28. Three Pamphlets Collected: Blast at Ballet, 1937; Ballet Alphabet, 1939; What Ballet Is All About, 1959Modern Dance Forms in Relation to the Other Modern Arts. [REVIEW]Juana de Laban, Lincoln Kirstein, Louis Horst & Carroll Russell - 1968 - Journal of Aesthetics and Art Criticism 27 (1):116.
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  29. Why We Don't Write About the Dance: A Review ArticleThe Modern Dance: Seven Statements of Belief.Herta Pauly & Selma Jeanne Cohen - 1967 - Journal of Aesthetics and Art Criticism 25 (4):463.
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  30. Architecture Without ArchitectsThe Peoples' ArchitectsThe Human Prospect.Louise Ballard, Bernard Rudofsky, Harry S. Ransom, Lewis Mumford, Harry T. Moore & Karl W. Deutsch - 1966 - Journal of Aesthetics and Art Criticism 25 (2):226.
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  31. Art and Architecture in Spain and Portugal and Their American Dominions: 1500-1800Arte Mexicano de Sus Origines a Nuestros Dias. [REVIEW]Joseph A. Baird, George Kubler, Martin Soria & Justino Fernandez - 1961 - Journal of Aesthetics and Art Criticism 20 (1):101.
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  32. The Theory of Proportion in ArchitectureThe Golden Number.Francois Bucher, P. H. Scholfield & M. Borissavlievitch - 1959 - Journal of Aesthetics and Art Criticism 17 (4):525.
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  33. Ten Talents in the American TheatreFrom the Modern Repertoire. Series Three.James Schevill, David H. Stevens & Eric Bentley - 1958 - Journal of Aesthetics and Art Criticism 17 (1):121.
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  34. Architectural Symbolism of Imperial Rome and the Middle AgesThe Railroad Station.Paul Zucker, E. Baldwin Smith & Carroll L. V. Meeks - 1957 - Journal of Aesthetics and Art Criticism 16 (2):284.
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  35. Architecture, Ambition and AmericansAn American Architecture.Paul Zucker, Wayne Andrews, Frank Lloyd Wright & Edgar Kaufmann - 1957 - Journal of Aesthetics and Art Criticism 15 (3):362.
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  36. Architecture in Old KentuckySchopferische Bauideen der deutschen Romantik.Paul Zucker, Rexford Newcomb & Hermann Beenken - 1953 - Journal of Aesthetics and Art Criticism 12 (2):268.
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  37. An Introduction to Modern ArchitectureHomes.Paul Zucker, Elizabeth Mock & J. M. Richard - 1948 - Journal of Aesthetics and Art Criticism 7 (2):168.
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  38. The Art of Building CitiesNew Cities for Old.Paul Zucker, Camillo Sitte & Louis Justement - 1946 - Journal of Aesthetics and Art Criticism 5 (1):69.
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  39. The Role of Glass in Interior Architecture: Aesthetics, Community, and Privacy.Matthew Ziff - 2004 - Journal of Aesthetic Education 38 (4):10.
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  40. Dance and the Question of Fidelity.Selma Jeanne Cohen - 1997 - Journal of Aesthetic Education 31 (2):51.
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  41. Some Remarks on Sparshott on the Dance.Joseph Margolis - 1997 - Journal of Aesthetic Education 31 (2):45.
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  42. Aestheticide: Architecture and the Death of Art.Gordon C. F. Bearn - 1997 - Journal of Aesthetic Education 31 (1):87.
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  43. Objectivity, Expression, and Communication in Dance as a Performing Art.Peter J. Arnold - 1995 - Journal of Aesthetic Education 29 (1):61.
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  44. The Architectural Theory of Rudolf Arnheim and Its Implications for Teaching.Tom Heath - 1993 - Journal of Aesthetic Education 27 (4):83.
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  45. How Does Gravity Affect Meaning in Dance?Carolann Scott - 1994 - Journal of Aesthetic Education 28 (2):102.
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  46. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
  47. H-Sang Seung: Design Is Not Design. Botz-Bornstein - 2014 - Journal of Aesthetic Education 48 (1):108.
    As a philosopher, the architectural question that fascinates me most is the extent to which architecture imposes a certain way of life on people. Some might answer that architecture should impose as little as possible on peoples’ lives and that, in the ideal case, things will work in the converse: people impose on architecture the way of being that they believe to be most compatible with their lives. I guess that the leading thought underlying the latter scheme is that we (...)
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  48. Video Games and Imaginative Identification.Stephanie Patridge - 2017 - Journal of Aesthetics and Art Criticism 75 (2):181-184.
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  49. Still Self-Involved: A Reply to Patridge.Jon Robson & Aaron Meskin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):184-187.
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  50. What's My Motivation? Video Games and Interpretative Performance.Grant Tavinor - 2017 - Journal of Aesthetics and Art Criticism 75 (1):23-33.
    The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their players: if a decision (...)
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1 — 50 / 2013