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  1. 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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  2. Visual Experiences in Cinquecento Theatrical Spaces.Javier Berzal de Dios - 2018 - Toronto, ON, Canada: University of Toronto Press.
    Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period’s philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, (...)
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  3. Art et nature dans l'esthétique phénoménologique française. M. Merleau-Ponty et M. Dufrenne : La rencontre du logos philosophique ave le logos de l'art.Alexandra Mouriki-Zervou - 1989 - Dissertation,
    Cette thèse essaie de montrer que la pensée phénoménologique de Μ. Merleau-Ponty et de M. Dufrenne suit cette direction de la dernière pensée de Husserl qui descend vers la nature, vers cette élément résistant à la phénoménologie, auquel la phénoménologie tendra à assurer sa place. En essayant de penser l'impense husserlien, M. Merleau-Ponty et M. Dufrenne arriveront à l'idée de la nature en tant qu'originaire, matrice de possibles, champ général de l'être qui est en perpétuel devenir et qui, donc, ne (...)
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  4. Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.Sherri Irvin - 2019 - British Journal of Aesthetics 59 (3):273-288.
    This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...)
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  5. Visual Art and the Rhythm of Experience.Kasper Levin, Tone Roald & Bjarne Sode Funch - 2019 - Journal of Aesthetics and Art Criticism 77 (3):281-293.
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  6. On the Historical Reconstruction of Aesthetic Attention: A Comment on Bence Nanay's Aesthetics as Philosophy of Perception.Jakub Stejskal - 2019 - Studi di Estetica 47 (13):233-239.
    Contribution to a Book Forum on Bence Nanay's Aesthetics as Philosophy of Perception (includes Nanay's response).
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  7. Attentional Engines: A Perceptual Theory of the Arts.William Seeley - forthcoming - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  8. Myths of Complexity.Claudia Westermann - 2011 - Design Ecologies 1 (2):267-284.
    The following article takes up a dialogue that was initiated in the first issue of Design Ecologies, evolving in relation to questions of design within a context of concepts of complexity. As the first part of the article shows, this process of taking up a dialogue – through reading and writing – can be considered a question of design. This is elaborated alongside de Certeau’s concepts of ‘tactics’ and ‘strategies’. Further, in relation to questions emerging from the previous issue of (...)
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  9. The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.
    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
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  10. The Politics of Abstract Art. Forma 1 and the Italian Communist Party.Juan José Gómez Gutiérrez - 2012 - Cercles. Revista D’Història Cultural 15 (15):111-135.
    Este artículo examina el papel del grupo de artistas abstractos Forma 1 en relación con la política cultural del Partido Comunista Italiano durante la posguerra, como ejemplo de los intentos de superar la dicotomía establecida en Italia entre arte abstracto y realismo socialista y producir una alternativa a la confrontación entre ambos discursos estéticos. Mientras los artistas realistas socialistas subrayaban la necesidad de expresar contenidos políticos explícitos con un estilo que asegurase su máxima legibilidad para una audiencia de masas, los (...)
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  11. From Trust to Body. Artspace, Prestige, Sensitivity.Filippo Fimiani - 2017 - In Felice Masi & Maria Catena (eds.), The Changing Faces of Space. Springer Verlag.
    What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...)
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  12. Assessing the Intellectual Value of New Genre Public Art.Elisa Caldarola - 2019 - Open Philosophy 2 (1):22-29.
    Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, (...)
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  13. Can a Painting Have a Rhythm?Jason Gaiger - 2018 - British Journal of Aesthetics 58 (4):363-383.
    This paper challenges the widely held assumption that paintings and other works of graphic art have a communicable rhythmic structure. I defend the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the kind of attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both abstract and figurative painting, I argue that the graphic (...)
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  14. ‘The Most Beautiful Blue’: Painting, Science, and the Perception of Coloured Shadows.Paul Smith - 2018 - British Journal of Aesthetics 58 (4):401-421.
    This article examines first of all how painters’ ability to perceive transient coloured shadows was both facilitated, and impoverished, by scientific theories of their causes. It then investigates how developing techniques of viewing the scene through a frame or half-closed eyes allowed artists to apprehend these elusive phenomena in something approaching their full richness.
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  15. Call the Midwife.Ellen Miller - 2019 - Philosophy Now (130):48-49.
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  16. Lo concreto y lo complejo en el valor del arte.José Ramón Fabelo Corzo - 2017 - Revista Cubana de Ciencias Sociales 47 (47):99-111.
    El trabajo argumenta la necesidad de interpretar el valor del arte, por un lado, de manera concreta, como síntesis de múltiples determinaciones y tomando en consideración las condiciones de la época y lugar en las que la obra artística se inserta; y por otro lado, como producto complejo poseedor de múltiples dimensiones, diferentes pero interconectadas entre sí.
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  17. Shadows of Cruelty: Sadism, Masochism and the Philosophical Muse–Part Two.Charlie Blake & Frida Beckman - 2010 - Angelaki 15 (1):1-12.
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  18. Quelques Enjeux Philosophiques de la Restauration : À Partir des Harvard Murals de Rothko.Jacques Morizot - 2018 - Nouvelle Revue D’Esthétique 21 (1):99.
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  19. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  20. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  21. Conversations on Art and Aesthetics.Hans Maes - 2017 - Oxford, UK: Oxford University Press.
    What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...)
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  22. Thierry de Duve, Kant after Duchamp. [REVIEW]Tomas Hribek - 1999 - Umění/Art 47:238-241.
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  23. Dvakrát nový Arthur Danto. [REVIEW]Tomas Hribek - 1996 - Umění/Art 44:572-577.
    A Czech-language review of two of Arthur Danto's collections of art criticism -- BEYOND THE BRILLO BOX and EMBODIED MEANINGS.
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  24. Beholders' Shares and the Languages of Art.John Kulvicki - 2014 - In Paul Taylor (ed.), Meditations on a Heritage: Papers on the Work and Legacy of Sir Ernst Gombrich. London, UK: Paul Holberton Publishing. pp. 127-138.
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  25. Bill Viola’s 'Nantes Triptych': Unearthing the Sources of its Condensed Temporality.Carlos Vara Sánchez - 2014 - Aniki: Portuguese Journal of the Moving Image 2 (1):35-48.
    In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we (...)
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  26. Egalitarian Moments: From Descartes to Rancière.Devin Zane Shaw - 2016 - New York, NY, USA: Bloomsbury.
    Jacques Rancière's work has challenged many of the assumptions of contemporary continental philosophy by placing equality at the forefront of emancipatory political thought and aesthetics. Drawing on the claim that egalitarian politics persistently appropriates elements from political philosophy to engage new forms of dissensus, Devin Zane Shaw argues that Rancière's work also provides an opportunity to reconsider modern philosophy and aesthetics in light of the question of equality. In Part I, Shaw examines Rancière's philosophical debts to the 'good sense' of (...)
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  27. Harsh Poetry and Art's Address: Romare Bearden and Hans-Georg Gadamer in Conversation.Cynthia R. Nielsen - 2016 - Polish Journal of Aesthetics 43:103–123.
    In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...)
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  28. The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts.Noel Carroll, Margaret Moore & William Seeley - 2012 - In Arthur P. Shimamura & Stephen E. Palmer (eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York, NY, USA: pp. 31-62.
  29. Categories of Art and Computers: A Question of Artistic Style.William Seeley - 2017 - American Society for Aesthetics Newsletter 37 (3):9-11.
    Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We then discuss the results (...)
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  30. The Vultures and the Phoenix: A Study of the Mandrake Press Edition of the Paintings of D. H. LawrenceTen Paintings.Jeffrey Meyers, Robert Millett & D. H. Lawrence - 1984 - Journal of Aesthetics and Art Criticism 42 (4):465.
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  31. The Inner Eye of Alfred StieglitzLiterary Admirers of Alfred Stieglitz.Miles Orvell, Robert Haines & F. Richard Thomas - 1984 - Journal of Aesthetics and Art Criticism 42 (3):339.
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  32. Oriental Studies IV: Paintings From Islamic LandsSpanish Romanesque SculptureGerman Illumination: Carolingian Period and Ottonian PeriodThe Bigallo, the Oratory and Residence of the Compagnia Del Bigallo E Della Misericordia in FlorenceSaggi E Memorie 6.J. Wise, R. Pinder-Wilson, Porter A. Kingsley, Adolph Goldschmidt, Howard Saalman & Giorgio Cini Foundation - 1970 - Journal of Aesthetics and Art Criticism 29 (2):283.
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  33. Icons in Bronze. An Introduction to Indian Metal ImagesTrends in Indian Painting. Ancient, Medieval, Modern.Gertrude K. Piatkowski, Daya Ram Thapar & Manohar Kaul - 1963 - Journal of Aesthetics and Art Criticism 22 (2):221.
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  34. Florentine Drawings, XIV-XVII CenturiesDrawing in France, XIX Century, the Romantics and the RealistsEnglish Drawings, XIX Century.Creighton Gilbert, Andre Chastel, Rosamund Frost, Gaston Diehl, L. Norton & Anne Carlisle - 1951 - Journal of Aesthetics and Art Criticism 10 (2):185.
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  35. The Dimensions of Agreement: Arnheim and the Painter.Bela Petheo - 1993 - Journal of Aesthetic Education 27 (4):57.
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  36. The Unknown Langer: Philosophy From the New Key to the Trilogy of Mind.James R. Johnson - 1993 - Journal of Aesthetic Education 27 (1):63.
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  37. Terminology in the Salon Reviews of Charles Pierre Baudelaire.Richard Webb - 1993 - Journal of Aesthetic Education 27 (2):71.
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  38. Unifying the Curriculum with an Art Exhibition: In the American Grain.Terry Michael Barrett - 2003 - Journal of Aesthetic Education 37 (3):21.
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  39. A Pedagogy of Two Ways of Seeing: A Confrontation of "Word and Image" in My Name Is Red.Feride Cicekoglu - 2003 - Journal of Aesthetic Education 37 (3):1.
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  40. Art and Visual Philosophy.Elwyn W. Hawthorn - 1995 - Journal of Aesthetic Education 29 (1):95.
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  41. Editors' Introduction.Jussi Backman, Harri Mäcklin & Raine Vasquez - 2017 - Journal of Aesthetics and Phenomenology 4 (2):93-99.
    A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.
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  42. Dialogues with Paintings: Notes on How to Look and See. Rorty - 2014 - Journal of Aesthetic Education 48 (1):1.
    There is no such thing as ART. There are public monuments and celebrations of victories, icons, religious teaching, civic pride, courtier flattery, family legitimation, secularization of the sacred, celebration of the ordinary as ordinary, attempts to shock, political statements, making money, decoration of homes, corporations, visual debates on what the world looks like—debates about what the world is—debates about what we see. On the other hand, we can look at anything—clouds, a tree, a face, a road, a herd of cows (...)
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  43. A Post-Culturalist Aesthetics? A Commentary on Davis's 'Visuality and Vision'.Jakub Stejskal - 2017 - Estetika 54 (2):267-276.
    A commentary on Whitney Davis's essay 'Visuality and Vision: Questions for a Post-culturalist Art History' published in the same issue of Estetika.
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  44. A New Question About Color.Cynthia A. Freeland - 2017 - Journal of Aesthetics and Art Criticism 75 (3):231-248.
    Philosophers of art have advanced our understanding of the role of color in realistic representation in painting. This article addresses a new question about how color functions expressively in art. I sketch some ways to answer this question, using examples of paintings by Mark Rothko and light art installation works by James Turrell and Olafur Eliasson.
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  45. Review Article: Theatre and Philosophy. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
  46. Corpus Vasorum Antiquorum, United States of America, Fascicule 17: The Toledo Museum of Art, Fascicule 1. [REVIEW]John Boardman - 1978 - The Classical Review 28 (1):188-189.
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  47. The Aesthetics of the Greek Banquet: Images of Wine and Ritual. [REVIEW]John Boardman - 1992 - The Classical Review 42 (1):224-225.
  48. The Mycenaean Pictorial Style in the National Archaeological Museum of Athens. [REVIEW]Susan Pattison - 1994 - The Classical Review 44 (1):227-228.
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  49. Timeless Traces of Temporal Patterns.John Kulvicki - 2016 - Journal of Aesthetics and Art Criticism 74 (4):335-346.
    Long-exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things-in-time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns (...)
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  50. Company Paintings: Indian Paintings of the British Period.E. G. & Mildred Archer - 1994 - Journal of the American Oriental Society 114 (1):143.
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