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  1. Sensory Force, Sublime Impact, and Beautiful Form.Eli I. Lichtenstein - forthcoming - British Journal of Aesthetics:ayz033.
    Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours (etc.) are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to (...)
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  • Theory, Observation, and the Role of Scientific Understanding in the Aesthetic Appreciation of Nature.Glenn Parsons - 2006 - Canadian Journal of Philosophy 36 (2):165-186.
    Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it (...)
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  • Theory, Observation, and the Role of Scientific Understanding in the Aesthetic Appreciation of Nature.Glenn Parsons - 2006 - Canadian Journal of Philosophy 36 (2):165-186.
    Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it (...)
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  • Against Zangwill’s Extreme Formalism About Inorganic Nature.Min Xu & Guifang Deng - 2015 - Philosophia 43 (1):249-257.
    Extreme formalism is a radical and important position in the aesthetics of inorganic nature. Zangwill offers a new formulation of what formal aesthetic properties are, according to which a formal aesthetic property of a thing is an aesthetic property that is determined merely by its appearance properties. An appearance property of a thing is the way it seems if perceived under certain conditions. With the notion of formal aesthetic properties formulated as such, extreme formalism, the claim that all aesthetic properties (...)
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  • Aesthetics of Nature, Constitutive Goods, and Environmental Conservation: A Defense of Moderate Formalist Aesthetics.Jennifer Welchman - 2018 - Journal of Aesthetics and Art Criticism 76 (4):419-428.
    Scientific cognitivists argue formalist aesthetics of nature are (i) inadequate for appreciating the full range of nature’s aesthetic values and (ii) too subjective to be useful for defending nature conservation. I argue that (i) is false because moderate formalists can appreciate nature for its performances, not merely objects and vistas. I argue (ii) is false because moderate formalists can argue that appreciation of beauty (including natural beauty) is a constitutive good of human flourishing, whose realization relies on access to a (...)
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  • Seeing Animals, Speaking of Nature.Ito Mimei - 2008 - Theory, Culture and Society 25 (4):119-137.
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