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  1.  4
    Aesthetics and Autobiography: Emotion and Style in The Book of Disquiet by Fernando Pessoa/Bernando Soares.Aranguren Mikel Iriondo - 2016 - Contemporary Aesthetics 14.
    At the beginning of The Book of Disquiet, Bernardo Soares writes: “In these random impressions, and with no desire to be other than random, I indifferently narrate my factless autobiography, my lifeless history. These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.” Written a century ago, these words illustrate a great distance from the traditional way of writing an autobiography. They confront, however, the same paradox, which is how can any of (...)
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  2.  6
    Absolute Pitch and Tone Identification.Gilead Bar-Elli - 2016 - Contemporary Aesthetics 14.
    Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a tone (...)
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  3.  2
    Short Note: Thoughts on the Aesthetics of Water.Baugh Tom - 2016 - Contemporary Aesthetics 14.
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  4.  1
    Short Note: Thougths on a Holographic Aesthetics of Nature.Baugh Tom - 2016 - Contemporary Aesthetics 14.
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  5.  4
    The Importance of the Artist's Intent.Conrad Daniel - 2016 - Contemporary Aesthetics 14.
    Does considering artists' aesthetic intentions enrich our experience of art and enhance art’s aggregate value for human culture? By examining non-aesthetic intent, working motivations, biographical/historical context, and cases in which an announced intent drives aesthetic transformation, I argue that, while its specific value varies from case to case, aesthetic intent is a key part of our cumulative experience of art, correlates with specific neuroanatomical loci, and raises interesting and compelling questions specific to this age of automatized thinking.
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  6.  2
    Report on the XXth International Congress of Aesthetics, "Aesthetics and Mass Culture" Seoul National University, Seoul, South Korea, 24-29 July 2016. [REVIEW]Erzen Michael Ranta & Jale - 2016 - Contemporary Aesthetics 14.
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  7.  1
    The Plight of Aesthetics in Iran.Heidari Majid - 2016 - Contemporary Aesthetics 14.
    Richard Rorty believes that philosophy in the West is the result of a conflict between religion and science. In fact, philosophy seeks to clarify the border between religion and science, so neither of them would be able to overstep its explanatory or predictive potentialities. He remarks that we do not have such a thing as philosophy in the East. This paper intends to ask two questions: what is the nature of the comparable conflict in an Eastern country, Iran, and what (...)
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  8.  5
    Positioning and Discernment: A Comment on Monique Roelofs', The Cultural Promise of the Aesthetic.Kathleen M. Higgins - 2016 - Contemporary Aesthetics 14.
    Monique Roelofs’s The Cultural Promise of the Aesthetic is groundbreaking in its nuanced account of the potential and limitations of the aesthetic for creating a more just, humane world. Particularly timely are Roelofs’s analyses of the ways in which racial and gender stereotypes are reinforced and the operations of what she calls “racialized aesthetic nationalism,” the tendencies of aesthetic values to shore up schisms along racial, ethnic, and national lines. I raise questions, however, about the appropriateness of aesthetic criticism that (...)
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  9.  2
    Short Note: Using Soundscape Ecology in Design and Function.Holthuijzen Wieteke - 2016 - Contemporary Aesthetics 14.
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  10.  2
    Humor and Enlightenment, Part I: The Theory.Peter H. Karlen - 2016 - Contemporary Aesthetics 14.
    Part I of this article advances a new theory of humor, the Enlightenment Theory, while contrasting it with other main theories, including the Incongruity, Repression/Relief/Release, and Superiority Theories. The Enlightenment Theory does not contradict these other theories but rather subsumes them. As argued, each of the other theories cannot account for all the aspects of humor explained by the Enlightenment Theory. The discussion is illustrated with examples of humor and explores the acts and circumstances of humor, its literary and artistic (...)
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  11.  3
    Humor and Enlightenment, Part II: The Theory Applied.Peter H. Karlen - 2016 - Contemporary Aesthetics 14.
    Part I of this article advanced a new theory of humor, the Enlightenment Theory, while contrasting it with other main theories, including the Incongruity, Repression/Relief/Release, and Superiority Theories. The Enlightenment Theory does not contradict these other theories but rather subsumes them. As argued, each of the other theories cannot account for all the aspects of humor explained by the Enlightenment Theory. Part II shows how the Enlightenment Theory meets challenging issues in humor theory where other theories falter, including failed humor, (...)
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  12.  1
    No-Media: Against the Coming Singularity.Gavin Keeney - 2016 - Contemporary Aesthetics 14.
    A summary of the possible persistence of so-called useless humanistic research against the diktat of the Edufactory, the essay “No-media – Against the Coming Singularity” problematizes the complex field of forces and factors currently leading the life of universities toward the servicing of reduced aspirations for scholarship in an ultra-monetized society – plus neo-liberal academia’s penchant for the manufacturing of events and reputations at the expense of impersonal intellectual inquiry proper. An oblique critique of “vertical integration” strategies derived from corporate (...)
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  13.  4
    Address and the Lure of the Aesthetic: Reflections on Monique Roelofs, The Cultural Promise of the Aesthetic.Korsmeyer Carolyn - 2016 - Contemporary Aesthetics 14.
    Monique Roelofs argues that some of the aesthetic power of art is traceable to the way that works address their audiences, promising the creation of cultural community. Such communities become exclusionary when modes of address presume and perpetuate social hierarchies. This paper explores this notion in works where moral and aesthetic precepts seem to conflict and whose address induces attitudes that one would reject in “reality” but that are required for the full appreciative grasp of a narrative.
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  14.  2
    The Difference That Art Makes.Ortega Mariana - 2016 - Contemporary Aesthetics 14.
    In the following essay I discuss Monique Roelofs’s The Cultural Promise of the Aesthetic. I show that Roelofs’s rich and complex notion of the aesthetic, informed by promises, modes of address, and aesthetic relationality, offers an important and novel way of understanding the aesthetic within a context attuned to questions of difference. I point out that Roelofs’s analysis may be enhanced by notions theorized by Audre Lorde, Gloria Anzaldúa, and María Lugones. Moreover, I raise a question regarding the intricate link (...)
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  15.  3
    Macabre Fascination and Moral Propreity: The Attraction of Horror.Marius A. Pascale - 2016 - Contemporary Aesthetics 14.
    Why does the horror genre serve as a source of pleasure, given its aim to induce fear in the audience? I examine two general solutions to this phenomenon, referred to as the paradox of horror, which differ based upon their position regarding the possibility of deriving pleasure from fear. Each of the possible solutions contains significant flaws. I argue that, by adjusting a meta-theory originally proposed by Susan Feagin, it is possible to craft a solution that addresses the paradox while (...)
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  16.  1
    The Aesthetic Experiences of Aura, Awe, and Wonder: Reflections on Their Nature and Relationships.Russell Quacchia - 2016 - Contemporary Aesthetics 14.
    The aim of this essay is to examine the semantic nature and linkage between the experiential phenomena of aura, awe, and wonder, central to matters of the aesthetic experience. In aesthetic commentary these terms are generally used rather loosely, often independently of each other and, most often, without regard to the connections between them. It would seem worthwhile to examine the nature of each of these terms to move toward understanding them and their mutual relationships. The conclusions drawn are that (...)
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  17.  3
    The Aesthetic and Its Resonances: A Reply to Kathleen M. Higgins, Carolyn Korsmeyer, and Mariana Ortega.Roelofs Monique - 2016 - Contemporary Aesthetics 14.
    This essay offers replies to the critical commentaries on The Cultural Promise of the Aesthetic presented by Kathleen M. Higgins, Carolyn Korsmeyer, and Mariana Ortega. The essay shows how the probing questions and criticisms that the three commentators raise bring out details in the framework of relationality, address, and promises through which the book theorizes the aesthetic.
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  18.  2
    The Instiutional Margins of Aesthetics: A Study Proposal.Jozef Kovalčik & Max Ryynänen - 2016 - Contemporary Aesthetics 14.
    A considerable number of classical texts in aesthetics and cultural philosophy were originally published outside of the framework of institutionalized academic scholarship. One can begin the modern story with two loners, Nietzsche and Kierkegaard, then continue with the Frankfurt School and end the short list with the French “wave”. Contemporary aesthetics benefits also from the work of thinkers like Susan Sontag and Nicolas Bourriaud, who have a huge scholarly impact but who built their careers outside academia. We intend to 1) (...)
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  19.  1
    Human Nature and Aesthetic Ecosystem Services: Nature in the Service of Humankind and Humankins in the Service of Nature.Sepänmaa Yrjö - 2016 - Contemporary Aesthetics 14.
    The term “ecosystem services” refers to the material and spiritual benefits and goods that we receive from nature, or, in a broad sense, from all kinds of environment. The various forms of such benefits have begun to be called services. Nature serves people by producing the material and spiritual prerequisites for life. This is also the foundation of our aesthetic well-being. Does humankind reciprocally serve nature, or only itself through nature, with the intention of exploiting it? We see when nature (...)
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  20.  2
    Short Note: Explication of Events and Dialogues in Samuel Beckett's Waiting on Godot.Verran Erick - 2016 - Contemporary Aesthetics 14.
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  21.  2
    Short Note: From Things to Relationships: Architecture of the Ecological Mind.Vujicic Lejla - 2016 - Contemporary Aesthetics 14.
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