7 found

Year:

  1.  5
    Knowledge, Imagination, and Stories in the Aesthetic Experience of Forests.Jukka Mikkonen - 2018 - Estetika 55 (1):3-24.
    A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.
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  2.  2
    Form and Function in the Congregational Mosque.Michael H. Mitias & Abdullah Al Jasmi - 2018 - Estetika 55 (1):25-44.
    A large number of scholars have argued that a) Islamic architecture is hidden, in the sense that its interior is not articulated on the basis of its exterior; b) the form of Islamic buildings neither expresses nor embodies its function; and c) Islamic architecture is not tectonic or structural, but iconic in character. In this paper, we use Ernst Grube’s analysis of these three claims and focus our attention on the design of the congregational mosques. This paper presents informed arguments (...)
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  3.  25
    Degrees of Attention in Experiencing Art.Ancuta Mortu - 2018 - Estetika 55 (1):45-66.
    This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed (...)
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  4.  5
    Objective Beauty and Subjective Dissent in Leibniz’s Aesthetics.Carlos Portales - 2018 - Estetika 55 (1):67-88.
    According to the classical view, beauty is grounded on the universe’s objective harmony, defined by the formula of unity in variety. Concurrently, nature’s beauty is univocal and independent of subjective judgement. In this paper I will argue that, although Leibniz’s view coincides with this formula, his philosophy offers an explanation for subjective dissent in aesthetic judgements about nature. I will show that the acceptance of divergences on aesthetic value are the result of a conception of harmony that includes qualitative variety (...)
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  5.  9
    Review Of: Cecilia Sjöholm, Doing Aesthetics with Arendt: How to See Things. [REVIEW]Elena Tavani - 2018 - Estetika 55 (1):122-131.
    A review of Cecilia Sjöholm´s Doing Aesthetics with Arendt: How to See Things.
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  6.  6
    Cecilia Sjöholm, Doing Aesthetics with Arendt: How to See Things.Elena Tavani - 2018 - Estetika 55 (1):122-131.
    A review of Cecilia Sjöholm‘s Doing Aesthetics with Arendt: How to See Things.
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  7.  12
    Twofoldness and Three-Layeredness in Pictorial Representation.Alberto Voltolini - 2018 - Estetika 55 (1):89-111.
    In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...)
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