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  1.  6
    Sharing and Conflict of Perspectives: On Emmanuel Alloa’s Recent Book.Jakub Čapek - 2025 - Estetika: The European Journal of Aesthetics 62 (1):82-92.
    This critical note deals with the book The Share of Perspectives (2025) by Emmanuel Alloa, written as a ‘defense of perspectivism in the age of post-truth’. According to the book’s central claim, the structure of perspective implies both division and sharing. I trace Alloa’s remarkable expedition into the history of ‘perspective’, in both the history of painting and the history of thought, and conclude by noting the limitations of Alloa’s primary focus on epistemological issues and by highlighting two different meanings (...)
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  2.  7
    Expanding Davies’s Pragmatic Constraint: A Pragmatist Principle for Philosophizing about Art.David Collins - 2025 - Estetika: The European Journal of Aesthetics 62 (1):1-16.
    Winner of the Fabian Dorsch ESA Essay Prize. David Davies advocates a methodological principle he calls the ‘pragmatic constraint’, according to which ontology of art is answerable to epistemology of art, or ‘those features of our creative, critical, appreciative, and individuative practices in the arts that would withstand rational scrutiny’. This principle, while widely endorsed, has faced scepticism, charges of vagueness, and ambiguity concerning what counts as an instance of its correct application. I propose a similar principle that avoids these (...)
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  3.  8
    Imaginative Variations: A Phenomenological Analysis of Imaginary Worlds in Experiences of Visual Art.Anders Essom-Stenz & Tone Roald - 2025 - Estetika: The European Journal of Aesthetics 62 (1):36-52.
    In experiences of visual art, we enter imaginary worlds that consist of phenomenologically distinguishable variations of imagination. In this article, we empirically describe some of these variations and the imaginary worlds of which they are part. Based on phenomenological interviews about intense experiences with visual art, we distinguish between sensory imaginings, imaginings of bodily presence, and situational imaginings, each signifying different imaginary content but all related in a dynamic interplay that shape the coherent imaginary experience. We show how imagination is (...)
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  4.  18
    Some Intriguing Works That Read Like Comics.Nicolas Greliche - 2025 - Estetika: The European Journal of Aesthetics 62 (1):53-65.
    What makes comics comics? The question is difficult. Many answers have been proposed but the debate appears to stagnate, in part because scholars cannot seem to agree about the exact content of the category of comics. In this article, I propose to move the discussion away from the category of comics and instead approach the debate through the category of works that read like comics. After arguing that this change of perspective is relevant and likely to generate more homogeneous views (...)
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  5.  13
    Multisensory Experience of Paintings.René Jagnow - 2025 - Estetika: The European Journal of Aesthetics 62 (1):17-35.
    In this paper, I will argue that certain figurative paintings – namely, paintings that depict atmospheres, such as Camille Pissarro’s Snowscape in Louveciennes (1872), can elicit multisensory experiences in their viewers. Viewing such pictures under appropriate circumstances will activate the viewers’ sensory imagination in such a way that they enjoy a genuine multisensory experience. Such an experience does not just involve different sensible qualities. Rather, the different sensible qualities are fused together into a new sensible quality that cannot be experienced (...)
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  6.  8
    Intra- and Interindividual Aesthetic Disagreement: A Response to Tooming.Anton Killin - 2025 - Estetika: The European Journal of Aesthetics 62 (1):66-70.
    This paper extends the reach of the concept of aesthetic personality, as utilized by Uku Tooming in a recent article, ‘Aesthetic Disagreement with Oneself as Another’, published in Estetika (2023). Tooming invokes this concept as part of his solution to a philosophical puzzle concerning aesthetic disagreement with one’s past self. I argue that equivalence (or approximate equivalence) of aesthetic personality in cases in which one disagrees with an aesthetic peer or peers on an aesthetic judgement licenses the revision of one’s (...)
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  7. Seeing in VR, without Seeing-in.Luca Marchetti - 2025 - Estetika: The European Journal of Aesthetics 62 (1):71-81.
    In The Aesthetics of Virtual Reality (2022), Grant Tavinor claims that VR is a technologically fancy kind of picturing and, more specifically, that VR headsets elicit proper seeing-in experiences. According to Tavinor, seeing a virtual environment through a stereoscopic headset elicits the same twofold experience as ordinary pictures: users simultaneously perceive the three-dimensional depicted scene – the virtual environment – and the bidimensional surface responsible for displaying such a scene. In this critical note, I argue that this is a wrong (...)
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