Year:

  1.  19
    The Argument From Extreme Difficulty in Video Games.Aderemi Artis - 2021 - Journal of Aesthetics and Art Criticism 79 (1):64-75.
    Many video games require complex, rapid sequences of skilled bodily movements in order to complete game-world tasks. It is not unreasonable to think that this might interfere with our ability to aesthetically appreciate such video games. I present two versions of this argument from extreme difficulty: a strong version and a weak version. While extant treatments of the aesthetics of video games can be used to rebut the strong version, the weak version remains recalcitrant. I develop a reply to the (...)
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  2.  2
    Henrik Høgh-Olesen, The Aesthetic Animal (Oxford University Press), 2019, 167 Pp., 27 Color Illus. + 3 B&W Illus., $36.95 clothRichard A. Richards, The Biology of Art (Cambridge University Press), 2019, 72 Pp., $18.00 Paper Derek D. Turner, Paleoaesthetics and the Practice of Paleontology (Cambridge University Press, 2019), 83 Pp., $18.00 Paper. [REVIEW]Tobyn DeMarco - 2021 - Journal of Aesthetics and Art Criticism 79 (1):133-138.
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  3.  2
    Fumi Okiji, Jazz as Critique: Adorno and Black Expression Revisited (Stanford University Press) 2018, 160 Pp., $70.00 Cloth. [REVIEW]James B. Haile - 2021 - Journal of Aesthetics and Art Criticism 79 (1):127-129.
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  4.  2
    Maoilearca Ó., Cull Laura and Lagaay Alice, Eds., The Routledge Companion to Performance Philosophy (Routledge, 2020), Xxv + 463 Pp., 36 B&W Illus., $236.64 Cloth. [REVIEW]James R. Hamilton - 2021 - Journal of Aesthetics and Art Criticism 79 (1):130-133.
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  5.  3
    Young, James O., Radically Rethinking Copyright in the Arts: A Philosophical Approach (Routledge, 2021), 184 Pp., $155.00 Cloth. [REVIEW]Darren Hudson Hick - 2021 - Journal of Aesthetics and Art Criticism 79 (1):124-127.
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  6.  7
    Time to Revisit Classical Film Theory.Lester H. Hunt - 2021 - Journal of Aesthetics and Art Criticism 79 (1):42-51.
    Film audiences are no longer in a position to know for certain which images, or features of images they see on the screen were created by photography and which were created in a computer. Yet they are reacting to the advent of computer graphics as if it is merely a technical improvement, not a change in the nature of film itself. This would mean that one of the most influential early theories of film—realism—is wrong. It held that film is by (...)
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  7.  1
    Gayraud Agnès, Diaectic of Pop, Urbanomic/Mono Series (MIT Press, 2020), 456 Pp., $29.95. [REVIEW]Robin James - 2021 - Journal of Aesthetics and Art Criticism 79 (1):120-124.
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  8.  4
    Harlequin Resistance? Romance Novels as a Model for Resisting Objectification.Sara Kolmes & Matthew A. Hoffman - 2021 - Journal of Aesthetics and Art Criticism 79 (1):30-41.
    Romance novels are primarily aimed at, written about, and written for women. They have been accused of being fantasies which feature sexually objectified heroines who are passive recipients of overwhelming masculine sexual energy. After shoring up these critiques of romance novels with A.W. Eaton’s account of how art can objectify its subjects, we examine a challenge to romance novels: does the sexual content in romance novels objectify its heroines? There is strong reason to think so. However, we argue that careful (...)
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  9.  17
    Seeing Through Photographs: Photography as a Transparent Visual Medium.Vivian Mizrahi - 2021 - Journal of Aesthetics and Art Criticism 79 (1):52-63.
    The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...)
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  10.  2
    Dadlez E.M., Ed., Jane Austen's Emma: Philosophical Perspectives (Oxford University Press, 2018), Xviii + 246 Pp., $99.00 Cloth, $29.95 Paper. [REVIEW]Ira Newman - 2021 - Journal of Aesthetics and Art Criticism 79 (1):116-120.
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  11.  10
    ‘Beauty’ and the ‘Beautiful’: A Computational Analysis of the Company They Kept Across the Eighteenth-Century Corpus.John Regan - 2021 - Journal of Aesthetics and Art Criticism 79 (1):88-107.
    This article is a computational enquiry into the different ways in which two words, assumed to be central to the eighteenth-century concept of aesthetics, were used across that century. Using word co-association measures designed specifically for this study, I show the markedly different lexis that surrounded the words ‘beauty’ and ‘beautiful’ in three decades of historical textual data from Eighteenth-Century Collections Online. Having demonstrated that these words were used in very different semantic contexts in the beginning, middle, and end of (...)
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  12.  11
    What Makes Kant an Aesthetic Cognitivist About Fine Art? A Response to Young.Aviv Reiter - 2021 - Journal of Aesthetics and Art Criticism 79 (1):108-111.
  13.  2
    David Lloyd, Under Representation: The Racial Regime of Aesthetics (Fordham University Press, 2018), 328 Pp., $28.00 Paper. [REVIEW]Lissa Skitolsky - 2021 - Journal of Aesthetics and Art Criticism 79 (1):139-141.
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  14.  14
    The Selectivity of Aesthetic Explanation.Moonyoung Song - 2021 - Journal of Aesthetics and Art Criticism 79 (1):5-15.
    It is widely agreed that an artwork having certain non-aesthetic properties explains its having a certain aesthetic property. One interesting feature of such an explanation is its selectivity—it cites only some of the non-aesthetic properties on which the presence of the aesthetic property depends. Hence a question arises as to what distinguishes the selected non-aesthetic properties from the unselected ones. I answer this question by proposing a selection principle modeled on Laura Franklin-Hall’s selection principle for causal explanation, according to which (...)
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  15.  12
    Science Fiction as a Genre.Enrico Terrone - 2021 - Journal of Aesthetics and Art Criticism 79 (1):16-29.
    Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...)
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  16.  8
    Fiction, Philosophy, and Television: The Case of Law and Order: Special Victims Unit.Iris Vidmar Jovanović - 2021 - Journal of Aesthetics and Art Criticism 79 (1):76-87.
    This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...)
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  17.  13
    Kant on Form or Design.James O. Young - 2021 - Journal of Aesthetics and Art Criticism 79 (1):112-115.
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