Year:

  1.  3
    Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  2.  3
    What's So New About the “New” Theory of Photography?Diarmuid Costello - 2017 - Journal of Aesthetics and Art Criticism 75 (4):439-452.
    This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...)
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  3.  13
    Elucidating the Truth in Criticism.Friend Stacie - 2017 - Journal of Aesthetics and Art Criticism 75 (4):387-399.
    Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; nonhistoricists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...)
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  4.  3
    Seventy-Five Years of Kant … and Counting.Paul Guyer - 2017 - Journal of Aesthetics and Art Criticism 75 (4):351-362.
    There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal (...)
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  5.  6
    Artistic Value is Attributive Goodness.Louise Hanson - 2017 - Journal of Aesthetics and Art Criticism 75 (4):415-427.
    It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.
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  6. Global Aesthetics—What Can We Do?Kathleen Marie Higgins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):339-349.
    I argue that the default interpretation of “aesthetics” should be global aesthetics, and that aestheticians should take as standard preparation for work in the field some basic knowledge of aesthetics in various cultural traditions. I consider some of the obstacles that interfere with a move in this direction and some of the steps that might encourage a more inclusive self-conception of the field.
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  7.  1
    Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  8.  3
    In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  9.  4
    On the Recent Remarriage of Music to Philosophy.Peter Kivy - 2017 - Journal of Aesthetics and Art Criticism 75 (4):429-438.
    Philosophers since Plato, at least some philosophers, have, from time to time, seen music as an appropriate object of philosophical scrutiny. And, of course, in the nineteenth century, Schopenhauer and Nietzsche elevated music to a level of philosophical importance never reached before that time. But the marriage of music to philosophy ended in divorce at the close of the nineteenth century, and, as well, there occurred a sharp decline in the philosophical study of the arts tout court. However, with the (...)
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  10.  1
    Artist and Aesthete: A Dual Portrait.Jerrold Levinson - 2017 - Journal of Aesthetics and Art Criticism 75 (4):479-487.
    Two of the principal roles or positions in the aesthetic/artistic situation are those of artist and aesthete. The former is obviously primarily a creative role, while the latter is obviously primarily an appreciative role. And these roles, as we know, are also interdependent: aesthetes would have little, or at any rate less, to appreciate without artists, while artists would have little, or at any rate less, creative motivation without appreciators, with aesthetes as the most important vanguard therein. But what, more (...)
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  11. Ethical Criticism and the Interpretation of Art.Ted Nannicelli - 2017 - Journal of Aesthetics and Art Criticism 75 (4):401-413.
    This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical criticism, I (...)
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  12.  1
    Engineered Niches and Naturalized Aesthetics.Richard A. Richards - 2017 - Journal of Aesthetics and Art Criticism 75 (4):465-477.
    Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...)
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  13.  1
    Introduction: Where Do We Come From? What Are We? Where Are We Going?Robert Stecker & Theodore Gracyk - 2017 - Journal of Aesthetics and Art Criticism 75 (4):335-337.
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  14.  4
    KATAN, EINAV. Embodied Philosophy in Dance: Gaga and Ohad Naharin's Movement Research. Palgrave Macmillan UK, 2016, Xviii + 228 Pp., 10 Color Illus., $99.99 Cloth. [REVIEW]Aili Bresnahan - 2017 - Journal of Aesthetics and Art Criticism 75 (3):310-311.
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  15.  5
    Abstract Generationism: A Response to Friedell.Wesley D. Cray - 2017 - Journal of Aesthetics and Art Criticism 75 (3):289-292.
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  16.  14
    Types, Tokens, and Talk About Musical Works.Julian Dodd & Philip Letts - 2017 - Journal of Aesthetics and Art Criticism 75 (3):249-263.
    It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...)
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  17.  12
    Walton's Quasi-Emotions Do Not Go Away.Miguel F. Dos Santos - 2017 - Journal of Aesthetics and Art Criticism 75 (3):265-274.
    The debate about how to solve the paradox of fiction has largely been a debate between Kendall Walton and the so-called thought theorists. In recent years, however, Jenefer Robinson has argued, based on her affective appraisal theory of emotion, for a noncognitivist solution to the paradox as an alternative to the thought theorists’ solution and especially to Walton's controversial solution. In this article, I argue that, despite appearances to the contrary, Robinson's affective appraisal theory is compatible with Walton's solution, at (...)
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  18. CROWTHER, PAUL. How Pictures Complete Us: The Beautiful, the Sublime, and the Divine. Stanford University Press, 2016, Xiv +178 Pp., 19 B&W Illus., $22.95 Paper. [REVIEW]Elena Fell & Irina Mirenkova - 2017 - Journal of Aesthetics and Art Criticism 75 (3):321-324.
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  19. A New Question About Color.Cynthia A. Freeland - 2017 - Journal of Aesthetics and Art Criticism 75 (3):231-248.
    Philosophers of art have advanced our understanding of the role of color in realistic representation in painting. This article addresses a new question about how color functions expressively in art. I sketch some ways to answer this question, using examples of paintings by Mark Rothko and light art installation works by James Turrell and Olafur Eliasson.
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  20.  2
    Abstract and Concrete Products: A Response to Cray.Friedell David - 2017 - Journal of Aesthetics and Art Criticism 75 (3):292-296.
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  21.  1
    MCGREGOR, RAFE. The Value of Literature. Rowman and Littlefield International, 2016, Xii + 161 Pp., $120.00 Cloth. [REVIEW]Robbie Kubala - 2017 - Journal of Aesthetics and Art Criticism 75 (3):311-314.
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  22.  2
    Montero, Barbara Gail. Thought in Action: Expertise and the Conscious Mind. Oxford University Press, 2016, XIV + 288 Pp., $65.00 Cloth. [REVIEW]Thomas Leddy - 2017 - Journal of Aesthetics and Art Criticism 75 (3):315-318.
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  23.  1
    HAGBERG, GARRY L., Ed. Fictional Characters, Real Problems: The Search for Ethical Content in Literature. Oxford University Press, 2016, Xii + 389 Pp., $90.00 Cloth. [REVIEW]Ira Newman - 2017 - Journal of Aesthetics and Art Criticism 75 (3):306-310.
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  24. TAYLOR, PAUL C. Black Is Beautiful: A Philosophy of Black Aesthetics. Malden, MA: John Wiley & Sons, 2016, Xv + 188 Pp., 7 B&W Illus., $89.95 Cloth, $29.95 Paper. [REVIEW]Monique Roelofs - 2017 - Journal of Aesthetics and Art Criticism 75 (3):299-302.
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  25. FOSTER, ROGER S. Adorno and Philosophical Modernism: The Inside of Things. Lenham, MD: Lexington Books, 2016, Xiii + 245 Pp., $99.00 Cloth. [REVIEW]Martin Shuster - 2017 - Journal of Aesthetics and Art Criticism 75 (3):324-326.
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  26.  5
    Sport, Make-Believe, and Volatile Attitudes.Stear Nils-Hennes - 2017 - Journal of Aesthetics and Art Criticism 75 (3):275-288.
    The outcomes of sports and competitive games excite intense emotions in many people, even when those same people acknowledge that those outcomes are of trifling importance. I call this incongruity between the judged importance of the outcome and the intense reactions it provokes the Puzzle of Sport. The puzzle can be usefully compared to another puzzle in aesthetics: the Paradox of Fiction, which asks how it is we become emotionally caught up with events and characters we know to be unreal. (...)
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  27.  1
    SWIRSKI, PETER. American Crime Fiction: A Cultural History of Nobrow Literature as Art. Palgrave MacMillan, 2016, Xiii + 222 Pp., 12 B&W Illus., $99.99 Cloth. [REVIEW]Iris Vidmar - 2017 - Journal of Aesthetics and Art Criticism 75 (3):318-321.
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  28.  2
    Lopes, Dominic Mciver, Four Arts of Photography: An Essay in Philosophy. Malden, Ma: Wiley, 2016, XVI + 177 Pp., 9 B & W + 1 Color Illus., $99.95 Cloth. [REVIEW]Scott Walden - 2017 - Journal of Aesthetics and Art Criticism 75 (3):303-306.
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  29.  1
    Socratic Narrative: A Reply to Diehl.Alexander Westenberg - 2017 - Journal of Aesthetics and Art Criticism 75 (3):296-297.
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  30.  12
    Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  31.  2
    CHAKRABARTI, ARINDAM, Ed. The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art. New York: Bloomsbury Academic, 2016, 417 Pp., 5 Color + 37 B&W Illus., $176.00 Cloth. [REVIEW]Nalini Bhushan - 2017 - Journal of Aesthetics and Art Criticism 75 (2):201-205.
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  32.  3
    Inviting a Scandalous Look: Detecting the Fabulous Fabula Promoted by the Twist Film.Cameron Ed - 2017 - Journal of Aesthetics and Art Criticism 75 (2):155-167.
    This article argues that the explicit narrative twist that constitutes the mode of narration of twist films opens the potential for an additional implied twist that emerges in the awoken interpretive process of the viewer. Relying on Roland Barthes's notion of the “writerly” mode of narrative, this article further argues that this mode of implied twist narration inadvertently rearranges the spectator relationship to story construction in potentially any film by bringing spectator desire into focus.
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  33.  1
    MARSHALL, CHRISTOPHER R. Baroque Naples and the Industry of Painting: The World in the Workbench. Yale University Press, 2016, 352 Pp., 88 Color + 115 B&W Illus., $75.00 Cloth NAPOLI, NICHOLAS J. The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino. Burlington, VT: Ashgate, 2015, 430 Pp., 36 Color + 64 B&W Illus., $120.00 Cloth. [REVIEW]David Carrier - 2017 - Journal of Aesthetics and Art Criticism 75 (2):208-210.
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  34.  7
    Descriptivism and Its Discontents.David Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (2):117-129.
    Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...)
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  35.  3
    Unruly Tones: A Reply to Ravasio.John Dyck - 2017 - Journal of Aesthetics and Art Criticism 75 (2):191-194.
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  36.  1
    SUKLA, ANANTA CH., Ed. Fiction and Art: Explorations in Contemporary Theory. New York: Bloomsbury Academic, 2015, 416 Pp., $39.95 Paper. [REVIEW]Bradley Elicker - 2017 - Journal of Aesthetics and Art Criticism 75 (2):217-220.
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  37.  5
    NANAY, BENCE. Aesthetics as Philosophy of Perception. Oxford University Press, 2016, 192 Pp., $65.00 Cloth. [REVIEW]John Andrew Fisher - 2017 - Journal of Aesthetics and Art Criticism 75 (2):210-214.
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  38.  1
    POLLOCK, SHELDON, Trans. And Ed. A Rasa Reader: Classical Indian Aesthetics. Columbia University Press, 2016, Xxiv + 442 Pp., $80.00 Cloth. [REVIEW]Mary Wiseman Goldstein - 2017 - Journal of Aesthetics and Art Criticism 75 (2):205-208.
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  39. The Puzzle of Factual Praise.John Holliday - 2017 - Journal of Aesthetics and Art Criticism 75 (2):169-179.
    It seems that we are not willing to give up the intuitions that works of fiction are free from the constraints of historical truth and historical inaccuracies sometimes count against the artistic value of works of fiction. Christopher Bartel calls this the puzzle of historical criticism. I argue that this puzzle extends beyond historical facts. While it is especially salient that historical accuracy at times appears relevant to the evaluation of fictional works, such relevance appears to be a feature of (...)
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  40.  2
    Analyzing Antiqueness: A Response to Curtis and Baines.Anton Killin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):195-197.
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  41. GUYER, PAUL. A History of Modern Aesthetics, Volume 2: The Nineteenth Century. Cambridge University Press, 2014, Vii +478, $355.00 Cloth [for 3-Volume Set]. [REVIEW]J. Colin Mcquillan - 2017 - Journal of Aesthetics and Art Criticism 75 (2):199-201.
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  42.  2
    PARSONS, GLENN. The Philosophy of Design. Polity Press, 2016, 192 Pp., $22.95 Paper. [REVIEW]G. A. L. Michalle - 2017 - Journal of Aesthetics and Art Criticism 75 (2):214-217.
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  43.  7
    Video Games and Imaginative Identification.Patridge Stephanie - 2017 - Journal of Aesthetics and Art Criticism 75 (2):181-184.
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  44.  2
    Why B-Flat Is Not Natural: Reply to Dyck.Matteo Ravasio - 2017 - Journal of Aesthetics and Art Criticism 75 (2):187-191.
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  45.  16
    Still Self-Involved: A Reply to Patridge.Jon Robson & Aaron Meskin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):184-187.
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  46.  8
    Psychologism and Completeness in the Arts.Rohrbaugh Guy - 2017 - Journal of Aesthetics and Art Criticism 75 (2):131-141.
    When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...)
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  47.  2
    Call for Papers The Good, the Beautiful, the Green: Environmentalism and Aesthetics.Sandra Shapshay & Levi Tenen - 2017 - Journal of Aesthetics and Art Criticism 75 (2):113-113.
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  48.  9
    GUYER, PAUL. A History of Modern Aesthetics, Volume I: The Eighteenth Century. Cambridge University Press, 2014, Xii + 578, $355.00 Cloth [for 3-Volume Set]. [REVIEW]Timothy M. Costelloe - 2017 - Journal of Aesthetics and Art Criticism 75 (1):81-84.
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  49.  11
    An Error Concerning Noses.Gregory Currie & Jerrold Levinson - 2017 - Journal of Aesthetics and Art Criticism 75 (1):9-13.
    We identify a strategy for getting beliefs from fiction via three assumptions: a certain causal generality holds in the fiction and does so because causal generalities in fiction are carried over from what the author takes to be fact; the author is reliable on this topic, so what the author takes to be fact is fact. We do not question. While will, in particular cases, be doubtful, the strategy is vulnerable more generally to the worry that what looks like a (...)
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  50.  2
    DORAN, ROBERT. The Theory of the Sublime From Longinus to Kant. Cambridge University Press, 2015, Xiii + 313 Pp., $99.99 Cloth. [REVIEW]Michael Funk Deckard - 2017 - Journal of Aesthetics and Art Criticism 75 (1):84-86.
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  51. KONSTAN, DAVID. Beauty: The Fortunes of an Ancient Greek Idea. Oxford University Press, 2015, X + 262 Pp., $29.95 Cloth. [REVIEW]Sarah R. Jansen - 2017 - Journal of Aesthetics and Art Criticism 75 (1):86-88.
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  52. WARTENBERG, THOMAS E. Mel Bochner: Illustrating Philosophy. South Hadley, MA: Mount Holyoke College Art Museum, 2015, 48 Pp., 30 Color Illus., $19.95 Cloth. [REVIEW]Graham Mcfee - 2017 - Journal of Aesthetics and Art Criticism 75 (1):94-96.
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  53.  5
    The Emergence of Sound Art: Opening the Cages of Sound.Carmen Pardo - 2017 - Journal of Aesthetics and Art Criticism 75 (1):35-48.
    This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same (...)
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  54. ALLEN, BARRY. Striking Beauty: A Philosophical Look at the Asian Martial Arts. Columbia University Press, 2015, Xiii + 253 Pp., $30.00 Cloth. [REVIEW]F. Pfister Lauren - 2017 - Journal of Aesthetics and Art Criticism 75 (1):100-102.
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  55.  5
    Coherence, Literary and Epistemic.Charles Repp - 2017 - Journal of Aesthetics and Art Criticism 75 (1):59-71.
    Coherence is a term of art in both epistemology and literary criticism, and in both contexts judgments of coherence carry evaluative significance. However, whereas the epistemic use of the term picks out a property of belief sets, the literary use can pick out properties of various elements of a literary work, including its plot, characters, and style. For this reason, some have claimed that literary critics are not concerned with the same concept of coherence as epistemologists. In this article I (...)
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  56.  9
    On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  57.  2
    ROELOFS,਀MONIQUE. The Cultural Promise of the Aesthetic. New York, NY: Bloomsbury Academic, 2015, 288 Pp., $34.95 Paper. [REVIEW]Michael Szekely - 2017 - Journal of Aesthetics and Art Criticism 75 (1):97-100.
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  58.  11
    What's My Motivation? Video Games and Interpretative Performance.Tavinor Grant - 2017 - Journal of Aesthetics and Art Criticism 75 (1):23-33.
    The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their players: if a decision (...)
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  59.  47
    Fictionality and Imagination, Revisited.Lee Walters - 2017 - Journal of Aesthetics and Art Criticism 75 (1):15-21.
    I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.
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  60. WIESING, LAMBERT. The Philosophy of Perception: Phenomenology and Image Theory. Trans. Nancy Ann Roth. New York: Bloomsbury Academic, 2014, Ix +166 Pp., $120.00 Cloth, $39.95 Paper. [REVIEW]Michael Watkins & Loxley Compton - 2017 - Journal of Aesthetics and Art Criticism 75 (1):88-90.
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  61.  2
    CAHAN, SUSAN E. Mounting Frustration: The Art Museum in the Age of Black Power. Duke University Press, 2016, 360 Pp., 20 Color + 93 B&W Illus., $34.95 Cloth. HEIN, HILDE. Museums and Public Art: A Feminist Vision. Cambridge, MA: Harvard Book Store, 2014, 250 Pp., $17.95 Paper. [REVIEW]Weiser Peg Brand - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
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    Mounting Frustration: The Art Museum in the Age of Black Power, by Susan E. Cahan, and Museums and Public Art: A Feminist Vision, by Hilde Hein. [REVIEW]Peg Zeglin Brand Weiser - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
    These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.
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  63.  74
    Fiction Unlimited.Nathan Wildman & Christian Folde - 2017 - Journal of Aesthetics and Art Criticism 75 (1):73-80.
    We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.
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