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  1. The Possibility of Criticism.Michael Hancher - 1972 - Journal of Aesthetics and Art Criticism 30 (3):391-394.
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  • What is Interactivity?Aaron Smuts - 2009 - Journal of Aesthetic Education 43 (4):pp. 53-73.
    I argue that the term "interactive" should be considered a general-purpose term that indicates something about whatever it is applied to, whether that is art, artifact, or nature. I base my definition in the notion of "interacting with" something. First, I look for essential features of this relation, and then using these features, I develop a notion of interactivity that can help distinguish the interactive from non-interactive arts. Although I am skeptical of the benefits interactivity affords, interactive artworks are significant (...)
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  • The Possibility of Criticism.Kendall L. Walton - 1973 - Journal of Philosophy 70 (22):832-836.
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  • Video Games as Self-Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • Art as Performance.Robert Stecker - 2005 - Journal of Aesthetics and Art Criticism 63 (1):77-80.
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  • The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
  • Video Games as Mass Art.Grant Tavinor - 2011 - Contemporary Aesthetics 9.
  • Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • Authors' Intentions, Literary Interpretation, and Literary Value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...)
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  • Art as Performance.David Davies - 2005 - Philosophical Quarterly 55 (221):694-696.
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