Results for 'Aesthetic experience'

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  1. Authenticity and the Aesthetic Experience of History.Erich Hatala Matthes - 2018 - Analysis 78 (4):649-657.
    In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the way (...)
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  2. The Role Of Aesthetic Experience.Anil Gomes - 2007 - Postgraduate Journal of Aesthetics 4 (1):1-17.
    One of the abiding themes of the three essays which make up Iris Murdoch’s wonderful The Sovereignty of Good1 is that experience can be a way of our coming to possess aesthetic concepts. “We learn through attending to contexts, vocabulary develops through close attention to objects, and we can only understand others if we can to some extent share their [spatio-temporal and conceptual] contexts.” (IP, p.31). My interest in this paper is in what account of aesthetic (...) can respect this intuition; that “close attention to objects” can play an important role in our acquisition of aesthetic knowledge and concepts. I want to suggest that certain debates in the philosophy of mind can help us consider how aesthetic experience must be structured in order to play this role. (shrink)
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  3. Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2018 - Cognitive Processing 2 (19):201-213.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted (...)
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  4. Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally (...)
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  5. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  6. Defending the Content Approach to Aesthetic Experience.Noël Carroll - 2015 - Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  7.  61
    Freedom And Receptivity In Aesthetic Experience.Ronald Hepburn - 2006 - Postgraduate Journal of Aesthetics 3 (1):1-14.
    No-one can read far into our subject without finding an author linking aesthetic experience and freedom in one sense or another: Kant, notably of course, but also Schopenhauer, Schiller, and many more. In this article I want first [A] to remind you in a sentence or two of those by now classic ways of connecting concepts of freedom and aesthetic experience, and then [B] to outline some thoughts of my own. Section [C] opens up in more (...)
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  8.  32
    Aesthetic Experience, Aesthetic Value.Jane Forsey - 2017 - Estetika 54 (2):175-188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  9.  20
    The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  10.  61
    Dewey’s Institutions of Aesthetic Experience.Joseph Swenson - 2018 - Southwest Philosophy Review 34 (1):217-224.
    I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a (...)
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  11.  71
    Silencing Theodicy with Enthusiasm: Aesthetic Experience as a Response to the Problem of Evil in Shaftesbury, Annie Dillard, and the Book of Job.John McAteer - 2016 - Heythrop Journal 57 (5):788-795.
    The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate (...)
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  12. The Historical Contingency of Aesthetic Experience.Brian Rosebury - 2000 - British Journal of Aesthetics 40 (1):73-88.
    The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed (...)
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  13.  56
    Naturalism and Aesthetic Experience.Arnold Berleant - 1995 - Journal of Speculative Philosophy 9 (3):237 - 240.
    In my recent book, Art and Engagement (1991), I develop the idea of aesthetic engagement as central to the appreciation of art. The human contribution to the constitution of the "work" of art, I claim, is a critical part of appreciative experience. This contribution, however, is easily misread into the history of the idea of experience that has dominated Western philosophy since the seventeenth century, a history that sees experience as an inner, personal, subjective affair. From (...)
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  14.  14
    Reconsidering Ingarden’s Contribution to European Aesthetics: Aesthetic Experience and the Concept of Encounter.Małgorzata Anna Szyszkowska - 2018 - Espes 7 (1):47-56.
    Entering the discussion about European Aesthetic traditions, their aspirations and achievements, their metamorphosis and developments, author argues in favor of acknowledging the importance of what in her opinion should be seen as milestone in Polish tradition of aesthetics. One such important element of European Aesthetic tradition that author wishes to acknowledge is the phenomenological aesthetics developed by Roman Ingarden in the 30-ties and especially two concepts which best show lasting power of Ingraden’s contributions. Author describes the concept of (...)
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  15.  6
    Culture and Affect in Aesthetic Experience of Pictorial Realism: An Eighteenth-Century Korean Literatus’ Reception of Western Religious Painting in Beijing.Ju-Yeon Hwang - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (1):175-188.
    Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold (...)
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  16.  17
    Sensible Schemes in Aesthetic Experience. Neuroaesthetics and Transcendental Philosophy Compared.Lidia Gasperoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):63-73.
    My paper sets out to compare neuroaesthetics and transcendental philosophy, concerning the perception of schemes of imitation in aesthetic experience. The argument is structured in four steps: first, I will introduce the function of schemes in mirror-neuron-based processes and in general in the embodiment theory of Mark Johnson and George Lakoff; second, I will consider some analogical relations between a transcendental approach and neuroaesthetics concerning semantics; third, starting with the statement that one open question in neuroaesthetics is how (...)
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  17.  33
    Aesthetic Experience, Mimesis and Testimony.Roger W. H. Savage - 2012 - Études Ricoeuriennes / Ricoeur Studies 3 (1):172-193.
    In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity (...)
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  18.  9
    The Aesthetic Experience of Kandinsky's Abstract Art: A Polemic with Henry's Phenomenological Analysis.Anna Ziółkowska-Juś - 2017 - Estetika 54 (2):212-237.
    The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite (...)
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  19.  7
    Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of (...)
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  20.  25
    Aesthetic Experience, Medical Practice, and Moral Judgement. Critical Remarks on Possibilities to Understand a Complex Relationship.Marcus Düwell - 1999 - Medicine, Health Care and Philosophy 2 (2):161-168.
    The aim of the paper is to examine the possible relationships between the different dimensions of aesthetics on the one hand, and medical practice and medical ethics on the other hand. Firstly, I consider whether the aesthetic perception of the human body is relevant for medical practice. Secondly, a possible analogy between the artistic process and medical action is examined. The third section concerns the comparison between medical ethical judgements and aesthetic judgement of taste. It is concluded that (...)
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  21.  23
    Modernism and “Aesthetic Experience”: Art, Aesthetics – and the Role of Modernism.Kyndrup Morten - 2016 - Nordic Journal of Aesthetics 25 (51).
    The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a “divorce” after the (...)
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  22.  97
    The Affective Experience of Aesthetic Properties.Kris Goffin - 2019 - Pacific Philosophical Quarterly 100 (1):283-300.
    It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective account. (...)
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  23. Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience.Corey Abel - forthcoming - In Leslie MArsh Paul Franco (ed.), Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. Penn State UP.
    This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important (...)
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  24.  6
    Uwagi Na Temat Wartości, Wartościowania I Doświadczenia Estetycznego (Remarks on Values, Evaluation and Aesthetic Experience in Contemporary Aesthetics).Małgorzata Szyszkowska - 2019 - Sztuka I Filozofia 55 (2).
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  25. Comments on Jerrold Levinson's "Towards a Non-Minimalist Understanding of Aesthetic Experience".Elisa Caldarola - 2015 - Comparative Studies in Modernism 6.
     
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  26.  40
    Feeling the Aesthetic: A Pluralist Sentimentalist Theory of Aesthetic Experience.Rasmus Rosenberg Larsen & David Sackris - 2020 - Estetika 57 (2):116–134.
    Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed (...)
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  27.  87
    The Aesthetic Experience of Nursing.R. N. Austgard - 2006 - Nursing Philosophy 7 (1):11–19.
  28. The Science of Art: A Neurological Theory of Aesthetic Experience.Vilayanur S. Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience (...)
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  29. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes (...)
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  30.  43
    Category Independent Aesthetic Experience: The Case of Wine.David Sackris - 2013 - Journal of Value Inquiry 47 (1-2):111-120.
    Kendall Walton’s “Categories of Art” seeks to situate aesthetic properties contextually. As such, certain knowledge is required to fully appreciate the aesthetic properties of a work, and without that knowledge the ‘correct’ or ‘true’ aesthetic properties of a work cannot be appreciated. The aim of this paper is to show that the way Walton conceives of his categories and art categorization is difficult to square with certain kinds of aesthetic experience—kinds of experience that seems (...)
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  31.  50
    Beyond Words, Things, Thoughts, Feelings: Essays on Aesthetic Experience.Ha Poong Kim - 2011 - Sussex Academic Press.
    It is a state of mind thus markedly different from our everyday experience, where thought processes impinge on our consciousness. In this book, Ha Poong Kim shares his thoughts on aesthetic experience.
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  32. Exploring the Relationship Between Humor and Aesthetic Experience. Gordon - 2012 - Journal of Aesthetic Education 46 (1):111-121.
    The connection between humor and aesthetic experience has already been recognized by several thinkers and aesthetic educators. For instance, humor theorist John Morreall writes that "humor is best understood as itself a kind of aesthetic experience, equal in value at least to any other kind of aesthetic experience."1 For Morreall, both humor and aesthetic experience involve the use of the imagination, are accompanied by a sense of freedom, and often lead to (...)
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  33.  7
    Aesthetic Experience and the Powers of Possession.Richard Shusterman - 2019 - Journal of Aesthetic Education 53 (4):1.
    Since the second half of the twentieth century, the influential concept of aesthetic experience has been strongly criticized by powerful voices both in analytic philosophy and in continental theory, sometimes to the point of rejecting its significance for art or even to denying its very existence. Nonetheless, it stubbornly reasserts itself as central to understanding art's meaning and value. Philosophical critique of aesthetic experience takes multiple forms. Theorists seeking a definition of art generally reject aesthetic (...)
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  34.  22
    Schopenhauer and Murdoch on the Ethical Value of the Loss of Self in Aesthetic Experience.W. Scott Clifton - 2017 - Journal of Aesthetic Education 51 (4):5-25.
    In this paper, I construct an ethical-aesthetic account based on the work of Arthur Schopenhauer and Iris Murdoch, centered on the claims that motive matters to morality and that, specifically, acting from compassion—understood as a combination of cognitive empathy and concern—is necessary for making moral decisions. I present empirical evidence that we are naturally inaccurate when it comes to cognitive empathy, suggesting that many of our moral decisions are made in ignorance of the interests of others. We can improve (...)
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  35.  15
    Narrative Inquiry as an Approach for Aesthetic Experience: Life Stories in Perceiving and Responding to Works of Art. McKenna - 2015 - Journal of Aesthetic Education 49 (4):87-104.
    Instruction in the arts of life is something other than conveying information about them. It is a matter of communication and participation in values of life by means of imagination, and works of art are the most intimate and energetic means of aiding individuals to share in the arts of living. In teaching for aesthetic experience, I ask my students, most of whom are classroom teachers, to bring their lived experiences to each encounter with a work of art (...)
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  36.  25
    Visions of the body. Embodied simulation and aesthetic experience.Vittorio Gallese - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):41-50.
    The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective that is (...)
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  37.  13
    Gaining Perspectives on Our Lives: Moods and Aesthetic Experience.Susanne Schmetkamp - 2017 - Philosophia 45 (4):1681-1695.
    This article examines the role of moods in aesthetic experience by focussing on film. It considers specifically the function of moods in relation to narrative and aesthetic perspectives which a film provides and which recipients are invited to adopt. I distinguish superficial transitory moods from profound enduring ones. This differentiation is important with regard to the question why moods in film matter and why they are different from emotions. I will focus on Lars von Trier’s film “Melancholia” (...)
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  38.  5
    Embodied Simulation. Its Bearing on Aesthetic Experience and the Dialogue Between Neuroscience and the Humanities.Vittorio Gallese - 2019 - Gestalt Theory 41 (2):113-127.
    Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is (...)
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  39. Aesthetic Experience Revisited.Noël Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  40.  20
    Feeling Beauty: The Neuroscience of Aesthetic Experience.G. Gabrielle Starr - 2013 - MIT Press.
    A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry.
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  41.  21
    Our Sense of the Real: Aesthetic Experience and Arendtian Politics.Kimberley Curtis - 1999 - Cornell University Press.
    Arendt's innovation is to recognize that this countenancing of others is an aesthetic experience that creates the political world.Curtis plumbs the relevance of ...
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  42.  64
    Remapping the Realm of Aesthetics: On Recent Controversies About the Aesthetic and Aesthetic Experience in Everyday Life.Dan Eugen Ratiu - 2013 - Estetika 50 (1):3-26.
    This article addresses two controversial open questions in philosophical aesthetics: the nature and value of the aesthetic and of aesthetic experience when approached from the standpoint of ‘aesthetics of everyday life’ (AEL). Contrasting ‘strong’ AEL accounts that consider them radically different from those in the sphere of art, I claim that extending the realm and scope of aesthetics towards everyday life does not necessarily dispense with the concepts of the aesthetic and aesthetic experience as (...)
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  43. The Aesthetic Experience.Derek Matravers - 2003 - British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving (...)
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  44.  67
    The Broad View of Aesthetic Experience.Alan H. Goldman - 2013 - Journal of Aesthetics and Art Criticism 71 (4):323-333.
    Peter Kivy and Noël Carroll advocate a narrow view of aesthetic experience according to which it consists mainly in attention to formal properties. Excluded are cognitive and moral properties. I defend the broader view that includes the latter properties. I argue first that cognition and moral assessment can be inseparable in experience from grasp of form and expressiveness. Second, Kivy and Carroll must extend the notion of form itself beyond ordinary usage to accommodate acknowledged aesthetic (...). Third, the broad view has a more impressive historical lineage than the narrow view. Fourth, aesthetic experience is appreciation of aesthetic value, and the latter is more plausibly analyzed in a broad way. (shrink)
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  45.  26
    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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  46.  28
    Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor.Tim L. Elcombe - 2012 - Journal of the Philosophy of Sport 39 (2):201-217.
    Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ?is sport art?? and ?are aesthetics implicit to sport??, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, (...)
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  47. Aesthetic Experience and Aesthetic Object.Roman Ingarden - 1960 - Philosophy and Phenomenological Research 21 (3):289-313.
    The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical (...)
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  48.  86
    Schopenhauer on the Values of Aesthetic Experience.Bart Vandenabeele - 2007 - Southern Journal of Philosophy 45 (4):565-582.
    In this essay, I argue that Schopenhauer’s view of the aesthetic feelings of the beautiful and the sublime shows how a “dialectical” interpretation that homogenizes both aesthetic concepts and reduces thediscrepancy between both to merely quantitative differences is flawed. My critical analysis reveals a number of important tensions in both Schopenhauer’s own aesthetic theory—which does not ultimately succeed in “merging” Plato’s and Kant’s approaches—and the interpretation that unjustly reduces the value of aesthetic experience to a (...)
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  49. Aesthetics as an Emotional Activity That Facilitates Sense-Making: Towards an Enactive Approach to Aesthetic Experience.Ioannis Xenakis & Argyris Arnellos - 2015 - Springer.
    Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic (...)
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  50.  19
    Attending to Works of Art for Their Own Sake in Art Evaluation and Analysis: Carroll and Stecker on Aesthetic Experience.Víctor Durà-Vilà - 2016 - British Journal of Aesthetics 56 (1):83-99.
    Noël Carroll denies and Robert Stecker affirms that it is a necessary condition of aesthetic experience that it should be valued for its own sake. I make use of their controversy to argue for the psychological impossibility of discharging very common practices of art evaluation and analysis without undergoing an aesthetic experience valued for its own sake. By way of supporting my thesis and also making progress in Stecker and Carroll’s dispute about aesthetic experience, (...)
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