144 found
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  1.  98
    The Aesthetics of Environment.Arnold Berleant - 1995 - Temple University Press.
    Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to countryside to wilderness, this book discovers in the (...)
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  2.  76
    Sensibility and Sense: The Aesthetic Transformation of the Human World.Arnold Berleant - 2010 - Imprint Academic.
    Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. _Sensibility and Sense_ offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both (...)
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  3.  80
    Art and engagement.Arnold Berleant - 1991 - Philadelphia: Temple University Press.
    In this book Arnold Berleant develops a bold alternative to the eighteenth-century aesthetic of disinterestedness.
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  4.  29
    Re-Thinking Aesthetics: Rogue Essays on Aesthetics and the Arts.Arnold Berleant - 2016 - Routledge.
    The essays, collected by Berleant in this volume all express the impulse to reject the received wisdom of modern aesthetics: that art demands a mode of experience sharply different from others and unique to the aesthetic situation, and that the identity of the aesthetic lies in keeping it distinct from other kinds of human experience, such as the moral, the practical, and the social. Berleant shows, on the contrary, that the value, the insight, the force of art and the aesthetic (...)
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  5. The Aesthetics of Environment.Arnold Berleant & Stephen Bourassa - 1994 - Environmental Values 3 (2):173-182.
     
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  6.  31
    The Aesthetics of Environment.Arnold Berleant - 1994 - Journal of Aesthetics and Art Criticism 52 (4):477-480.
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  7. Living in the Landscape: Towards an Aesthetics of Environment.Arnold Berleant - 1998 - Journal of Aesthetics and Art Criticism 56 (3):302-303.
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  8. Art and Engagement.Arnold BERLEANT - 1991 - Journal of Speculative Philosophy 7 (1):73-76.
     
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  9.  55
    The Aesthetics of Natural Environments.Allen Carlson & Arnold Berleant (eds.) - 2004 - Peterborough, CA: Broadview Press.
    The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature and value of (...)
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  10. Aesthetics and environment: Variations on a theme.Arnold Berleant - 2005 - Burlington, VT: Ashgate.
    I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization of art as social (...)
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  11. Aesthetics and Environment: Variations on a Theme.Arnold Berleant - 2006 - Environmental Values 15 (4):534-535.
     
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  12. The aesthetic field.Arnold Berleant - 1970 - Springfield, Ill.,: Thomas.
    The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...)
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  13. The Aesthetics of Human Environments.Arnold Berleant & Allen Carlson (eds.) - 2007 - Peterborough, CA: Broadview Press.
    The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living spaces on the routine activities (...)
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  14.  32
    Multinationals, local practice, and the problem of ethical consistency.Arnold Berleant - 1982 - Journal of Business Ethics 1 (3):185 - 193.
    The business practices of multinational corporations raise many provocative moral issues and offer a touchstone for some fundamental ethical concepts. This essay identifies a wide range of problems but centers on the matter of consistency in corporate policy between foreign and domestic practices and the kind of generality of standards that is required to achieve consistency. Two considerations are singled out for illustrative discussion: wage scales and bribes. Proposals are offered for achieving consistency and generality in each case, the principle (...)
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  15. Some Questions for Ecological Aesthetics.Arnold Berleant - 2016 - Environmental Philosophy 13 (1):123-135.
    Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...)
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  16. Environmental Sensibility.Arnold Berleant - 2014 - Studia Phaenomenologica 14:17-23.
    Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...)
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  17.  97
    The historicity of aesthetics — I.Arnold Berleant - 1986 - British Journal of Aesthetics 26 (2):101-111.
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  18. Re-thinking Aesthetics.Arnold Berleant - 1999 - Filozofski Vestnik 20 (2):25-33.
    This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and that (...)
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  19. An Exchange on Disinterestedness.Arnold Berleant & Ronald Hepburn - 2003 - Contemporary Aesthetics 1.
    The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.
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  20. Beyond disinterestedness.Arnold Berleant - 1994 - British Journal of Aesthetics 34 (3):242-254.
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  21.  40
    Objects into Persons: The Way to Social Aesthetics.Arnold Berleant - 2017 - Espes 6 (2):9-18.
    This essay traces the steps to social aesthetics. It begins by affirming the central place of sense experience for aesthetics and its refinement in the perceptual acuity of a developed sensibility. This leads to associating aesthetic appreciation with such perceptual experience. Rejecting the identification of disinterestedness with such appreciation, the present paper proposes the full participatory involvement in the experience of appreciation as expressed by the concept of aesthetic engagement. This describes the appreciative situation as an aesthetic field in which (...)
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  22. Cultivating an Urban Aesthetic.Arnold Berleant - 1986 - Diogenes 34 (136):1-18.
    For most people the city, particularly the industrial city, is the antithesis of the aesthetic. While there may be sections that have their charm, trucks and automobiles have conquered the urban streets and pedestrians scurry before them like vanquished before a victor. Gardens and parks are occasional oases amidst the stone desert of concrete and asphalt, but the dominating features of urban experience remain mechanical and electronic noise, trash, monolithic skyscrapers, and moving vehicles. The personal and intimate are swallowed up (...)
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  23.  39
    Introduction.Arnold Berleant & Allen Carlson - 1998 - Journal of Aesthetics and Art Criticism 56 (2):97-100.
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  24.  29
    Information Theory and Esthetic Perception.Arnold Berleant - 1967 - Philosophy and Phenomenological Research 28 (2):280.
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  25. Introduction: The aesthetics of nature.Allen Carlson & Arnold Berleant - 2004 - In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Peterborough, CA: Broadview Press. pp. 11--42.
     
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  26.  14
    An Anatomy of Values: Problems of Personal and Social Choice.Arnold Berleant - 1971 - Philosophy and Phenomenological Research 32 (3):416-417.
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  27.  19
    Aesthetics and the Theory of Criticism.Arnold Berleant - 1976 - Philosophy and Phenomenological Research 36 (4):583-584.
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  28.  22
    Aesthetics Beyond the Arts: New and Recent Essays.Arnold Berleant - 2012 - Routledge.
    The essays in this volume exhibit many sides of the perceptual complex that is the aesthetic field and develop them in different ways. They reinvigorate our understanding of such arts as music and architecture; they range across the natural landscape to the urban one; they reassess the place of beauty in the modern environment and reassess the significance of the contributions to aesthetic theory of Kant and Dewey; and they broach the kinds of meanings and larger understanding that aesthetic engagement (...)
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  29.  16
    On Yuriko Saito, Aesthetics of care: practice in everyday life. London, Bloomsbury, 2022, pp. 232.Yuriko Saito, Arnold Berleant, David E. Cooper & Mădălina Diaconu - 2023 - Studi di Estetica 27 (3).
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  30. Environment and the Arts: Perspectives on Environmental Aesthetics.Arnold Berleant - 2004 - Environmental Values 13 (1):121-123.
     
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  31. Experience and theory in aesthetics.Arnold Berleant - 1986 - In Michael H. Mitias (ed.), Possibility of the aesthetic experience. Norwell, MA, USA: Distributors for the U.S. and Canada, Kluwer Academic. pp. 91--106.
    From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...)
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  32. Reconsidering Scenic Beauty.Arnold Berleant - 2010 - Environmental Values 19 (3):335 - 350.
    Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...)
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  33. The Critical Aesthetics of Disney World.Arnold Berleant - 1994 - Journal of Applied Philosophy 11 (2):171-180.
    It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...)
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  34. Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
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  35. Aesthetics and Environment Reconsidered: Reply to Carlson: Articles.Arnold Berleant - 2007 - British Journal of Aesthetics 47 (3):315-318.
    Allen Carlson finds three central problems in my book, Aesthetics and Environment : that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.
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  36. The Idea of a Cultural Aesthetic.Arnold Berleant - 2003 - Dialogue and Universalism 13 (11-12):113-122.
    In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...)
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  37. The Soft Side of Stone.Arnold Berleant - 2007 - Environmental Philosophy 4 (1-2):49-58.
    Stone represents the firmness and intransigence of the world within which we live and act. But beyond the perception and appropriations of stone, diverse meanings lie hidden between the hardness of stone and its uses. At the same time meaning must be grounded in the stabilizing presence of a common world. Yet if all that can be said is not about stone simpliciter but only an aesthetics of its perception, uses, and meanings, have we not gained the whole world but (...)
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  38. The Art in Knowing a Landscape.Arnold Berleant - 2012 - Diogenes 59 (1-2):52-62.
    What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...)
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  39. Making Theory, Making Sense: Comments on Ronald Moore's Natural Beauty.Arnold Berleant - 2009 - Ethics, Place and Environment 12 (3):337-341.
    The broad scope and coherence of Natural Beauty are among its major strengths. Moore's syncretic theory tries to integrate diverse and sometimes conflicting theoretical strands. Of special importance is his recognition that the natural world is a social institution embodying perceptions that are conditioned, experiences communicated through language, and social beliefs and conventions. These lead him to consider the natural world as actually artifactual, and he terms it the 'natureworld'. Among the consequences of this is the reciprocity of natural and (...)
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  40. Aesthetic Paradigms for an Urban Ecology.Arnold Berleant - 1978 - Diogenes 26 (103):1-28.
    Environmental aesthetics has become a matter of concern to many different groups in recent years—to conservationists, to legislators, reluctantly to industrialists, and indeed to the public at large. This interest seems to have a clear purpose. It is regarded as an effort, belated and desperate, to save the resources and beauties of our natural world from the possibility of complete and irrecoverable exploitation, and from the disfigurement and loss that must follow. It is an attempt to change the atmosphere from (...)
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  41. Notes for a phenomenology of musical performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
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  42.  17
    The Aesthetics of the Environment.Theodore G. Ammon & Arnold Berleant - 1994 - Journal of Aesthetic Education 28 (4):110.
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  43.  58
    Aesthetics and the contemporary arts.Arnold Berleant - 1970 - Journal of Aesthetics and Art Criticism 29 (2):155-168.
  44.  25
    The Aesthetics of Landscape.Arnold Berleant - 1994 - Journal of Aesthetic Education 28 (1):115.
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  45.  18
    The social postulate of theoretical ethics.Arnold Berleant - 1970 - Journal of Value Inquiry 4 (1):1-16.
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  46.  21
    Information Theory and Esthetic Perception.Arnold Berleant - 1967 - Philosophy and Phenomenological Research 28 (2):280-282.
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  47. A Rose by Any Other Name.Arnold Berleant - 2007 - Filozofski Vestnik 28 (2):151 - +.
    This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...)
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  48. Space by Design: Aesthetic and Moral Issues in Planning Space Communities.Arnold Berleant & Sarah B. Fowler - 1988 - The Monist 71 (1):72-87.
    We live in an age in which outer space has changed from a theme for flights of science fiction to the actual locus of exploration and travel.1 Space no longer has merely speculative significance for thinking about possible worlds; it has become a real factor in understanding the nature and conditions of the human world that we are constantly refashioning. Our entry into outer space brings with it changes in conditions and experience that require us to rethink the concepts through (...)
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  49. The sensuous and the sensual in aesthetics.Arnold Berleant - 1964 - Journal of Aesthetics and Art Criticism 23 (2):185-192.
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  50. 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 this vantage point, the (...)
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