23 found
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  1.  18
    Is Psychology Relevant to Aesthetics?Sherri Irvin, Bence Nanay, Elisabeth Schellekens & Murray Smith - forthcoming - Estetika.
    A symposium on Bence Nanay, Aesthetics as Philosophy of Art and Murray Smith, Film, Art, and the Third Culture. Commentaries on the two books by two critics, followed by responses by the two book authors.
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  2.  46
    The Aesthetic Mind: Philosophy and Psychology.Elisabeth Schellekens & Peter Goldie (eds.) - 2011 - Oxford University Press.
    The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art.
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  3. Who's Afraid of Conceptual Art?Peter Goldie & Elisabeth Schellekens - 2009 - Routledge.
    What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the (...)
     
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  4. Introduction.Peter Goldie & Elisabeth Schellekens - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
     
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  5. Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd Edn. [REVIEW]Elisabeth Schellekens - 2004 - British Journal of Aesthetics 44 (3):304-307.
  6. Philosophy and Conceptual Art.Peter Goldie & Elisabeth Schellekens - 2007 - Tijdschrift Voor Filosofie 69 (3):612-613.
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  7.  42
    Conceptual Art.Elisabeth Schellekens - 2010 - Stanford Encyclopedia of Philosophy.
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  8. Towards a Reasonable Objectivism for Aesthetic Judgements.Elisabeth Schellekens - 2006 - British Journal of Aesthetics 46 (2):163-177.
    This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which allows for some such analogies at (...)
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  9.  6
    Aesthetics and Morality.Elisabeth Schellekens - 2009 - Journal of Aesthetics and Art Criticism 67 (4):423-426.
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  10. The Aesthetic Value of Ideas.Elisabeth Schellekens - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
     
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  11. Taste and Objectivity: The Emergence of the Concept of the Aesthetic.Elisabeth Schellekens - 2009 - Philosophy Compass 4 (5):734-743.
    Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...)
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  12.  71
    Seeing is Believing' and 'Believing is Seeing.Elisabeth Schellekens - 2005 - Acta Analytica 20 (4):10-23.
    The principal concern of my paper is a distinction between two ways of appreciating works of art, characterised here in terms of the phrases ‘seeing is believing’ and ‘believing is seeing’. I examine this distinction in the light of an epistemological requirement at times at least grounded in what David Davies, in his Art as Performance , refers to as the ‘common sense theory of art appreciation’ in order to assess exactly what aspect of the philosophical approach generally known as (...)
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  13.  6
    Autonomy or Evolutionary Biology?Elisabeth Schellekens - 2011 - In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. pp. 223.
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  14.  26
    On The Rise of the Aesthetic Mind: Archaeology and Philosophy.Elisabeth Schellekens - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):113-122.
    Moving from a critical assessment of some recent attempts to define the arts in terms of adaptations, spandrels, by-products and, moreover, calling into question the continued development of the concept of the "aesthetic" in the frame of contemporary interdisciplinary research projects, the main aim of this paper is to highlight some of the ways in which archaeological objects can, at least in some respects, testify to the manifestation of the modern aesthetic mind.
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  15. Philosophy and Conceptual Art.Peter Goldie & Elisabeth Schellekens - 2008 - Journal of Aesthetics and Art Criticism 66 (2):203-205.
     
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  16.  31
    A Bridge Too Far: From Basic Exposure to Understanding in Artistic Experience.Elisabeth Schellekens - 2013 - Behavioral and Brain Sciences 36 (2):156-157.
    In the context of a broad welcome to Bullot & Reber's (B&R's) proposals concerning the incorporation of contextual awareness into the study of the psychology of art appreciation, I raise two concerns. First, the proposal makes no allowance for degrees of relevance of contextual awareness to appreciation. Second, the authors assume that and can be maintained as separate phases or modes, but this may be more problematic than anticipated.
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  17.  45
    Art, Emotion, Ethics: Conceptual Boundaries and Kinds of Value.Elisabeth Schellekens - 2009 - Philosophical Books 50 (3):158-171.
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  18.  18
    Explanatory Dualism in Empirical Aesthetics A New Reading.Elisabeth Schellekens - 2012 - Journal of Consciousness Studies 19 (9-10):9-10.
    The last decade has seen a significant increase in empirical research into the nature of art and aesthetic experience in the Anglo- American scientific community. Much of the impetus for this came from the publication of three special issues of the present journal on the theme of 'Art and the Brain' . A decade or so later, it seems timely to consider the extent to which these new approaches have filtered through into wider philosophical understanding. Many philosophers express scepticism towards (...)
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  19.  14
    The Emotions: A Philosophical Exploration, by Peter Goldie.Elisabeth Schellekens - 2004 - Disputatio.
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  20.  12
    Goldie, Peter. The Mess Inside: Narrative, Emotion, & the Mind. Oxford University Press, 2012, Xi + 186 Pp., $55.00 Cloth. [REVIEW]Elisabeth Schellekens - 2014 - Journal of Aesthetics and Art Criticism 72 (1):95-97.
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  21.  98
    Philosophy and Conceptual Art.Peter Goldie & Elisabeth Schellekens (eds.) - 2007 - Oxford University Press.
    This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on.
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  22. A Reasonable Objectivism for Aesthetic Judgments: Towards An Aesthetic Psychology.Elisabeth Schellekens - 2008 - Dissertation, University of London
    This doctoral thesis is an examination of the possibility of ascribing objectivity to aesthetic judgements. The aesthetic is viewed in terms of its being a certain kind of relation between the mind and the world; a clear understanding of aesthetic judgements will therefore be capable of telling us something important about both subjects and objects, and the ties between them. In view of this, one of the over-riding aims of this thesis is the promotion of an ‘aesthetic psychology’, a philosophical (...)
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  23. Review of The Emotions: A Philosophical Exploration. [REVIEW]Elisabeth Schellekens - 2004 - Disputatio 16:71-76.
     
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