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  1. The aesthetic function of art.Gary Iseminger - 2004 - Ithaca, N.Y.: Cornell University Press. Edited by Kevin A. Stoehr.
    Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.
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  2.  25
    The Aesthetic Function of Art.Gary Iseminger - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:169-176.
    Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...)
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  3. Intention and interpretation.Gary Iseminger (ed.) - 1992 - Philadelphia: Temple University Press.
    " The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the ...
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  4.  19
    The Aesthetic Function of Art.Gary Iseminger - 2005 - Journal of Aesthetics and Art Criticism 63 (4):385-386.
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  5.  19
    The Aesthetics of Music.Gary Iseminger - 1997 - Journal of Aesthetics and Art Criticism 57 (3):374-375.
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  6.  64
    Aesthetic appreciation.Gary Iseminger - 1981 - Journal of Aesthetics and Art Criticism 39 (4):389-397.
  7. Actual intentionalism vs. hypothetical intentionalism.Gary Iseminger - 1996 - Journal of Aesthetics and Art Criticism 54 (4):319-326.
  8. Aesthetic experience.Gary Iseminger - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 99--116.
     
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  9.  64
    How strange a sadness?Gary Iseminger - 1983 - Journal of Aesthetics and Art Criticism 42 (1):81-82.
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  10.  82
    The work of art as artifact.Gary Iseminger - 1973 - British Journal of Aesthetics 13 (1):3-16.
  11.  76
    Putnam's Miraculous Argument.Gary Iseminger - 1988 - Analysis 48 (4):190--5.
  12.  16
    Fictional Points of View.Gary Iseminger - 1996 - Philosophical and Phenomenological Research 59 (4):1098-1100.
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  13.  59
    Sonicism and Jazz Improvisation.Gary Iseminger - 2010 - Journal of Aesthetics and Art Criticism 68 (3):297-299.
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  14.  9
    Music in the Moment.Gary Iseminger & Jerrold Levinson - 2000 - Philosophical Review 109 (1):141.
    Jerrold Levinson’s Music in the Moment is a welcome addition to the impressive list of books in aesthetics, particularly the philosophy of music, published in the last several years by Cornell University Press. In it Levinson expounds and defends a view, inspired by the work of the nineteenth-century English psychologist and musician Edmund Gurney, that he calls “concatenationism.” This view is billed as “a defense of the intuitive listener” against Schenkerian and other “architectonicist” theorists promoting the notion that “elaborate apprehensions (...)
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  15.  4
    No Title available: PHILOSOPHY.Gary Iseminger - 1968 - Philosophy 43 (163):73-74.
  16.  13
    The Boundaries of Art.Gary Iseminger - 1994 - Philosophical Quarterly 44 (177):547-549.
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  17.  8
    The Aesthetic Understanding: Essays in the Philosophy of Art and Culture.Gary Iseminger - 1985 - Journal of Aesthetics and Art Criticism 43 (3):320-321.
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  18. Music in the moment.Gary Iseminger - 2000 - Philosophical Review 109 (1):141-144.
    Jerrold Levinson’s Music in the Moment is a welcome addition to the impressive list of books in aesthetics, particularly the philosophy of music, published in the last several years by Cornell University Press. In it Levinson expounds and defends a view, inspired by the work of the nineteenth-century English psychologist and musician Edmund Gurney, that he calls “concatenationism.” This view is billed as “a defense of the intuitive listener” against Schenkerian and other “architectonicist” theorists promoting the notion that “elaborate apprehensions (...)
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  19.  22
    Is relevance necessary for validity?Gary Iseminger - 1980 - Mind 89 (354):196-213.
  20.  8
    Successful Argument and Rational Belief.Gary Iseminger - 1974 - Philosophy and Rhetoric 7 (1):47 - 57.
  21.  47
    The Asymmetry Thesis.Gary Iseminger - 1989 - The Monist 72 (1):25-39.
    In a series of articles Gerald Massey has defended “the asymmetry thesis,” the thesis that “at the present stage of logical theory our ability to prove validity totally eclipses our ability to show invalidity.” My initial strategy in discussing this thesis will be to close in on it gradually by considering, sometimes summarily but sometimes in greater detail, various distinguishable theses in the neighborhood, gradually approximating the thesis which Massey wishes to defend.
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  22.  15
    V—Uses, Regularities, and Rules.Gary Iseminger - 1967 - Proceedings of the Aristotelian Society 67 (1):73-86.
    Gary Iseminger; V—Uses, Regularities, and Rules, Proceedings of the Aristotelian Society, Volume 67, Issue 1, 1 June 1967, Pages 73–86, https://doi.org/10.1093/.
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  23.  17
    Foreknowledge and necessity: Summa theologiae la. 14, 13 ad 2.Gary Iseminger - 1976 - Midwest Studies in Philosophy 1 (1):5-12.
  24.  11
    Geach and the Lewis result.Gary Iseminger - 1978 - Notre Dame Journal of Formal Logic 19 (1):145-146.
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  25.  7
    Knowledge of Actions. By Betty Powell. (London: George Allen & Unwin Ltd. 1967. Price 18s.).Gary Iseminger - 1968 - Philosophy 43 (163):71-.
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  26.  14
    Aestheticism and the Institutional Turn.Gary Iseminger - 1995 - The Journal of Aesthetic Education 29 (2):14.
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  27.  2
    Andrew Harrison, ed., Philosophy and the Visual Arts: Seeing and Abstracting.Gary Iseminger - 1989 - Journal of Aesthetics and Art Criticism 47 (2):191-193.
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  28.  13
    Aestheticized Institutionalism and Wollheim's Dilemma.Gary Iseminger - 2015 - Journal of Aesthetics and Art Criticism 73 (4):385-390.
    In The Aesthetic Function of Art, I was mainly concerned to show how my “new aestheticism” can meet standard objections to aestheticism, but I have come to realize that, since it is as much a new institutionalism as it is a new aestheticism, its institutionalist aspect requires defense as much as its aestheticist aspect does. In this article, I show how a judicious aestheticizing of George Dickie's second version of the institutional theory of art, incorporating fundamental features of my own (...)
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  29.  14
    An introduction to deductive logic.Gary Iseminger (ed.) - 1968 - New York,: Appleton-Century-Crofts.
    One of the main aims of modern logic at its inception was to show that mathematics could be "reduced to logic"; that is, that mathematical notions could be defined in terms of logical constants in the sense in which we have defined some logical ...
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  30.  25
    Aesthetic Judgments and Non-Aesthetic Conditions.Gary Iseminger - 1973 - Analysis 33 (4):129 - 132.
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  31.  2
    Aesthetic judgements and non-aesthetic conditions.Gary Iseminger - 1973 - Analysis 33 (4):129-132.
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  32.  4
    Artistry: The Work of Artists.Gary Iseminger - 1983 - Journal of Aesthetic Education 17 (3):120.
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  33.  3
    But Is It Art? The Value of Art and the Temptation of Theory.Gary Iseminger - 1986 - Journal of Aesthetic Education 20 (3):115.
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  34.  23
    Colin Lyas, aesthetics.Gary Iseminger - 1999 - Journal of Value Inquiry 33 (2):281-286.
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  35.  2
    Critical notices.Gary Iseminger - 1999 - Philosophy and Phenomenological Research 59 (4):1098.
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  36.  16
    Interpretation and construction: Art, speech, and the law, by Robert Stecker.Gary Iseminger - 2007 - European Journal of Philosophy 15 (1):114–118.
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  37.  7
    Intention Interpretation.Gary Iseminger (ed.) - 1992 - Philadelphia: Temple University Press.
    " The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the way Hirsch does.
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  38.  13
    Interpretive relevance, contradiction, and compatibility with the text: A rejoinder to Knight.Gary Iseminger - 1998 - Journal of Aesthetics and Art Criticism 56 (1):58-61.
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  39. John Passmore, Serious Art Reviewed by.Gary Iseminger - 1992 - Philosophy in Review 12 (6):424-426.
     
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  40. Knowledge and Argument.Gary Iseminger - 1984 - Upa.
    Provides a succinct exposition of a systematic strategy for assessing arguments from a cognitive point of view.
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  41.  4
    Logic and philosophy: selected readings.Gary Iseminger (ed.) - 1980 - New York: Irvington Publishers.
  42.  1
    Logic and philosophy.Gary Iseminger (ed.) - 1968 - New York,: Appleton-Century-Crofts.
  43.  54
    Meaning, Criteria, and P-Predicates.Gary Iseminger - 1963 - Analysis 24 (1):11 - 18.
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  44.  42
    Malcolm on explanations and causes.Gary Iseminger - 1969 - Philosophical Studies 20 (October):73-77.
  45.  1
    No Title available: PHILOSOPHY.Gary Iseminger - 1968 - Philosophy 43 (163):71-73.
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  46.  20
    Our conceptual scheme.Gary Iseminger - 1966 - Mind 75 (297):131-134.
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  47.  11
    On reading philosophers and doing philosophy.Gary Iseminger - 1972 - Metaphilosophy 3 (3):261–264.
    The paper considers the possibility of following the socratic model in doing away with reading assignments as a basis for philosophical discussions in class and describes techniques used in a beginning course conducted by the author in which reading assignments were not given.
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  48.  34
    Roman Ingarden and the aesthetic object.Gary Iseminger - 1973 - Philosophy and Phenomenological Research 33 (3):417-420.
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  49. Sztuka i publiczność.Gary Iseminger - 2009 - Sztuka I Filozofia (Art and Philosophy) 35.
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  50.  6
    Salim Kemal and Ivan Gaskell, Eds., Explanation and Value in The Arts.Gary Iseminger - 1995 - Journal of Aesthetics and Art Criticism 53 (3):338-339.
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