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  1. The Myth of Anthropomorphism John Andrew Fisher.John Andrew Fisher - 1996 - In Colin Allen & D. Jamison (eds.), Readings in Animal Cognition. MIT Press.
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  2.  22
    Jazz and Musical Works: Hypnotized by the Wrong Model.John Andrew Fisher - 2018 - Journal of Aesthetics and Art Criticism 76 (2):151-162.
    It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance of works is very different (...)
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  3.  5
    The Fine Art of Repetition: Essays in the Philosophy of Music.John Andrew Fisher - 1996 - Philosophy and Phenomenological Research 56 (4):962-965.
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  4.  62
    What the Hills Are Alive With: In Defense of the Sounds of Nature.John Andrew Fisher - 1998 - Journal of Aesthetics and Art Criticism 56 (2):167-179.
  5. Discovery, Creation, and Musical Works.John Andrew Fisher - 1991 - Journal of Aesthetics and Art Criticism 49 (2):129-136.
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  6.  38
    Why Potentiality Does Not Matter: A Reply to Stone.John Andrew Fisher - 1994 - Canadian Journal of Philosophy 24 (2):261 - 279.
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  7. Is There a Problem of Indiscernible Counterparts?John Andrew Fisher - 1995 - Journal of Philosophy 92 (9):467-484.
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  8.  9
    Is There a Problem of Indiscernible Counterparts?John Andrew Fisher - 1995 - Journal of Philosophy 92 (9):467-484.
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  9.  17
    Is It Worth It? Lintott and Ethically Evaluating Environmental Art.John Andrew Fisher - 2007 - Ethics, Place and Environment 10 (3):279 – 286.
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  10.  76
    Technology, Appreciation, and the Historical View of Art.John Andrew Fisher & Jason Potter - 1997 - Journal of Aesthetics and Art Criticism 55 (2):169-185.
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  11.  41
    Performing Nature.John Andrew Fisher - 2007 - Environmental Philosophy 4 (1/2):15-28.
    Natural environments differ from artworks in two ways: (a) they are surroundings filled with objects, processes, and the observer, (b) they are natural, not intentionally created to be appreciated. I show that this serious problem for accounts of aesthetic appreciation of nature has led many thinkers in environmental aesthetics (e.g., Carlson and Rolston) to claim that appreciators should be actively engaged with a natural environment. But how? One suggestion has been that appreciators play the role of creative performers in the (...)
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  12.  24
    The Value of Natural Sounds.John Andrew Fisher - 1999 - Journal of Aesthetic Education 33 (3):26.
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  13.  16
    Aberrant Speakers and Linguistic Philosophy: A Reconsideration of the Dialogue Between Cavell and the Baker.John Andrew Fisher - 1981 - Philosophical Investigations 4 (4):24-44.
  14.  21
    Call for Papers Song, Songs, and Singing.Jeanette Bicknell & John Andrew Fisher - 2011 - Journal of Aesthetics and Art Criticism 69 (4):vii-vii.
  15.  1
    Song, Songs, and Singing.Jeanette Bicknell & John Andrew Fisher (eds.) - 2013 - Wiley.
    The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical challenges (...)
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  16. Anthropomorphism.John Andrew Fisher - 1998 - In Marc Bekoff & Carron A. Meaney (eds.), Encyclopedia of Animal Rights and Animal Welfare. Greenwood Press.
     
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  17. Carol Becker, Ed., The Subversive Imagination: Artists, Society, and Social Responsibility.John Andrew Fisher - 1996 - Journal of Aesthetics and Art Criticism 54 (3):302-303.
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  18. Edward Arian, The Unfulfilled Promise: Public Subsidy of The Arts in America.John Andrew Fisher - 1994 - Journal of Aesthetics and Art Criticism 52 (3):372-372.
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  19.  47
    Linguistic Idealism.John Andrew Fisher - 1984 - Metaphilosophy 15 (1):26–34.
  20.  41
    NANAY, BENCE. Aesthetics as Philosophy of Perception. Oxford University Press, 2016, 192 Pp., $65.00 Cloth. [REVIEW]John Andrew Fisher - 2017 - Journal of Aesthetics and Art Criticism 75 (2):210-214.
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  21. On Being Guided by a Rule: Some Reflections on a Conceptual Problem in Chomsky's Theory of Syntax.John Andrew Fisher - 1971 - Dissertation, University of Minnesota
  22.  31
    On Carroll's Enfranchisement of Mass Art as Art.John Andrew Fisher - 2004 - Journal of Aesthetics and Art Criticism 62 (1):57-61.
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  23. Pankratz, David B., Andmorris, Valerie B., Eds. The Future of The Arts: Public Policy and Arts Research.John Andrew Fisher - 1991 - Journal of Aesthetics and Art Criticism 49 (4):393-396.
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  24.  11
    Reflecting on Art.John Andrew Fisher - 1994 - Journal of Aesthetics and Art Criticism 52 (2):261-262.
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  25.  14
    Review of Scott Walden (Ed.), Photography and Philosophy: Essays on the Pencil of Nature[REVIEW]John Andrew Fisher - 2009 - Notre Dame Philosophical Reviews 2009 (2).
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  26.  22
    Soul Music: Tracking the Spiritual Roots of Pop From Plato to Motown by Rudinow, Joel.John Andrew Fisher - 2011 - Journal of Aesthetics and Art Criticism 69 (4):427-430.
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  27.  19
    The Fine Art of Repetition: Essays in the Philosophy of Music.John Andrew Fisher - 1996 - Philosophy and Phenomenological Research 56 (4):962-965.
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  28.  12
    The Very Idea of Perfect Realism.John Andrew Fisher - 1990 - Philosophical Forum 22 (1):49.
    I define "perfect realism" as a style of replicative sculpture: exact replicas of inanimate objects or humans. Differentiating perfect realism from "photo" or "super" realism, and from representation, I criticize various defenses of this type of art. I argue that to understand perfect realism we need a theory of replication, which I sketch. Part of the account involves X (a replica) causing the perceptual experience that it is a Y when it is not. Hence perfect realism turns on the generic (...)
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