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  1. Everyday Aesthetics.Yuriko Saito - 2001 - Philosophy and Literature 25 (1):87-95.
    Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.
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  2. Aesthetics of the Familiar: Everyday Life and World-Making.Yuriko Saito - 2017 - Oxford University Press.
    Yuriko Saito, the leading figure in the field, explores the nature and significance of the aesthetic dimensions of people's everyday lives. She argues that everyday aesthetics can be an effective instrument for directing humanity's collective and cumulative world-making project.
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  3.  74
    The Aesthetics of Unscenic Nature.Yuriko Saito - 1998 - Journal of Aesthetics and Art Criticism 56 (2):101-111.
  4. Appreciating Nature on its Own Terms.Yuriko Saito - 1998 - Environmental Ethics 20 (2):135-149.
    I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...)
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  5.  10
    Everyday Aesthetics: Prosaics, the Play of Culture and Social Identities.Katya Mandoki & Yuriko Saito - 2008 - Journal of Aesthetics and Art Criticism 66 (4):422-424.
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  6.  21
    The Role of Imperfection in Everyday Aesthetics.Yuriko Saito - 2017 - Contemporary Aesthetics 15 (1).
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  7. The Japanese Aesthetics of Imperfection and Insufficiency.Yuriko Saito - 1997 - Journal of Aesthetics and Art Criticism 55 (4):377-385.
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  8. The Japanese Appreciation of Nature.Yuriko Saito - 1985 - British Journal of Aesthetics 25 (3):239-251.
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  9.  14
    Appreciating Nature on Its Own Terms.Yuriko Saito - 1998 - Environmental Ethics 20 (2):135-149.
    I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...)
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  10.  29
    Everyday Aesthetics: Prosaics, the Play of Culture and Social Identities: Book Reviews. [REVIEW]Yuriko Saito - 2008 - British Journal of Aesthetics 48 (4):461-463.
    This ground-breaking book brings to life a neglected topic: our everyday aesthetic interactions with the world around us and the objects in it. Yuriko Saito shows how exploring everyday aesthetics can enrich the content of our aesthetic discourse, and reveals the its influence on the state of the world and our quality of life.
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  11.  8
    Everyday Aesthetics.Yuriko Saito - 2007 - Oxford University Press UK.
    Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...)
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  12.  14
    Consumer Aesthetics and Environmental Ethics: Problems and Possibilities.Yuriko Saito - 2018 - Journal of Aesthetics and Art Criticism 76 (4):429-439.
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  13. Japanese Aesthetics: Historical Overview.Yuriko Saito - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 2--547.
     
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  14.  34
    Future Directions for Environmental Aesthetics.Yuriko Saito - 2010 - Environmental Values 19 (3):373 - 391.
    After half a century, environmental aesthetics successfully expanded the scope of modern art-centred Western aesthetic discourse. I argue that further expansion is in order. First, we should explore the aesthetics of the constituents of the environment, namely artefacts, human activities and social relationships, which determine the quality of life and the state of the world. Second, we need to cultivate aesthetic literacy as well as a normative discourse to steer our aesthetic practice toward a better world-making. Finally, environmental aesthetics needs (...)
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  15. Environmental Directions for Aesthetics and the Arts.Yuriko Saito - 2002 - In Arnold Berleant (ed.), The Environment and the Arts. Ashgate Press. pp. 171--185.
     
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  16. Japanese Aesthetics of Packaging.Yuriko Saito - 1999 - Journal of Aesthetics and Art Criticism 57 (2):257-265.
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  17.  20
    Is There a Correct Aesthetic Appreciation of Nature?Yuriko Saito - 1984 - Journal of Aesthetic Education 18 (4):35.
  18. Everyday Aesthetics and World-Making.Yuriko Saito - 2012 - Contrastes: Revista Interdisciplinar de Filosofía 17:255-274.
    The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations ha ve serious consequences which determine the quality of life and the state (...)
     
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  19. The Moral Dimension of Japanese Aesthetics.Yuriko Saito - 2007 - Journal of Aesthetics and Art Criticism 65 (1):85–97.
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  20.  58
    Why Restore Works of Art?Yuriko Saito - 1985 - Journal of Aesthetics and Art Criticism 44 (2):141-151.
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  21.  8
    Contemporary Aesthetic Issue: The Colorization Controversy.Yuriko Saito - 1989 - Journal of Aesthetic Education 23 (2):21.
  22.  6
    The Ethical Dimensions of Aesthetic Engagement.Yuriko Saito - 2017 - ESPES 6 (2):19-29.
    This paper explores the ethical dimensions of aesthetic engagement, the central theme of Arnold Berleant’s aesthetics. His recent works on social aesthetics and negative aesthetics explicitly argue for the inseparability of aesthetics from the rest of life, in particular ethical concerns. Aesthetic engagement requires overcoming the subject-object divide and adopting an attitude of open-mindedness, responsiveness, reciprocity, and collaboration, as well as the willingness and readiness to expose negative aesthetics for what it is. These requirements characterize not only the nature of (...)
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  23.  13
    Scenic National Landscapes: Common Themes in Japan and the United States.Yuriko Saito - 2002 - Essays in Philosophy 3 (1):5.
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  24.  13
    Machines in the Ocean: The Aesthetics of Wind Farms.Yuriko Saito - 2004 - Contemporary Aesthetics 2.
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  25.  19
    Ecological Design: Promises and Challenges.Yuriko Saito - 2002 - Environmental Ethics 24 (3):243-261.
    In recent decades, designers, architects, and landscape architects concerned with their contribution to today’s ecological problems started formulating a new way of designing and creating artifacts. Called “ecological design” and promoted as a corrective alternative to conventional practice, its basic tenet is to draw from nature a guidance for design, rather than imposing our design on nature. This newapproach signifies a welcome change, first by calling attention to the ecological implications of artifacts, a subject matter generally neglected in environmental ethics, (...)
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  26.  9
    Forsey, Jane. The Aesthetics of Design. Oxford University Press, 2013, Ix + 269 Pp., $49.95 Cloth. [REVIEW]Yuriko Saito - 2014 - Journal of Aesthetics and Art Criticism 72 (1):101-104.
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  27.  5
    Ecological Design: Promises and Challenges.Yuriko Saito - 2002 - Environmental Ethics 24 (3):243-261.
    In recent decades, designers, architects, and landscape architects concerned with their contribution to today’s ecological problems started formulating a new way of designing and creating artifacts. Called “ecological design” and promoted as a corrective alternative to conventional practice, its basic tenet is to draw from nature a guidance for design, rather than imposing our design on nature. This newapproach signifies a welcome change, first by calling attention to the ecological implications of artifacts, a subject matter generally neglected in environmental ethics, (...)
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  28.  6
    Response to Jon Boone's Critique.Yuriko Saito - 2005 - Contemporary Aesthetics 3.
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  29. Arnold Berleant, The Aesthetics of Environment Reviewed By.Yuriko Saito - 1993 - Philosophy in Review 13 (5):215-217.
     
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  30. Arnold Berleant, The Aesthetics of Environment. [REVIEW]Yuriko Saito - 1993 - Philosophy in Review 13:215-217.
     
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  31. Rola estetyki w kształtowaniu świata.Yuriko Saito - 2010 - Sztuka I Filozofia (Art and Philosophy) 37.
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  32. Representing the Essence of Objects: Art in the Japanese Aesthetic Tradition.Yuriko Saitō - 2003 - In Stephen Davies & Ananta Charana Sukla (eds.), Art and Essence. Praeger. pp. 8--125.
     
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  33. The Aesthetic Appreciation of Nature: Western and Japanese Perspectives and Their Ethical Implications.Yuriko Saito - 1983 - Dissertation, The University of Wisconsin - Madison
    We often derive aesthetic pleasure from nature as well as from works of art. Although our experiences of both are analogous in some respects, there are some important differences. Since nature is not created specifically for aesthetic enjoyment it can be appreciated in more various ways than art. Hence, the distinction between aesthetic and non-aesthetic experience is crucial in examining the aesthetic appreciation of nature. ;An appreciation of any object is considered aesthetic if it is directed toward the sensuous surface (...)
     
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