Results for 'aesthetic'

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  1. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2014 - In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...)
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  2. Grounding Moralism: Moral Flaws and Aesthetic Properties.Aaron Smuts - 2011 - Journal of Aesthetic Education 45 (4):34-53.
    My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an (...)
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  3.  99
    The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art.Andrea Sauchelli - 2016 - Journal of Aesthetic Education 50 (1):1-15.
    The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that (...)
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  4. Critical Aesthetic Realism.Jennifer A. McMahon - 2011 - Journal of Aesthetic Education 45 (2):49-69.
    A clear-cut concept of the aesthetic is elusive. Kant’s Critique of Judgment presents one of the more comprehensive aesthetic theories from which we can extract a set of features, some of which pertain to aesthetic experience and others to the logical structure of aesthetic judgment. When considered together, however, these features present a number of tensions and apparent contradictions. Kant’s own attempt to dissolve these apparent contradictions or dichotomies was not entirely satisfactory as it rested on (...)
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  5. Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.Shen-yi Liao & Aaron Meskin - 2017 - Philosophy and Phenomenological Research 94 (2):371–398.
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic (...)
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  6. Aesthetic Predicates: A Hybrid Dispositional Account.Teresa Marques - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):723-751, doi:10.1080/0020174X.20.
    This paper explores the possibility of developing a hybrid version of dispositional theories of aesthetic values. On such a theory, uses of aesthetic predicates express relational second-order dispositional properties. If the theory is not absolutist, it allows for the relativity of aesthetic values. But it may be objected to on the grounds that it fails to explain disagreement among subjects who are not disposed alike. This paper explores the possibility of adapting recent proposals of hybrid expressivist theories (...)
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  7. Aesthetic Perception and its Minimal Content: A Naturalistic Perspective.Ioannis Xenakis & Argyris Arnellos - 2014 - Frontiers in Psychology 5.
    Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions (...)
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  8.  24
    Aesthetic Supererogation.Alfred Archer & Lauren Ware - 2017 - Estetika 54 (New Series 10):102-116.
    Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts (...)
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  9. Aristotle's Aesthetic Ethics.John Milliken - 2006 - Southern Journal of Philosophy 44 (2):319-339.
    It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions (...)
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  10. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its (...)
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  11.  92
    Aesthetic Ineffability.Silvia Jonas - 2017 - Philosophy Compass 12 (2):e12396.
    This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate (...) ineffability within the object of aesthetic experiences, i.e. within aesthetic content. Section 4 discusses arguments that seek to locate aesthetic ineffability within the subject of aesthetic experience. (shrink)
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  12. Rich Perceptual Content and Aesthetic Properties.Dustin Stokes - forthcoming - In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford University Press.
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent (...) properties. I offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)
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  13. Explanations: Aesthetic and Scientific.Shen-yi Liao - 2014 - Royal Institute of Philosophy Supplement 75:127-149.
    Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can (...)
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  14. Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas.Jennifer A. McMahon - 2011 - International Journal of Philosophical Studies 19 (2):155 - 175.
    Abstract Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine?grained for discursive language. To accommodate such claims one can adopt either a convention?based account or a natural?kind account. A natural?kind theory can explain the first but requires some special scaffolding in order to (...)
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  15. A Semantic Solution to the Problem with Aesthetic Testimony.James Andow - 2015 - Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the (...)
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  16.  23
    Responding to Aesthetic Reasons.Andrew McGonigal - forthcoming - Estetika: The Central European Journal of Aesthetics.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such (...)
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  17. A Structural Disanalogy Between Aesthetic and Ethical Value Judgements.Caj Strandberg - 2011 - British Journal of Aesthetics 51 (1):51-67.
    It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy between secondary (...)
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  18. Aesthetic Attention.Bence Nanay - 2015 - Journal of Consciousness Studies 22:960118.
    The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, (...)
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  19.  86
    The Limits of Aesthetic Empiricism.Fabian Dorsch - 2014 - In Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 75-100.
    In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, (...)
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  20. A Portrait of the Artist as an Aesthetic Expert.Christy Mag Uidhir & Cameron Buckner - 2014 - In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press.
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the (...)
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  21.  21
    Aesthetic Internalism and Two Normative Puzzles.Caj Strandberg - 2016 - Studi di Estetica 6:23-70.
    One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between (...) value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)
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  22.  90
    A Critical Realist Perspective on Aesthetic Value.Ian Verstegen - 2006 - Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. (...)
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  23. Kant on the Transcendental Deduction of Space and Time: An Essay on the Philosophical Resources of the Transcendental Aesthetic.Melissa McBay Merritt - 2010 - Kantian Review 14 (2):1-37.
    I take up Kant's remarks about a " transcendental deduction" of the "concepts of space and time". I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our commitment to (...)
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  24.  14
    Epicurus and Aesthetic Disinterestedness.Celkyte Aiste - 2017 - Mare Nostrum 7:56-74.
    ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had similar concepts, but also (...)
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  25.  34
    Expressing Aesthetic Judgments in Context1.Isidora Stojanovic - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  26.  10
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  27. Non‐Inferentialism About Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and (...)
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  28. The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according (...)
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  29. Functional Beauty, Perception, and Aesthetic Judgements.Andrea Sauchelli - 2013 - British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  30.  64
    Aesthetic Properties.Rafael De Clercq - 2011 - In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. Routledge. pp. 144-154.
    This chapter focuses on three questions concerning the aesthetic properties of music: What determines whether a musical piece has a certain aesthetic property? Is music capable of having emotional properties such as sadness? And are there aesthetic properties that music is incapable of having?
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  31. Aesthetic Supervenience Vs. Aesthetic Grounding.Jiri Benovsky - 2012 - Estetika 49 (2):166–178.
    The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim (...)
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  32.  14
    Constructing Aesthetic Value: Responses to Commentators on "The Pleasure of Art".Matthen Mohan - forthcoming - Australasian Philosophical Review 1 (1).
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a (...)
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  33.  45
    The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations (...)
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  34.  12
    The Uses of Aesthetic Testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is (...)
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  35. The Concept of an Aesthetic Property.De Clercq Rafael - 2002 - Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
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  36. Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties.Rafael de Clercq - 2005 - Journal of Aesthetics and Art Criticism 63 (1):27–32.
    The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.
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  37.  75
    Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from (...)
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  38.  8
    Aesthetic Leadership in Chinese Business: A Philosophical Perspective. [REVIEW]Haina Zhang, Malcolm H. Cone, André M. Everett & Graham Elkin - 2011 - Journal of Business Ethics 101 (3):475-491.
    Confucian ethics play a pivotal role in guiding Chinese thinking and behaviour. Aesthetic leadership is emerging as a promising paradigm in leadership studies. This study investigates the practice of aesthetic leadership in Chinese organizations on the basis of Chinese philosophical foundations. We adopt a process perspective to access the aesthetic constellation of meanings present in the Chinese understanding of leadership, linking normative Confucian values to a pragmatic value rational world view, that rests on an ontology of vaguely (...)
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  39.  12
    Toward an Aesthetic Medicine: Developing a Core Medical Humanities Undergraduate Curriculum. [REVIEW]Alan Bleakley, Robert Marshall & Rainer Brömer - 2006 - Journal of Medical Humanities 27 (4):197-213.
    The medical humanities are often implemented in the undergraduate medicine curriculum through injection of discrete option courses as compensation for an overdose of science. The medical humanities may be reformulated as process and perspective, rather than content, where the curriculum is viewed as an aesthetic text and learning as aesthetic and ethical identity formation. This article suggests that a “humanities” perspective may be inherent to the life sciences required for study of medicine. The medical humanities emerge as a (...)
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  40. Aesthetic Ineffability.Rafael De Clercq - 2000 - Journal of Consciousness Studies 7 (8-9):87-97.
    In this paper I argue that recent attempts at explaining aesthetic ineffability have been unsuccessful. Either they misrepresent what aesthetic ineffability consists in, or they leave important aspects of it unexplained. I then show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness. -/- .
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  41.  56
    Practice Makes Perfect: The Effect of Dance Training on the Aesthetic Judge. [REVIEW]Barbara Montero - 2012 - Phenomenology and the Cognitive Sciences 11 (1):59-68.
    According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that (...)
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  42. Sentimentalism and the Intersubjectivity of Aesthetic Evaluations.Fabian Dorsch - 2007 - Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to (...) epistemology cannot accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)
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  43.  28
    Silencing Theodicy with Enthusiasm: Aesthetic Experience as a Response to the Problem of Evil in Shaftesbury, Annie Dillard, and the Book of Job.John McAteer - 2016 - Heythrop Journal 57 (5):788-795.
    The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate both of these literary (...)
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  44.  99
    Literature, Knowledge, and the Aesthetic Attitude.M. W. Rowe - 2009 - Ratio 22 (4):375-397.
    An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, (...)
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  45.  17
    Goethe's Morphology: Urphänomene and Aesthetic Appraisal. [REVIEW]Joan Steigerwald - 2002 - Journal of the History of Biology 35 (2):291 - 328.
    This paper examines the relationships between Goethe's morphology and his ideas on aesthetic appraisal. Goethe's science of morphology was to provide the method for making evident pure phenomena [Urphänomene], for making intuitable the necessary laws behind the perceptible forms and formation of living nature, through a disciplined perception. This emphasis contrasted with contemporary studies of generation, which focused upon hidden formative processes. It was his views on aesthetic appraisal that informed these epistemological precepts of his science. His study (...)
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  46. Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism.Bence Nanay - forthcoming - Leonardo.
    It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the (...) realism/antirealism debate. However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism. (shrink)
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  47.  48
    Defending the Content Approach to Aesthetic Experience.Noël Carroll - 2015 - Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  48.  33
    On the Aesthetic Ideal.Nick Riggle - 2015 - British Journal of Aesthetics 55 (4):433-447.
    How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it (...)
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    Sensible Schemes in Aesthetic Experience. Neuroaesthetics and Transcendental Philosophy Compared.Lidia Gasperoni - 2017 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):63-73.
    My paper sets out to compare neuroaesthetics and transcendental philosophy, concerning the perception of schemes of imitation in aesthetic experience. The argument is structured in four steps: first, I will introduce the function of schemes in mirror-neuron-based processes and in general in the embodiment theory of Mark Johnson and George Lakoff; second, I will consider some analogical relations between a transcendental approach and neuroaesthetics concerning semantics; third, starting with the statement that one open question in neuroaesthetics is how creativity (...)
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  50.  23
    Against Aesthetic/Sensory Dependence.Jiri Benovsky - 2016 - Nordic Journal of Aesthetics 25 (51).
    In his book The Metaphysics of Beauty Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response- dependence view. In this article, I offer reasons to resist the aesthetic/ sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely (...) properties, while these do not depend on any sensory properties. I argue against Zangwill’s claim that such attributions of aesthetic properties are merely metaphorical. (shrink)
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