Results for 'aesthetic experience'

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  1. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  2.  16
    Aesthetic Experience and the Unfathomable: A Pragmatist Critique of Hermeneutic Aesthetics.Mark Gilks - 2021 - British Journal of Aesthetics 61 (2):185-198.
    In his attack on the notion of immediate experience, Hans-Georg Gadamer argues that aesthetic experience should be absorbed into hermeneutics because alone it cannot account for the historical nature of experience ; predicated on an ontological theory of art, the unfathomable, therefore, is the sense we have of these infinite hermeneutic depths. I argue that this account is methodologically and existentially unacceptable: methodologically because it is overly speculative, and existentially because it betrays authentic existence. I critique (...)
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  3. Aesthetic Experience Revisited.Noël Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  4.  38
    Aesthetic Experience, Aesthetic Value.Jane Forsey - 2017 - Estetika 54 (2):175-188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  5. Aesthetic Experience and Aesthetic Object.Roman Ingarden - 1960 - Philosophy and Phenomenological Research 21 (3):289-313.
    The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical (...)
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  6. Authenticity and the Aesthetic Experience of History.Erich Hatala Matthes - 2018 - Analysis 78 (4):649-657.
    In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the way (...)
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  7. Aesthetic Experience and Aesthetic Value.Robert Stecker - 2006 - Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  8. The Aesthetic Experience.Derek Matravers - 2003 - British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving (...)
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  9.  69
    Aesthetic Experience: From Analysis to Eros.Richard Shusterman - 2006 - Journal of Aesthetics and Art Criticism 64 (2):217–229.
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  10. Aesthetics, Experience, and Discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; (...)
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  11.  29
    Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor.Tim L. Elcombe - 2012 - Journal of the Philosophy of Sport 39 (2):201-217.
    Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ?is sport art?? and ?are aesthetics implicit to sport??, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, (...)
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  12.  69
    IV—Aesthetic Experience as a Metacognitive Feeling? A Dual-Aspect View.Jérôme Dokic - 2016 - Proceedings of the Aristotelian Society 116 (1):69-88.
  13.  27
    Aesthetic Experience, Medical Practice, and Moral Judgement. Critical Remarks on Possibilities to Understand a Complex Relationship.Marcus Düwell - 1999 - Medicine, Health Care and Philosophy 2 (2):161-168.
    The aim of the paper is to examine the possible relationships between the different dimensions of aesthetics on the one hand, and medical practice and medical ethics on the other hand. Firstly, I consider whether the aesthetic perception of the human body is relevant for medical practice. Secondly, a possible analogy between the artistic process and medical action is examined. The third section concerns the comparison between medical ethical judgements and aesthetic judgement of taste. It is concluded that (...)
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  14.  6
    Aesthetic Experience Revisited.NoË Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
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  15. Aesthetic Experience Regained.Monroe C. Beardsley - 1969 - Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  16. The Phenomenology of Aesthetic Experience.Mikel Dufrenne - 1973 - Northwestern University Press.
  17.  50
    Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism.Jonathan Owen Clark - 2013 - Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the (...)
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  18.  62
    Aesthetic Experience in Schopenhauer's Metaphysics of Will.Alex Neill - 2008 - European Journal of Philosophy 16 (2):179-193.
  19.  51
    Aesthetic Experience and Human Evolution.Ellen Dissanayake - 1982 - Journal of Aesthetics and Art Criticism 41 (2):145-155.
  20.  81
    Aesthetic Experience in Shaftesbury: Richard Glauser.Richard Glauser - 2002 - Aristotelian Society Supplementary Volume 76 (1):25–54.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be (...)
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  21. Aesthetic Experience.Gary Iseminger - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 99--116.
     
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  22.  73
    Aesthetic Experience in Everyday Life: A Reply to Dowling.K. Melchionne - 2011 - British Journal of Aesthetics 51 (4):437-442.
  23.  21
    Aesthetic Experience in Forests.Holmes Rolston - 1998 - Journal of Aesthetics and Art Criticism 56 (2):157 - 166.
  24.  74
    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 (...)
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  25. Aesthetic Experience as a Primary Phase and as an Artistic Development.John Dewey - 1950 - Journal of Aesthetics and Art Criticism 9 (1):56-58.
  26.  31
    The Aesthetic Experience According to Abhinavagupta.Archie J. Bahm - 1956 - Journal of Aesthetics and Art Criticism 18 (2):270-271.
  27.  6
    Aesthetic Experience: From Analysis to Eros.Richard Shusterman - 2006 - Journal of Aesthetics and Art Criticism 64 (2):217-229.
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  28.  71
    The Aesthetic Experience and the ‘Truth’ of Art.Jeff Mitscherling - 1988 - British Journal of Aesthetics 28 (1):28-39.
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  29.  23
    Aesthetic Experience.Richard Shusterman & Adele Tomlin - 2007 - In Michael Beaney (ed.), The Analytic Turn: Analysis in Early Analytic Philosophy and Phenomenology. Routledge.
    consist (in part) in our taking pleasure in the awe or wonder we feel towards them.'' But although forms of awe and wonder are feelings that at least some ...
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  30.  6
    Pragmatists on the Everyday Aesthetic Experience.Alexander Kremer - 2020 - Espes. The Slovak Journal of Aesthetics 9 (2):66-74.
    Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience, Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics. In this paper, I show that Dewey already refuses the gap between the practices of the ‘artworld’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the (...)
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  31.  54
    Category Independent Aesthetic Experience: The Case of Wine.David Sackris - 2013 - Journal of Value Inquiry 47 (1-2):111-120.
    Kendall Walton’s “Categories of Art” seeks to situate aesthetic properties contextually. As such, certain knowledge is required to fully appreciate the aesthetic properties of a work, and without that knowledge the ‘correct’ or ‘true’ aesthetic properties of a work cannot be appreciated. The aim of this paper is to show that the way Walton conceives of his categories and art categorization is difficult to square with certain kinds of aesthetic experience—kinds of experience that seems (...)
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  32. The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic (...)
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  33.  30
    Aesthetic Experiences in the School Curriculum: Assessing the Value of Rosenblatt's Transactional Theory.Jeanne M. Connell - 2000 - Journal of Aesthetic Education 34 (1):27.
  34.  17
    Attention and Aesthetic Experience.P. Fazekas - 2016 - Journal of Consciousness Studies 23 (9-10):66-87.
    This paper critically analyses a recent attempt to account for what is special about aesthetic experiences in terms of how one deploys one's attentional resources, i.e. how so-called aesthetic attention is exercised. While the paper defends this general framework of thinking about aesthetic experiences, it argues that the specific characterization of aesthetic attention that has been proposed is unsatisfactory, since it is incompatible with recent empirical findings on how the allocation of attention works. The major aim (...)
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  35.  10
    The Aesthetic Experience According to Abhinavagupta.Ernest Bender - 1970 - Journal of the American Oriental Society 90 (2):412.
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  36.  71
    The Broad View of Aesthetic Experience.Alan H. Goldman - 2013 - Journal of Aesthetics and Art Criticism 71 (4):323-333.
    Peter Kivy and Noël Carroll advocate a narrow view of aesthetic experience according to which it consists mainly in attention to formal properties. Excluded are cognitive and moral properties. I defend the broader view that includes the latter properties. I argue first that cognition and moral assessment can be inseparable in experience from grasp of form and expressiveness. Second, Kivy and Carroll must extend the notion of form itself beyond ordinary usage to accommodate acknowledged aesthetic (...). Third, the broad view has a more impressive historical lineage than the narrow view. Fourth, aesthetic experience is appreciation of aesthetic value, and the latter is more plausibly analyzed in a broad way. (shrink)
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  37.  88
    The Aesthetic Experience of Nursing.R. N. Austgard - 2006 - Nursing Philosophy 7 (1):11–19.
  38. The Science of Art: A Neurological Theory of Aesthetic Experience.Vilayanur S. Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience (...)
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  39.  50
    Aesthetic Experience in Shaftesbury: Anthony Savile.Anthony Savile - 2002 - Aristotelian Society Supplementary Volume 76 (1):55–74.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be (...)
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  40. Recent Approaches to Aesthetic Experience.Noël Carroll - 2012 - Journal of Aesthetics and Art Criticism 70 (2):165-177.
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  41.  86
    Aesthetic Experience and the Definition of Art.George Schlesinger - 1979 - British Journal of Aesthetics 19 (2):167-176.
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  42.  41
    The Aesthetic Experience.R. F. Racy - 1969 - British Journal of Aesthetics 9 (4):345-352.
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  43. The Aesthetic Experience According to Abhinavagupta. Abhinavagupta - 1968 - Varanasi, Chowkhamba Sanskrit Series Office.
     
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  44.  15
    Beauty, Aesthetic Experience and Immanent Critique.Julia Peters - 2009 - Hegel Bulletin 30 (1-2):67-81.
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  45.  6
    Aesthetic Experience in Shaftesbury.Anthony Savile - 2002 - Proceedings of the Aristotelian Society, Supplementary Volumes( 76:25-74.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be (...)
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  46.  27
    The Aesthetic Experience of the Architectural Work.Michael H. Mitias - 1999 - Journal of Aesthetic Education 33 (3):61.
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  47. Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2018 - Cognitive Processing 2 (19):201-213.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted (...)
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  48.  65
    Aesthetic Experience: Marcel Proust and the Neo-Jamesian Structure of Awareness.David Galin - 2004 - Consciousness and Cognition 13 (2):241-253.
  49.  6
    Aesthetic Experience in Shaftesbury: Richard Glauser.Richard Glauser - 2002 - Supplement to the Proceedings of the Aristotelian Society 76 (1):25-54.
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  50.  5
    Aesthetic Experience in Constructivist Museums.E. Louis Lankford - 2002 - Journal of Aesthetic Education 36 (2):140.
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