Results for 'aesthetic sense'

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  1.  34
    The Evolutionary Value of an Aesthetic Sense.Stephen Davies - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (2):75-79.
    The aesthetic sense we inherited from our successful ancestors drew them toward conditions that made for survival and reproductive success and repelled them away from conditions that impacted negatively on longevity and fertility. But for them, as for us, those desirable outcomes were incidental and uncalculated. Their search was for the beautiful and sublime. Aesthetic behaviours are apparent in our forerunner species about 400,000 years ago. They sometimes made symmetrical hand axes that were then not used. We (...)
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  2.  21
    Aesthetic Sense of the Vietnamese Through Three Renovations Of.Duong Thi Kim Duc & Mingxin Bao - 2012 - Asian Culture and History 4 (2):p99.
    Ao dai is a typical long dress of Viet Nam used to be worn by both men and women of the Viet and other ethnic peoples. In her shaping and development history, Viet Nam became a place that converged various cultural flows such as the Vietnamese indigenous culture and that of the Chinese, Champa and Indian etc. To the end of the 19th century, especially the 20th, Viet Nam continued to be influenced by the French culture and the American ways (...)
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  3. The Aesthetic Sense of Life: A Philosophy of the Everyday.Bruce Fleming - 2007 - Upa.
    The Aesthetic Sense of Life is a fast-moving book about how to see the world and get value from living every day with the "everyday." Do the infinite number of sensations we're surrounded with every day have intrinsic value? If not, what gives them value? Who appreciates the sunrise if we don't? Is it enough for just us to appreciate it? Or do we have to share it? The Aesthetic Sense of Life considers and answers to (...)
     
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  4. Aesthetic Sense and Social Cognition: A Story From the Early Stone Age.Gregory Currie & Xuanqi Zhu - forthcoming - Synthese.
    Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulian agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulian and the (...)
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  5.  23
    Sensibility and Sense: The Aesthetic Transformation of the Human World.Arnold Berleant - 2010 - Imprint Academic.
    Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. _Sensibility and Sense_ offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea (...)
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  6. Proprioception as an Aesthetic Sense.Barbara Montero - 2006 - Journal of Aesthetics and Art Criticism 64 (2):231-242.
  7. Japanese Aesthetic Sense―Zen and Zen Calligraphy, Zen Painting, From Kamakura to Muromachi―.Iwamoto Hajime - 2004 - Fenomenologia. Diálogos Possíveis Campinas: Alínea/Goiânia: Editora da Puc Goiás 4:1-16.
     
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  8. The Japanese Aesthetic Sense Ll ―On Zen Painting, Zenga and Their Lnfluence From the Momoyama Period to the Later Edo Period―.Iwamoto Hajime - 2005 - Fenomenologia. Diálogos Possíveis Campinas: Alínea/Goiânia: Editora da Puc Goiás 5:1-26.
     
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  9. Knowledge, Belief, and Aesthetic Sense.Jakob Friedrich Fries - 1989 - Jürgen Dinter, Verlag für Philosophie.
  10.  24
    Kant on Aesthetic Autonomy and Common Sense.Samantha Matherne - 2019 - Philosophers' Imprint 19 (24).
    Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an (...) judgment cannot be grounded on the testimony of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)
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  11. Aesthetics as an Emotional Activity That Facilitates Sense-Making: Towards an Enactive Approach to Aesthetic Experience.Ioannis Xenakis & Argyris Arnellos - 2015 - Springer.
    Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience (...)
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  12.  18
    The Sense of Community in Cavell's Conception of Aesthetic and Moral Judgment.Jennifer A. McMahon - 2014 - Conversations: The Journal of Cavellian Studies 2:35-53.
    Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of (...)
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  13.  20
    Our Sense of the Real: Aesthetic Experience and Arendtian Politics.Kimberley Curtis - 1999 - Cornell University Press.
    Arendt's innovation is to recognize that this countenancing of others is an aesthetic experience that creates the political world.Curtis plumbs the relevance of ...
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  14.  33
    Schopenhauer on Sense Perception and Aesthetic Cognition.Bart Vandenabeele - 2011 - Journal of Aesthetic Education 45 (1):37.
  15.  64
    Schopenhauer on Sense Perception and Aesthetic Cognition.Bart Vandenabeele - 2011 - Journal of Aesthetic Education 45 (1):37-57.
    In Schopenhauer’s view, the whole organic and inorganic world is ultimately governed by an insatiable, blind will. Life as a whole is purposeless: there is no ultimate goal or meaning, for the metaphysical will is only interested in manifesting itself in (or as) a myriad of phenomena, which we call the “world” or “life.” Human life, too, is nothing but an insignificant product or “objectivation” of the blind, unconscious will, and because our life is determined by willing (that is, by (...)
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  16. Making Sense of the Ethical Stage: Revisiting Kierkegaard’s Aesthetic-to-Ethical Transition.Ryan Kemp - 2011 - Kierkegaard Studies Yearbook:323-340.
    Davenport and Rudd’s 2001 publication of Kierkegaard After MacIntyre has been a catalyst for renewed interest in Kierkegaard’s Either/Or. An issue that has received special attention is the Kierkegaardian transition from the aesthetic to ethical. In this paper, I examine the most recent and notable contributions to this discussion: the work of John J. Davenport, Anthony Rudd, and John Lippitt. After drawing attention to several explanatory gaps in Davenport and Rudd, I turn to provide my own account of Kierkegaard’s (...)
     
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  17.  24
    Sensibility and Sense: The Aesthetic Transformation of the Human World.Robert E. Innis - 2011 - The Pluralist 6 (2):65-70.
    Arnold Berleant has produced once again a stimulating set of reflections on “vitally important topics” in the aesthetic field. The present book is more a collection than a treatise. This characteristic is the source both of the book’s very real value and of its shortcomings, minor as they may be from the substantive point of view. Berleant’s prior books and articles make up a most impressive scholarly and intellectual achievement, and they clearly inform the discussions and arguments brought forth (...)
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  18.  20
    In Search of the Sense and the Senses: Aesthetic Education in Germany and the United States.Alexandra Kertz-Welzel - 2005 - Journal of Aesthetic Education 39 (3):102-114.
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  19.  3
    On the Epigenesis of the Aesthetic Mind. The Sense of Beauty From Survival to Supervenience.Fabrizio Desideri - 2013 - Rivista di Estetica 54:63-82.
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  20. Our Sense of the Real: Aesthetic Experience and Arendtian Politics.Kimberley Curtis, Julia Kristeva, Ross Guberman, John Mcgowan, Norma Claire Moruzzi & Dana Villa - 2003 - Political Theory 31 (3):443-460.
     
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  21. The Sense of Beauty Being the Outlines of Aesthetic Theory.George Santayana, William G. Holzberger, Herman J. Saatkamp & Arthur C. Danto - 1955 - Transactions of the Charles S. Peirce Society 25 (4):538-548.
     
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  22.  47
    Julia Kristeva, Ross Guberman. The Ends of Arendtian Politics: A Review of Hannah Arendt Norma Claire Moruzzi. Speaking Through the Mask: Hannah Arendt and the Politics of Social Identity and Kimberley Curtis. Our Sense of the Real: Aesthetic Experience and Arendtian Politics. [REVIEW]Noëlle Mcafee - 2004 - Hypatia 19 (4):221-229.
  23.  16
    The Sense of Beauty, Being the Outlines of Aesthetic Theory.GEORGE SANTAYANA - 1896 - New York: Modern Library.
    Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.
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  24.  29
    Sensibility and Sense: The Aesthetic Transformation of the Human World: Book Reviews. [REVIEW]Isis Brook - 2011 - British Journal of Aesthetics 51 (1):108-110.
    (No abstract is available for this citation).
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  25.  17
    Sensibility and Sense: The Aesthetic Transformation of the Human World, Arnold Berleant Sensibility and Sense: The Aesthetic Transformation of the Human World Berleant Arnold Imprint Academic, Exeter, Eng.Robert E. Innis - 2011 - The Pluralist 6 (2):65-70.
  26.  9
    The Sense of Beauty, Being the Outlines of Aesthetic Theory.J. D. Logan - 1897 - Philosophical Review 6 (2):210.
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  27.  16
    Friedrich Schlegel on the Cultivation of Common Sense in Aesthetic and Political Critique.Nathan Ross - 2013 - Graduate Faculty Philosophy Journal 34 (1):43-64.
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  28.  8
    The Sense of Beauty: Being the Outlines of Aesthetic Theory Vol. 2 of The Works of George Santayana.George Santayana - 1989 - Journal of Aesthetics and Art Criticism 47 (3):301-301.
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  29.  6
    The Sense of Beauty: Being the Outline of Aesthetic Theory. [REVIEW]C. C. V. - 1955 - Review of Metaphysics 9 (2):363-363.
    A famous modern work in the philosophy of art, again made available in the excellent Dover series of reprints.--V. C. C.
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  30. George Santayana, "The Sense of Beauty: Being the Outlines of Aesthetic Theory", Critical Edition. [REVIEW]Willard E. Arnett - 1989 - Transactions of the Charles S. Peirce Society 25 (4):538.
     
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  31. Our Sense of the Real: Aesthetic Experience and Arendtian Politics. By Kimberley Curtis.S. Buckler - 2003 - The European Legacy 8 (6):806-806.
     
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  32. Inner Sense, Outer Sense, and Feeling: Hutcheson and Kant on Aesthetic Pleasure.Colin McQuillan - 2017 - In Chris W. Surprenant & Elizabeth Robinson (eds.), Kant and the Scottish Enlightenment. New York: Routledge.
  33. Review of Arnold Berleant's Sensibility and Sense: The Aesthetic Transformation of the Human World. [REVIEW]Mara Miller - forthcoming - Notre Dame Philosophical Reviews.
     
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  34. "The Sense of Beauty: Being the Outline of Aesthetic Theory": George Santayana. [REVIEW]Kingsley Price - 1990 - British Journal of Aesthetics 30 (3):285.
     
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  35. Sense of Beauty Being the Outlines of Aesthetic Theory.George Santayana - 1988
     
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  36. Aesthetic Enjoyment and Poetic Sense. Poetic Sense: The Irreducible in Literature in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. [REVIEW]A. -T. Tymieniecka - 1984 - Analecta Husserliana 18:3-21.
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  37. Aesthetic Enjoyment and Poetic Sense. Poetic Sense: The Irreducible in Literature.Anna-Teresa Tymieniecka - 1984 - Analecta Husserliana 18:3.
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  38. Sense or Nonsense-Aesthetic Aspects of Informal Art with Illustrated Discussion of Paintings by Dubuffet, Jean.W. Welsch - 1979 - Philosophisches Jahrbuch 86 (1):84-112.
     
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  39. 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 and skillful, based (...)
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  40.  23
    Reid on the Moral Sense.Rebecca Copenhaver - 2011 - Canadian Journal of Philosophy 41 (S1):80-101.
    Some interpret Reid’s notion of a moral sense as merely analogical. Others understand it as a species of acquired perception. To understand Reid’s account of the moral sense, we must draw from his theory of perception and his theory of aesthetic experience, each of which illuminate the nature and operation of the moral faculty. I argue that, on Reid’s view, the moral faculty is neither affective nor rational, but representational. It is a discrete, basic, capacity for representing (...)
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  41.  24
    Foreword.Lorenzo Bartalesi & Mariagrazia Portera - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (2):3-4.
    Evolutionary Aesthetics emerges today as a young and lively field of studies whose main aim is to rethink the traditional questions of philosophical Aesthetics in the light of biological theories, in particular in the light of Darwin's evolutionary theory by means of natural selection. The aim of this issue is to introduce Evolutionary Aesthetics into the Italian philosophical debate. Contributions collected cover almost entirely the lively, multifaceted spectrum of the discipline: 1) the high-debated question of the adaptive value of (...) sense, artistic practices and art fruition (Stephen Davies, Zach Norwood, Joseph Carroll); 2) the evolutionary explanation of human sexual preferences and production of artefacts (Hannes Rusch & Eckart Voland); 3) the possibility for a Darwinian non-reductionist definition of art as a culturally differentiated behavior (Kathryn Coe; Nancy E. Aiken; Roberta Dreon); 4) a comparative analysis of aesthetic experience from a cognitive viewpoint (Gianluca Consoli) and from a morphological one (Salvatore Tedesco); 5) the influence of Darwinian perspective beyond the English boundaries, with particular reference to the Italian scientific community in the Nineteenth century (Elena Canadelli) and to the tradition of Gestaltpsychologie (Michele Gardini); 6) a naturalistic approach to aesthetic experience and medial experience (Antonino Pennisi & Francesco Parisi). (shrink)
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  42. Aesthetic Concepts, Perceptual Learning, and Linguistic Enculturation: Considerations From Wittgenstein, Language, and Music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively (...)
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  43. Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  44.  37
    Taste and Other Senses: Reconsidering the Foundations of Aesthetics.Carolyn Korsmeyer - 2018 - Nordic Journal of Aesthetics 26 (54).
    The sense of taste has served as a governing metaphor for aesthetic discernment for several centuries, and recent philosophical perspectives on this history have invited literal, gustatory taste into aesthetic relevance. This paper summarizes the disposition of taste in aesthetics by means of three stories, the most recent of which considers food in terms of aesthetics and its employment in works of art. I conclude with some reflections on the odd position that taste has achieved in the (...)
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  45.  63
    The Concept of Philosophical Experience.Steinar Bøyum - 2008 - Metaphilosophy 39 (3):265–281.
    We often speak about religious experience, and sometimes we speak about metaphysical experience. Yet we seldom hear about philosophical experience. Is philosophy purely a matter of theories and theses, or does it have an experiential aspect? In this article, I argue for the following three claims. First, there is something we might call philosophical experience, and there is nothing mystical about it. Second, philosophical experiences are expressed in something quite similar to what Kant called "aesthetic judgements." Third, philosophical experiences (...)
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  46. Rich Perceptual Content and Aesthetic Properties.Dustin Stokes - 2018 - 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 (...)
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  47. Up the Nose of the Beholder? Aesthetic Perception in Olfaction as a Decision-Making Process.Ann-Sophie Barwich - 2017 - New Ideas in Psychology 47:157-165.
    Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. (...)
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  48. 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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  49.  64
    Aesthetic Relativism.Derek Matravers - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-12.
    As Hume remarks, the view that aesthetic evaluations are ‘subjective’ is part of common sense—one certainly meets it often enough in conversation. As philosophers, we can distinguish the one sense of the claim (‘aesthetic evaluations are mind- dependent’) from another (‘aesthetic evaluations are relative’). A plausible reading of the former claim (‘some of the grounds of some aesthetic evaluations are response- dependent’) is true. This paper concerns the latter claim. It is not unknown, or (...)
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  50.  78
    De Pulchritudine Non Est Disputandum? A Cross‐Cultural Investigation of the Alleged Intersubjective Validity of Aesthetic Judgment.Florian Cova, Christopher Y. Olivola, Edouard Machery, Stephen Stich, David Rose, Mario Alai, Adriano Angelucci, Renatas Berniūnas, Emma E. Buchtel, Amita Chatterjee, Hyundeuk Cheon, In‐Rae Cho, Daniel Cohnitz, Vilius Dranseika, Ángeles E. Lagos, Laleh Ghadakpour, Maurice Grinberg, Ivar Hannikainen, Takaaki Hashimoto, Amir Horowitz, Evgeniya Hristova, Yasmina Jraissati, Veselina Kadreva, Kaori Karasawa, Hackjin Kim, Yeonjeong Kim, Minwoo Lee, Carlos Mauro, Masaharu Mizumoto, Sebastiano Moruzzi, Jorge Ornelas, Barbara Osimani, Carlos Romero, Alejandro Rosas, Massimo Sangoi, Andrea Sereni, Sarah Songhorian, Paulo Sousa, Noel Struchiner, Vera Tripodi, Naoki Usui, Alejandro V. del Mercado, Giorgio Volpe, Hrag A. Vosgerichian, Xueyi Zhang & Jing Zhu - 2019 - Mind and Language 34 (3):317-338.
    Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the (...)
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