Results for 'experimental philosophical aesthetics'

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  1. Experimental Philosophical Aesthetics as Public Philosophy.Aaron Meskin & Shen-yi Liao - 2018 - In Sébastien Réhault & Florian Cova (eds.), Advances in Experimental Philosophy of Aesthetics. New York: Bloomsbury. pp. 309-326.
    Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental (...) aesthetics as public philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)
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  2. Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of (...), aesthetic epistemology, aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)
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  3. 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 evaluations. And despite the wealth of (...)
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  4. Experimental Philosophy of Art.Richard Kamber - 2011 - Journal of Aesthetics and Art Criticism 69 (2):197-208.
    Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from (...) psychology can bring light as well as warmth to the old debate over “What is art?”. (shrink)
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  5.  87
    A Defence of Experimental Philosophy in Aesthetics.Clotilde Torregrossa - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy:1-23.
    Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, (...)
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  6.  81
    Experimental Philosophy and Intuitions on What is Art and What is Not.Annelies Monseré - unknown
    It is generally agreed upon that philosophers of art rely on their intuitions to justify or criticize proposed definitions of art. Experimental philosophers, however, have questioned the role of intuition in philosophy, since empirical research shows that philosophers’ intuitions are neither widely shared nor reliable sources of justification. This article aims to apply these experimental challenges to the project of defining art. It will be demonstrated that while experimentalists are right in claiming that philosophers' intuitions cannot be used (...)
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  7. Can Folk Aesthetics Ground Aesthetic Realism?Florian Cova & Nicolas Pain - 2012 - The Monist 95 (2):241-263.
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having (...)
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  8. Aesthetic Adjectives Lack Uniform Behavior.Shen-yi Liao, Louise McNally & Aaron Meskin - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):618-631.
    The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  9. Early Modern Experimental Philosophy.Peter R. Anstey & Alberto Vanzo - 2016 - In Justin Sytsma & Wesley Buckwalter (eds.), A Companion to Experimental Philosophy. Blackwell. pp. 87-102.
    In the mid-seventeenth century a movement of self-styled experimental philosophers emerged in Britain. Originating in the discipline of natural philosophy amongst Fellows of the fledgling Royal Society of London, it soon spread to medicine and by the eighteenth century had impacted moral and political philosophy and even aesthetics. Early modern experimental philosophers gave epistemic priority to observation and experiment over theorising and speculation. They decried the use of hypotheses and system-building without recourse to experiment and, in some (...)
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  10.  4
    A Defence of Experimental Philosophy in Aesthetics.Clotilde Torregrossa - 2020 - Inquiry: An Interdisciplinary Journal of Philosophy 63 (8):885-907.
    Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, (...)
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  11. Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure.Eldritch Priest - 2013 - Bloomsbury Academic.
    Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure (...)
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  12. 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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  13. 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 of individual artworks (...)
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  14.  81
    Is Beauty in the Folk Intuition of the Beholder? Some Thoughts on Experimental Philosophy and Aesthetics.Emanuele Arielli - 2018 - Rivista di Estetica 69:21-39.
    In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and (...)
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  15. A Bibliography of Experimental Aesthetics 1865-1932.A. Chandler - 1934 - Philosophical Review 43:539.
     
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  16.  25
    Aesthetic Movements of Embodied Minds: Between Merleau-Ponty and Deleuze.Kasper Levin - 2016 - Continental Philosophy Review 49 (2):181-202.
    Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at (...)
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  17. Philosophical Methodology: The Armchair or the Laboratory?Matthew C. Haug (ed.) - 2013 - Routledge.
    What methodology should philosophers follow? Should they rely on methods that can be conducted from the armchair? Or should they leave the armchair and turn to the methods of the natural sciences, such as experiments in the laboratory? Or is this opposition itself a false one? Arguments about philosophical methodology are raging in the wake of a number of often conflicting currents, such as the growth of experimental philosophy, the resurgence of interest in metaphysical questions, and the use (...)
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  18. 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 case that most (...)
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  19.  13
    A Bibliography of Psychological and Experimental Aesthetics, 1864-1937.Albert Richard Chandler - 1938 - American Mathematical Society.
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  20. Genre Moderates Morality’s Influence on Aesthetics.Shen-yi Liao - manuscript
    The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].
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  21.  71
    Methodology in Aesthetics: The Case of Musical Expressivity.Erkki Huovinen & Tobias Pontara - 2011 - Philosophical Studies 155 (1):45 - 64.
    A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing (...)
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  22.  49
    The Vanity of Small Differences: Empirical Studies of Extrinsic Factors and Artistic Value.Shen-yi Liao, Aaron Meskin & Jade Fletcher - 2020 - Aesthetic Investigations 4 (1):412-427.
    To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the (...)
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  23.  12
    A Bibliography of Psychological and Experimental Aesthetics, 1864-1937.Albert R. Chandler - 1940 - Philosophical Review 49:481.
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  24.  3
    A Bibliography of Psychological and Experimental Aesthetics, 1864-1937.Edward N. Barnhart - 1940 - Philosophical Review 49:481.
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  25. Empirically Investigating Imaginative Resistance.Shen-yi Liao, Nina Strohminger & Chandra Sekhar Sripada - 2014 - British Journal of Aesthetics 54 (3):339-355.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...)
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  26.  6
    Aesthetic Comparison of Einstein's and Whitehead's Theories of Gravity.Ronny Desmet - 2016 - Process Studies 45 (1):33-46.
    This article addresses both philosophers of science and process philosophers. It shows that the acceptance of Einstein's general theory of relativity by British physicists in the early 1920s, and their rejection of Whitehead's experimentally indistinguishable theory of gravity, was a matter not only of empirical evaluation but also of aesthetic preference. To philosophers of science it offers a historical case study illustrating the entangled roles of empirical and aesthetic criteria in theory evaluation. To process philosophers it offers an answer to (...)
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  27.  10
    Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic (...)
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  28. Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2013 - British Journal of Aesthetics 53 (2):139-164.
  29.  31
    Empirical Psycho-Aesthetics and Her Sisters: Substantive and Methodological Issues—Part II. Konečni - 2013 - Journal of Aesthetic Education 47 (1):1-21.
    Several key substantive, methodological, and science-practice issues that concern the field designated as empirical psycho-aesthetics were examined in part I (in the Winter 2012 issue of JAE) of this two-part article. Also presented was an outline of the discipline's origin and its relationship with elder and younger "sisters"—philosophical aesthetics, experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of art, and neuroaesthetics. The comparative goal was in part approached through the analysis of several recent significant controversies and debates.Here, in the (...)
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  30.  14
    The Aesthetic Theory of Gernot Böhme and Gestalt Phenomenology.Serena Cataruzza - 2018 - Dialogue and Universalism 28 (4):167-176.
    Gernot Böhme’s original proposal regarding an aesthetic as a philosophic theory of perceptual knowledge could, in our opinion, be usefully compared with certain aspects, historical-theoretical and methodological, of Gestalt psychology. From an historical point of view there is the attention commonly paid to the work of the 18th-century philosopher, Alexander Gottlieb Baumgarten, considered as an important precursor of the study of sensitive knowledge, while the subsequent basic themes of the perceptual-cognitive approach, of the expressive qualities, of the distinction “physical reality (...)
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  31. Zips: Experimental Lines of Flight.Ryan Johnson - 2010 - American Society for Aesthetics Graduate E-Journal 2 (1):1-7.
    By applying a few of the concepts and transformative tools presenting in many of Deleuze’s texts, Barnett Newman’s paintings receive a much-needed re-interpretation. In many of Newman’s paintings, the fields of colors and the pulsating zips that sear through these vast landscapes can be seen as intensive sensations pushing away from philosophical and artistic domains that cling to images of thought rooted in recognition and binarism. The function of such a Deleuzian reading of Barnett Newman is to evoke the (...)
     
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  32. Duchamp and the Aesthetics of Chance: Art as Experiment.John Brogden (ed.) - 2010 - Cambridge University Press.
    Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...)
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  33. Philosophical Aesthetics: An Introduction.Oswald Hanfling (ed.) - 1992 - Open University.
    This volume contains surveys of the main issues in philosophical aesthetics, as discussed by thinkers from ancient Greece to modern times.
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  34.  14
    Perspectives in Aesthetics[REVIEW]M. E. - 1967 - Review of Metaphysics 21 (2):386-386.
    This is an historically oriented textbook including selected writings from such varied thinkers as Plato, Kant, Hegel, Taine, Croce, Fry, Camus, etc. Richter presents an introduction designed to acquaint the student with the diversity of perspectives and problems that will be encountered in the course of the text. Aesthetics is here construed as a broader field in the 20th century than in the past. It is no longer to be defined as the philosophy of the beautiful or of art; (...)
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  35.  36
    Philosophical Toys Today.Tomáš Dvořák - 2013 - Teorie Vědy / Theory of Science 35 (2):173-196.
    The article introduces a thematic issue of the journal Theory of Science that attempts to revive the category of "philosophi- cal toys" - objects and instruments designed for experimental scientific research that simultaneously played crucial role in the creation of the modern visual culture. It claims that to fully understand their nature and the kind of experience philosophical toys induce, it is necessary to situate their origins in eighteenth-century experimental science and aesthetics and proposes to approach (...)
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  36.  88
    Jane Addams as Experimental Philosopher.Joshua August Skorburg - 2018 - British Journal for the History of Philosophy 26 (5):918-938.
    This paper argues that the activist, feminist and pragmatist Jane Addams was an experimental philosopher. To defend this claim, I argue for capacious notions of both philosophical pragmatism and experimental philosophy. I begin in Section 2 with a new defence of Rose and Danks’ [‘In Defense of a Broad Conception of Experimental Philosophy’. Metaphilosophy 44, no. 4 : 512–32] argument in favour of a broad conception of experimental philosophy. Koopman [‘Pragmatist Resources for Experimental Philosophy: (...)
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  37.  77
    Philosophy of Art Education in the Visual Culture: Aesthetics for Art Teachers.Dorit Barchana-Lorand & Efrat Galnoor - 2009 - Philosophy of Education 43 (1):133-148.
    This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture (...)
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  38.  57
    Experimental Philosophers, Conceptual Analysts, and the Rest of Us.François Schroeter - 2008 - Philosophical Explorations 11 (2):143-149.
    In an interesting recent exchange, Antti Kauppinen (2007) disagrees with Thomas Nadelhoffer and Eddy Nahmias (2007) over the prospects of experimental methods in philosophy. Kauppinen's critique of experimental philosophy is premised on an endorsement of a priori conceptual analysis. This premise has shaped the trajectory of their debate. In this note, I consider what foes of conceptual analysis will have to say about their exchange.
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  39.  53
    Dithyrambs and Ploughshares: The Cycle of Creation and Criticism in Nietzsche's Aesthetics.Amanda Dennis - 2011 - The European Legacy 16 (4):469 - 485.
    Pairing Thus Spoke Zarathustra with On the Genealogy of Morality foregrounds tensions between artistic creation and critical interpretation in Nietzsche's work. From The Birth of Tragedy to his genesis of the concept, Will to Power, Nietzsche describes the real, or ?what is,? in terms of a creative, form-giving force. We might therefore read Zarathustra?a linguistically experimental, richly allegorical, self-reflexive, modernist prose poem?as the pre-eminent, artistic mode of philosophical expression, at least for Nietzsche. But Zarathustra is followed by a (...)
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  40.  6
    Philosophical Aesthetics: An Introduction.Nick Zangwill - 1995 - Philosophical Quarterly 45 (180):410-412.
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  41. Soundproof Room: Malraux's Anti-Aesthetics.Robert Harvey (ed.) - 2002 - Stanford University Press.
    In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography _Signé Malraux_, tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the (...)
     
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  42. Experimental Philosophical Bioethics and Normative Inference.Brian Earp, Jonathan Lewis, Vilius Dranseika & Ivar Hannikainen - forthcoming - Theoretical Medicine and Bioethics.
    This paper explores an emerging sub-field of both empirical bioethics and experimental philosophy (“x-phi”), which has been called “experimental philosophical bioethics” (“bioxphi”). As an empirical discipline, bioxphi adopts the methods of experimental moral psychology and cognitive science; it does so to make sense of the eliciting factors and underlying cognitive processes that shape people’s normative judgments, particularly about real-world matters of bioethical concern. Yet, as a normative discipline situated within the broader field of bioethics, it also (...)
     
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  43. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley (ed.) - 2001 - Oxford University Press.
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between (...)
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  44.  6
    Philosophical Aesthetics: A Way of Knowing and its Limits.Marcia Muelder Eaton - 1994 - Journal of Aesthetic Education 28 (3):19-31.
  45.  62
    Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  46.  5
    Who Did the Work? Experimental Philosophers and Public Demonstrators in Augustan England.Stephen Pumfrey - 1995 - British Journal for the History of Science 28 (2):131-156.
    The growth of modern science has been accompanied by the growth of professionalization. We can unquestionably speak of professional science since the nineteenth century, although historians dispute about where, when and how much. It is much more problematic and anachronistic to do so of the late seventeenth century, despite the familiar view that the period saw the origin of modern experimental science. This paper explores the broad implications of that problem.
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  47.  41
    The Disenfranchisement of Philosophical Aesthetics.Jane Forsey - 2003 - Journal of the History of Ideas 64 (4):581-597.
  48.  28
    Philosophical Aesthetics and Samuel Beckett.Andrea Oppo - 2008 - Peter Lang.
    This book examines the role of Samuel Beckett in contemporary philosophical aesthetics, primarily through analysis of both his own essays and the various ...
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  49. Philosophical Aesthetics and the Sciences of Art: Volume 75.Gregory Currie, Matthew Kieran, Aaron Meskin & Margaret Moore (eds.) - 2014 - Cambridge University Press.
    Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the (...)
     
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  50.  17
    Contemporary Philosophical Aesthetics in China: The Relation Between Subject and Object.Eva Kit-wah Man - 2012 - Philosophy Compass 7 (3):164-173.
    This article presents a historical account and philosophical analysis of the development of philosophical aesthetics in China in its Marxist regime, focusing on the relation between subject and object. It enters into the picture of the search for new philosophical aesthetics in Marxist China and engages the related debates and reforms. The representing four schools of aesthetics in the early decades of the new China are introduced, which were led by Gao Ertai, Cai Yi, (...)
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