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Aesthetic universals are fundamental principles, patterns, or qualities that are considered to be universally appreciated or recognized across different cultures, time periods, and individuals. These universals encompass aspects of aesthetics, which pertains to the study of beauty, taste, and artistic expression. The concept of aesthetic universals suggests that there are certain features, themes, or characteristics that consistently evoke positive responses or aesthetic pleasure in people regardless of their cultural background or personal preferences. These universals can be observed in various forms of human creative expression, such as visual arts, music, literature, and architecture. They might include qualities like symmetry, balance, harmony, complexity, and emotional resonance, which tend to elicit favorable reactions from diverse audiences. Aesthetic universals are not confined to any specific medium or domain; they transcend these boundaries and reflect shared human cognitive and perceptual tendencies. The exploration of aesthetic universals is rooted in the intersection of multiple disciplines, including psychology, neuroscience, anthropology, philosophy, and cultural studies. Researchers seek to understand whether these universal aesthetic preferences are a result of biological, evolutionary factors, or whether they emerge from culturally mediated experiences that have become ingrained over time. In essence, aesthetic universals provide insight into the common ground that exists within human perceptions of beauty and creativity, offering a bridge between the individual, cultural, and biological dimensions of aesthetic experiences. The concept of aesthetic universals has long intrigued scholars and researchers across various disciplines, ranging from philosophy and psychology to anthropology and art history. Aesthetic universals refer to the fundamental principles, patterns, and qualities that transcend cultural, historical, and individual differences, and are considered to be universally appreciated across diverse human societies. This notion raises significant questions about the underlying cognitive and evolutionary mechanisms that drive our shared aesthetic preferences. This section delves into the exploration of aesthetic universals by examining key theoretical perspectives, empirical studies, and cross-cultural investigations, shedding light on the intriguing interplay between biology, culture, and human perception in shaping our understanding of beauty and artistic expression.

Key works McMahon 2020, Danto 2000, Dutton 2000, Eaton 2000, Hopkins & Riggle 2021, Schellekens 2009, Egan 2010
Introductions McMahon 2020, Danto 2000, Dutton 2000, Eaton 2000, Hopkins & Riggle 2021
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126 found
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  1. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  2. Taste(s) and Common Sense(s).Behrang Pourhosseini - 2024 - Eidos. A Journal for Philosophy of Culture 8 (1):13-38.
    This paper explores the relationship between common sense and taste in the history of aesthetic thought. “Common sense” guarantees the communication of tastes through different modalities. It can either facilitate agreement among individuals, fostering mutual understanding and envisaging a universal aesthetic community, or provoke disagreement. In the former scenario, common sense is literally common to everyone, while in the latter case, it implies diversity and dissensus. By associating the concept of taste with judgement and the sensible (Arendt and Rancière), we (...)
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  3. Selective Breeding and the Birth of Philosophy.Costin Alamariu - 2023 - Independently published.
    Based on his dissertation (Yale). -/- This is an argument that philosophy is born with and dependent on the idea of nature; and that this idea was first discovered or manifested in the perception of biological reality, in particular the perception of hereditary transmission of physical and behavioral qualities, together with the perception that moral and legal codes are relative and contingent. It was generally only within the spiritual and intellectual horizon of certain types of aristocracies to have access to (...)
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  4. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...)
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  5. "Belleza" de Hans-Georg Gadamer y "Belleza y burguesía" de Odo Marquard: Introducción, traducción y notas de Facundo Bey.Facundo Norberto Bey - 2023 - Boletín de Estética 65:73-93.
    Resumen: Este texto introduce la primera traducción al español de los textos Schönheit [Belleza] de Hans-Georg Gadamer (trabajo escrito en los años ’70 y que vio la luz en alemán póstumamente en 2007) y Schönheit und Bürgerlichkeit [Belleza y burguesía] de Odo Marquard, publicado también en 2007 como respuesta demorada al trabajo del filósofo de Marburgo. Gadamer explora el desarrollo histórico del concepto de belleza en los siglos XIX y XX, poniendo énfasis en que la belleza siguió y seguirá siendo (...)
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  6. The Universality of Aesthetic Effects.Jane Boddy, Hanna Brinkmann, Eva Specker, Michael Forster, Helmut Leder & Raphael Rosenberg - 2023 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 68 (2):148-170.
    This paper challenges the assumption that lines, colors, and shapes have aesthetic effects that are the same for everyone. From an interdisciplinary perspective of art history and empirical aesthetics, we argue that assigning aesthetic effects to specific lines or colors may well be a valid theory for some aesthetic encounters, it falls short of explaining universal aesthetic effects. Our analysis proceeds in four steps: We begin by reconsidering the notion of aesthetic effect as defined in the tradition of Goethe. We (...)
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  7. Altera Natura: Das Anthropozän als ästhetisches Problem.Thomas Khurana - 2023 - Dritte Natur 6 (1):171-184.
    Art has long been said to open up a different relationship to nature for the subject than ordinary theoretical or practical knowledge allows. Instead of making nature the distanced object of our contemplation or the mere material and means of our practical constructions, art discloses to us an intelligibility of nature that reaches further than our concepts and a naturalness of ourselves that connects us with what we usually relate to as our other. Against this backdrop, it does not seem (...)
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  8. Black time and the aesthetic possibility of objects.Daphne Lamothe - 2023 - Chapel Hill: The University of North Carolina Press.
    The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time collide in (...)
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  9. How to Know a City: The Epistemic Value of City Tours.Pilar Lopez-Cantero & Catherine Robb - 2023 - Philosophy of the City Journal 1 (1):31-41.
    When travelling to a new city, we acquire knowledge about its physical terrain, directions, historical facts and aesthetic features. Engaging in tourism practices, such as guided walking tours, provides experiences of a city that are necessarily mediated and partial. This has led scholars in tourism studies, and more recently in philosophy, to question the epistemological value of city tours, critiquingthem as passive, lacking in autonomous agency, and providing misrepresentative experiences of the city. In response, we argue that the mediated and (...)
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  10. The Philosophy of Humor: What makes Something Funny.Chris A. Kramer - 2022 - 1000-Word Philosophy: An Introductory Anthology.
    People can laugh at almost anything. What’s the deal with that? What makes something funny? -/- This essay reviews some theories of what it is for something to be funny. Each theory offers insights into this question, but no single approach provides a comprehensive answer.
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  11. Weaving Artistic Archipelagos in Afro Diasporic Networks.Frédéric Lefrançois - 2022 - Sociocriticism 36 (1-2).
    Through the prism of archipelicity, the artistic production of the Afro-American Diaspora reveals its diffractive potential: at once close to and far from its original origins, it unfolds in the in-between of a double consciousness. In his seminal essay, Paul Gilroy calls for the overcoming of binary oppositions in order to better apprehend the complexity of Afro-diasporic intellectual culture, which he sees as specifically transnational (Gilroy, 1993). As inclusive as this theoretical framework may seem, it is challenged by the inherent (...)
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  12. Murdoch and Kant.Melissa Merritt - 2022 - In Silvia Caprioglio Panizza & Mark Hopwood (eds.), The Murdochian Mind. New York, NY: Routledge. pp. 253-265.
    It has been insufficiently remarked that Murdoch deems “Kant’s ethical theory” to be “one of the most beautiful and exciting things in the whole of philosophy” in her 1959 essay “The Sublime and the Good”. Murdoch specifically has in mind the connection between Kant’s ethics and his theory of the sublime, which runs via the moral feeling of respect (Achtung). The chapter examines Murdoch’s interest in Kant on this point as a way to tease out the range of issues that (...)
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  13. The Complexity of Play: A Response to Guyer’s Analysis of Play in Schiller’s Letters on the Aesthetic Education of Man.Kate Brelje - 2021 - In Malcolm MacLean & Wendy Russell (eds.), Play, Philosophy and Performance. New York: Routledge. pp. 142-155.
    In the Letters on the Aesthetic Education of Man (Aesthetic Letters), Friedrich Schiller asserts the importance of play for human beings. He claims, “man only plays when he is in the fullest sense of the word a human being, and he is only fully a human being when he plays” (Schiller, 2005, 131). Play is so pivotal that it qualifies as the activity resonating the state of human fullness. So, naturally, one might ask, what does play consist in for Schiller? (...)
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  14. Artistic Style as the Expression of Ideals.Robert Hopkins & Nick Riggle - 2021 - Philosophers' Imprint 21 (NO. 8):1-18.
    What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...)
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  15. Viscarra, Nietzsche: Las virtudes del genio y la comunicación de la “cultura superior”. Viscarra, Nietzsche. The virtues of genius and the communication of "superior culture".Osman Choque-Aliaga - 2020 - Journal de Comunicación Social 10 (10):147-165.
    Bolivian writer Victor Hugo Viscarra is a constant figure on whom a good number of readers have focused their attention. Review after review of his work has been appearing in the Bolivian press and, in that sense, readers have taken his writings with a blind acceptance omitting in such a way a position that goes beyond the literary frontier. The existence of any work on Viscarra’s role as a thinker, his views on politics, the customs of society itself or the (...)
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  16. Understanding Aesthetics, Creativity and the Arts.Jay Friedenberg - 2020 - Amazon Direct.
    What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...)
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  17. Beauty.Jennifer A. McMahon - 2020 - Oxford Encyclopedia of Literature.
    Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that either (...)
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  18. The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art, Mark Johnson (2018).Ninke Overbeek - 2020 - Empedocles: European Journal for the Philosophy of Communication 11 (1):79-87.
    Review of: The Aesthetics of Meaning and Thought: The Bodily Roots of Philosophy, Science, Morality, and Art, Mark Johnson (2018)Chicago: University of Chicago Press, 304 pp.,ISBN 978-0-22653-894-5, p/bk, USD 30.
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  19. What is Beauty? A Multidisciplinary Approach to Aesthetic Experience.Martino Rossi Monti & Davor Pećnjak (eds.) - 2020 - Cambridge Scholars Publishing.
    From Physical World to Transcendent God(s): Mediatory Functions of Beauty in Plato, Dante and Rupa Gosvami -/- Dragana Jagušić -/- In various philosophical, religious and mystical traditions, beauty is often related to intellectual upliftment and spiritual ascent, which suggests that besides its common aesthetic value it may also acquire an epistemic, metaphysical and spiritual meaning or value. I will examine in detail three accounts in which beauty, at times inseparable from desire and love, mediates between physical, intellectual and spiritual levels (...)
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  20. Kant’s Mathematical Sublime: The Absolutely Great in Aesthetic Estimation.Weijia Wang - 2020 - Kantian Review 25 (3):465-485.
    According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...)
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  21. A Dream of a Stone: The Ethics of De-anthropocentrism.Tsaiyi Wu - 2020 - Open Philosophy 3 (1):413-428.
    De-anthropocentrism is the leitmotif of philosophy in the twenty-first century, encouraging diverse and competing thoughts as to how this goal may be achieved. This article argues that the method by which we may achieve de-anthropocentrism is ethical rather than metaphysical – it must involve a creation of the self, rather than an interpretation of the given human conditions. Through engagements with the thought of Nietzsche, Levinas, and Foucault, and a close reading of Baudelaire’s poem “La Beauté,” I will illustrate three (...)
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  22. Two Conceptions of Harmony in Ancient Western and Eastern Aesthetics: "Dialectic Harmony" and "Ambiguous Harmony".Tak Lap Yeung & Tak-lap Yeung - 2020 - Journal of East-West Thought 10 (2):65-82.
    In this paper, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful. The different understandings of the concept of harmony lead to at least two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. Through an explication of the original meaning and relation between the concept of harmony (...)
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  23. Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception.Antanas Andrijauskas - 2019 - Dialogue and Universalism 29 (2):29-41.
    This article considers the principles of philosophical thinking in Søren Kierkegaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the traditional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy (...)
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  24. The Individual as System.Shachar Freddy Kislev - 2019 - Idealistic Studies 49 (3):215-234.
    In British Hegelianism we find, forgotten, a weighty theory of individuality. This theory remains one of the most sustained attempts in the history of philosophy to analyze the individual, not in the social or psychological sense, but as a logical-metaphysical category. The Idealist conceptualization of the individual is bound with their unconventional theory of universals, for they argued that any individual is a “concrete universal,” and vice versa. This article reconstructs the British Idealist theory of individuality, highlighting its key insights: (...)
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  25. The Relationship between Sublimity and Morality in Kant's Pre-critical Thought (regarding observations... and remarks...). [REVIEW]Fateme Mehrzad Sadaghiani & Masoud Olia - 2019 - Philosophical Investigations 13 (27):335-352.
    This essay is going to show that the relationship between sublimity and morality in Kant’s precritical thinking doesn’t have a systematic philosophical form. The reason can be sought out in these two things: first, aesthetic feeling and moral feeling haven’t been distinguished clearly and have been defined in terms of each other. Second, morality is grounded in feeling, not pure practical reason and its a priori principle. In Observations on the Feeling of the Beautiful and Sublime, Kant invites human beings (...)
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  26. The Aesthetic Use of the Logical Functions in Kant's Third Critique.Stephanie Adair - 2018 - Boston: De Gruyter.
    In the third Critique Kant details an aesthetic operation of judgment that is surprising considering how judgment functioned in the first Critique. In this book, I defend an understanding of Kant’s theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging that specify it as a "bestimmte" type of judgment without transforming (...)
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  27. La estética y el arte a debate (II).José Ramón Fabelo-Corzo & Mariana Romero Bello (eds.) - 2018 - Puebla, Pue., México: Colección La Fuente, BUAP.
    El presente libro recopila algunas de las mejores investigaciones presentadas en el “IX Coloquio Internacional de Estética y Arte” en La Habana en diciembre del 2015, redactadas ahora a modo de artículos. La estética y el arte a debate II está compuesto por 27 artículos y se encuentra dividido en cinco bloques que, de alguna manera, reflejan las temáticas centrales alrededor de las cuales giró el encuentro del 2015. Los bloques temáticos son: 1 Arte, estética y política, 2 Cine y (...)
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  28. Unity and aspect.Andrew Haas - 2018 - Würzburg: Königshausen & Neumann.
    What is first philosophy today? In Unity and Aspect, the questioning begins with a new (old) approach to metaphysics: being is implied; it is implied in everything that is; it is an implication. BUt then, the history of philosophy must be rethought completely - for being implies unity, and time, and the other of time, namely, aspect. THe effect on the self and on self-understanding is radical: we can no longer be thought as human beings; rather, reaching back to the (...)
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  29. Aesthetic Reason and Imaginative Freedom: Friedrich Schiller and Philosophy.María del Rosario Acosta López & Jeffrey L. Powell (eds.) - 2018 - SUNY Press.
    Shows the relevance of Schiller’s thought for contemporary philosophy, particularly aesthetics, ethics, and politics. This book seeks to draw attention to Friedrich Schiller (1759–1805) as a philosophical thinker in his own right. For too long, his philosophical contribution has been neglected in favor of his much-deserved reputation as a political playwright. The essays in this collection make two arguments. First, Schiller presents a robust philosophical program that can be favorably compared to those of his age, including Rousseau, Kant, Schelling, and (...)
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  30. The Retrospective Construction of Derivation as Artistic Behaviour.Emmanuel Mavrommatis - 2018 - Proceedings of the XXIII World Congress of Philosophy 1:193-201.
    The analysis refers to the logical systems of historical evaluation and to the reconstruction of previous or even contemporary artistic works through their reference to “ appraisal through derivation” or to “interpretation of their new meaning through origin” in accordance to the theorem of Philippe Bruneau, Professor of Classical Archaeology, according to which art is identified as that which is derived from art etc. This notion was formulated in 1974 in his prophetic article “Situation méthodologique de l’histoire de l’art antique”,, (...)
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  31. The Grace Machine: Of Turns, Wheels and Limbs.Lars Spuybroek - 2018 - Footprint 22 (Summer):7-32.
    Starting with a few simple questions about living well and where movement originates from this essay turns into a vast map of intricate relations revolving around the notion of grace. By developing the argument from a historical perspective it quickly becomes clear that grace relies on the specific qualities of figuration and how the figure appears in what is termed “the gap between habit and inhabitation.” This article is a shorter version of the introductory chapter to my “Grace and Gravity: (...)
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  32. LEVINSON, JERROLD. Aesthetic Pursuits: Essays in the Philosophy of Art. Oxford University Press, 2017, 197 pp., $55.00 cloth. [REVIEW]James O. Young - 2018 - Journal of Aesthetics and Art Criticism 76 (2):235-237.
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  33. Symbolism of sacred image: Features and possibilities of formal analysis.Ольга Барановська - 2018 - Докса 1.
    The article is devoted to the analysis of artistic form in visual sacred art at the point of its own pure symbolism which provides the special or exclusive expressiveness of the sacred images and let us identify them exactly as the sacred ones. And this concerns not only aesthetic effects or cultural, spiritual meanings of the sacred images, though it is certainly important, but mainly the way of formation of the universal artistic language that is able to speak about the (...)
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  34. SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...)
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  35. Aesthetics of Universal Knowledge.Pasquale Gagliardi, Simon Schaffer & John Tresch (eds.) - 2017 - Cham: Imprint: Palgrave Macmillan.
    Born out of a major international dialogue held at the Fondazione Giorgio Cini in Venice, Italy, this collection of essays presents innovative and provocative arguments about the claims of universal knowledge schemes and the different aesthetic and material forms in which such claims have been made and executed. Contributors take a close look at everything from religious pilgrimages, museums, and maps of the world, to search engines and automated GPS. Current obsessions in information technology, communications theory, and digital culture often (...)
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  36. Seventy-Five Years of Kant … and Counting.Paul Guyer - 2017 - Journal of Aesthetics and Art Criticism 75 (4):351-362.
    There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal (...)
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  37. The Ethical Significance of Kant's Sensus Communis.Brent Kalar - 2017 - Idealistic Studies 47 (1-2):43-58.
    The paper defends an interpretation of Kant’s notion of the sensus communis as the normative ideal of a universal aesthetic community. It further proposes that this understanding is the key to illuminating his account of our moral interest in cultivating taste. A sensus communis is morally necessary because it is an essential means to the creation of the kingdom of ends, which it promotes through its sustaining of a shared symbolic network for the sake of ethical community. The moral advancement (...)
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  38. Systematizing the theoretical virtues.Michael N. Keas - 2017 - Synthese 1 (6):1-33.
    There are at least twelve major virtues of good theories: evidential accuracy, causal adequacy, explanatory depth, internal consistency, internal coherence, universal coherence, beauty, simplicity, unification, durability, fruitfulness, and applicability. These virtues are best classified into four classes: evidential, coherential, aesthetic, and diachronic. Each virtue class contains at least three virtues that sequentially follow a repeating pattern of progressive disclosure and expansion. Systematizing the theoretical virtues in this manner clarifies each virtue and suggests how they might have a coordinated and cumulative (...)
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  39. A New Kind of Aesthetics —The Mathematical Structure of the Aesthetic.Akihiro Kubota, Hirokazu Hori, Makoto Naruse & Fuminori Akiba - 2017 - Philosophies 2 (3):14.
    This paper proposes a new approach to the investigation into aesthetics. Specifically, it~argues that it is possible to explain the aesthetic and its underlying dynamic relations with an~axiomatic structure (the octahedral axiom-derived category) based on contemporary mathematics (namely category theory), and through this argument suggests the possibility for discussion about the mathematical structure of the aesthetic. If there were a way to describe the structure of the aesthetic with the language of mathematical structures and mathematical axioms---a~language completely devoid of arbitrariness---then (...)
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  40. Engineered Niches and Naturalized Aesthetics.Richard A. Richards - 2017 - Journal of Aesthetics and Art Criticism 75 (4):465-477.
    Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...)
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  41. The critic of free harmony of faculties.Ali Salmani - 2017 - Metaphysics (University of Isfahan) 9 (23):37-50.
    The notion of free harmony of faculties is very important in Kant's aesthetic. Kant puts this notion for reply to this question how we can believe in universality in aesthetic judgment, if we perceive it subjectively. Kant claims that pleasure in aesthetic judgment arises from subjective statue which is called free play or harmony of faculties. Since Kant believes that only cognition is communicable, his efforts to bring in cognitive faculties in aesthetic evaluation, justifies universal validity of aesthetic judgment. Kant (...)
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  42. Zen Master Dōgen: Philosopher and Poet of Impermanence.Steven Heine - 2016 - In Gereon Kopf (ed.), The Dao Companion to Japanese Buddhist Philosophy. Dordrecht: Springer. pp. 381-405.
    Zen master Dōgen 道元, the founder of the Sōtō sect in medieval Japan, is often referred to as the leading classical philosopher in Japanese history and one of the foremost exponents of Mahayana Buddhist thought. His essays, sermons and poems on numerous Buddhist topics included in his main text, the Shōbōgenzō 正法眼蔵, reflect an approach to religious experience based on a more philosophical analysis of topics such as time and temporality, impermanence and momentariness, the universality of Buddha-nature and naturalism, and (...)
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  43. Evolution and Aesthetics.Evental Aesthetics - 2015 - Evental Aesthetics 4 (2):1-170.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...)
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  44. The Sublime in Modern Philosophy. Aesthetics, Ethics and Nature By Emily Brady Cambridge: Cambridge University Press, 2013, pp. 240, HB €60 ISBN: 9780521194143. [REVIEW]María José Alcaraz León - 2015 - Philosophy 90 (2):341-346.
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  45. Mathematics in Kant's Critical Philosophy.Emily Carson & Lisa Shabel (eds.) - 2015 - Routledge.
    There is a long tradition, in the history and philosophy of science, of studying Kant’s philosophy of mathematics, but recently philosophers have begun to examine the way in which Kant’s reflections on mathematics play a role in his philosophy more generally, and in its development. For example, in the Critique of Pure Reason , Kant outlines the method of philosophy in general by contrasting it with the method of mathematics; in the Critique of Practical Reason , Kant compares the Formula (...)
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  46. Kant: Studies on Mathematics in the Critical Philosophy.Emily Carson & Lisa Shabel (eds.) - 2015 - Routledge.
    There is a long tradition, in the history and philosophy of science, of studying Kant’s philosophy of mathematics, but recently philosophers have begun to examine the way in which Kant’s reflections on mathematics play a role in his philosophy more generally, and in its development. For example, in the Critique of Pure Reason , Kant outlines the method of philosophy in general by contrasting it with the method of mathematics; in the Critique of Practical Reason , Kant compares the Formula (...)
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  47. Fundemental Aesthetics in Heideggerian Philosophy and Daoism.Morteza Goodarzi & Aliasghar Mosleh - 2015 - Metaphysics (University of Isfahan) 7 (20):81-92.
    Daoist aesthetics is based on the creative power of Dao which has a pre-ontological origin. The original context of creativity which arises from Dao, forms the foundation of art in Daoist thought. In Daoist thought, giving meaning in art and language is only realized through the perception of Dao and unification with it. In his later works, Heidegger pays a great attention to Aesthetic issues in his analysis of language, thought and poetry and emphasizes on the internal mutual dependency of (...)
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  48. The Idiosyncrasy of Beauty: Aesthetic Universals and the Diversity of Taste.Patrick Hogan - 2015 - In Peer F. Bundgaard & Frederik Stjernfelt (eds.), Investigations Into the Phenomenology and the Ontology of the Work of Art: What are Artworks and How Do We Experience Them? Cham: Springer Verlag.
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  49. Issues of Contemporary Art and Aesthetics in Chinese Context.Eva Kit Wah Man - 2015 - Berlin: Springer Berlin Heidelberg.
    This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to (...)
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  50. Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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