Results for ' aesthetic properties, not being by any means ‐ properties of artworks'

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  1.  11
    Structure Aesthetics and Novelistic Structure.Peter Kivy - 2011-04-15 - In Dominic McIver Lopes & Berys Gaut (eds.), Once‐Told Tales. Wiley‐Blackwell. pp. 69–75.
    This chapter contains sections titled: Poetry (Briefly) The Aesthetics of Fiction (Again) A Non‐Aesthetic Art? Fiction as Non‐Aesthetic.
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  2.  43
    Aesthetics As First Ethics: Levinas and the Alterity of Literary Discourse.Henry McDonald - 2008 - Diacritics 38 (4):15-41.
    In lieu of an abstract, here is a brief excerpt of the content:Aesthetics As First EthicsLevinas and the Alterity of Literary DiscourseHenry McDonald (bio)1Notwithstanding the considerable amount of scholarly attention paid since the 1980s to Emmanuel Levinas’s ethical philosophy of “the other,” critics and theorists have generally approached the relation between ethics and aesthetics in his work warily. Although readings of poetry and fiction inspired by Levinas’s philosophy continue to grow at a rapid rate, arguments applying that philosophy to literary (...)
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  3.  83
    Art Selection, or the Preservation of Artworks in the Struggle for Art.Christopher Perricone - 2004 - Journal of Aesthetic Education 38 (2):53.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they (...)
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  4. Art and the Educated Audience.James O. Young - 2010 - Journal of Aesthetic Education 44 (3):29.
    In lieu of an abstract, here is a brief excerpt of the content:Art and the Educated AudienceJames O. Young (bio)1. IntroductionWhen writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art (...)
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  5.  40
    Literature and Speech Acts.Joseph Margolis - 1979 - Philosophy and Literature 3 (1):39-52.
    In lieu of an abstract, here is a brief excerpt of the content:Joseph Margolis LITERATURE AND SPEECH ACTS The trivial truth that literature employs language has been fastened on regularly and repeatedly to spawn a remarkable variety of misconceptions. Most famously, in the context of aesthetics, it has led to the untenable thesis that all art is language,1 and to the more pointed claim that works of art somehow affirm propositions that may be linguistically rendered and straightforwardly judged true or (...)
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  6.  52
    The Danto-Wollheim meaning theory of art.Robert J. Yanal - 1996 - Ratio 9 (1):56-67.
    Arthur Danto in The Transfiguration of the Commonplace and Richard Wollheim in Painting as an Art have each advanced a certain meaning theory of art (MT), more specifically, a theory according to which something is a work of art just in case it expresses a proposition. The first part of this essay sets out that view in more detail, with textual support that Danto and Wollheim do in fact hold that theory. The second part offers reasons against accepting MT. (1) (...)
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  7.  62
    Means without End: Production, Reception, and Teaching in Kant's Aesthetics.Gary Peters - 2004 - Journal of Aesthetic Education 38 (1):35.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing (...)
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  8.  34
    Digitally fabricated aesthetic enhancements and enrichments.Margarita Benitez & Markus Vogl - 2021 - AI and Society 36 (4):1343-1348.
    In this paper, we explore digitally fabricated aesthetic enhancements and modifications of the body as well as digitally fabricated fauna habitats. We will address how we utilize speculative works through our bio inspired digitally fabricated designs via two of our most recent projects: {skin} D.E.E.P. and in silico et in situ. Through these two projects we explore cultural implications of the intersection of technology and biologically inspired art/design. Technology has provided an ever increasing amount of data which has facilitated (...)
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  9. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
     
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  10. Sensibility as vital force or as property of matter in mid-eighteenth-century debates.Charles T. Wolfe - 2013 - In Henry Martyn Lloyd (ed.), The Discourse of Sensibility: The Knowing Body in the Enlightenment. Springer Cham. pp. 147-170.
    Sensibility, in any of its myriad realms – moral, physical, aesthetic, medical and so on – seems to be a paramount case of a higher-level, intentional property, not a basic property. Diderot famously made the bold and attributive move of postulating that matter itself senses, or that sensibility (perhaps better translated ‘sensitivity’ here) is a general or universal property of matter, even if he at times took a step back from this claim and called it a “supposition.” Crucially, sensibility (...)
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  11.  37
    Introducing Aesthetics (review). [REVIEW]James McRai - 2006 - Philosophy East and West 56 (3):515-516.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Introducing AestheticsJames McRaeIntroducing Aesthetics. By David E. W. Fenner. Westport, CT: Praeger, 2003. Pp. 170.David E. W. Fenner's Introducing Aesthetics offers a comprehensive introduction to the major traditions of Western aesthetics. Fenner confines his study to Western aesthetics and does not address the aesthetic traditions of Asian philosophy. This is not, by any means, a limitation, as this restriction of scope makes Fenner's work more concise (...)
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  12. Aesthetic properties.Sonia Sedivy - 2023 - In A. R. J. Fisher & Anna-Sofia Maurin (eds.), The Routledge Handbook of Properties. London: Routledge.
    Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our (...)
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  13.  46
    The dualist character of a garden’s aesthetic properties.David Fenner - forthcoming - British Journal of Aesthetics.
    The attribution of perceptually based aesthetic properties to a garden should be indexed to whether that attribution is (1) to the ever-changing dynamic garden or (2) to some phenomenal capture of the garden in one’s experience, frozen like a photograph. Perceptually based aesthetic properties are used to identify objects, to compare them to others, to evaluate them, and to describe them as we seek to interpret or find meaning in them. This set of activities requires (...) properties that do not change, or at least not much, if any degree of normativity is to be maintained. But those aesthetic properties that are derived from our immediate sensations of a garden only describe a garden at a certain time, under certain conditions, in certain states—all of which change constantly. Both descriptions are useful, and perhaps necessary, for appreciating gardens. (shrink)
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  14.  44
    Sound and Feeling.Anthony Newcomb - 1984 - Critical Inquiry 10 (4):614-643.
    I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics (...)
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  15. Teaching & learning guide for: Musical works: Ontology and meta-ontology.Julian Dodd - 2009 - Philosophy Compass 4 (6):1044-1048.
    A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...)
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  16.  17
    The Social Character of Literature: Adorno The Legacy of the Aesthetics of German Idealism.Mario Farina - 2022 - Rivista di Estetica 81:106-121.
    The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic (...)
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  17.  19
    The Aesthetic Property.Peter Kivy - 2011-04-15 - In Dominic McIver Lopes & Berys Gaut (eds.), Once‐Told Tales. Wiley‐Blackwell. pp. 26–46.
    This chapter contains sections titled: Some Varieties of Aesthetic Properties The Aesthetics of Fiction What Properties are Aesthetic? Mind Aesthetics? Number Aesthetics?
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  18.  23
    A solution to the conjecture of meanings of worlds of art.Paulo Vélez León - unknown
    This paper analyzes the relationship between the meanings of the particular aesthetic judgments (I) pronounced by any person on artwork and the artwork itself. The purpose is to state the following hypothesis: it is false that a consumer is stupid and unable to recognize the quality work of art and meaning of, it is more, all the phrases enunciated in natural language is not a conjecture, but that recognize and reflect the quality of the work. A work of art (...)
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  19.  26
    Aesthetics.Rick Benitez - 2012 - In Gerald A. Press (ed.), The Continuum Companion to Plato. New York: Continuum International Publishers. pp. 129-30.
    Many of Plato’s dialogues explicitly discuss matters that today fall under the umbrella of aesthetics. Literary criticism occupies a prominent place in the Ion, Menexenus, Symposium, Republic, Phaedrus and Laws . Arguments about the standard of aesthetic judgement occupy most of the Hippias Major , as well as portions of the Smp. and the second book of theLg. Some dialogues even venture into territory that we might describe as ‘pure aesthetics’, in that they dis-cuss specific perceptible properties of (...)
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  20. 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 (...)
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  21.  30
    The Oxford Handbook of Aesthetics (review).Derek Matravers - 2005 - Journal of Aesthetic Education 39 (2):104-107.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of AestheticsDerek MatraversThe Oxford Handbook of Aesthetics, edited by Jerrold Levinson. Oxford: Oxford University Press, 2003, 821pp., $99.00 Hardback.The aesthetics community has much for which to thank Jerrold Levinson. His papers are required reading on a number of topics in aesthetics, and he is renowned as a generous commentator and critic. The considerable labor he must have expended in editing this book is yet another (...)
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  22. The problem of non-perceptual art.James Shelley - 2003 - British Journal of Aesthetics 43 (4):363-378.
    Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise (...)
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  23.  63
    Themes in the Philosophy of Music.Saam Trivedi - 2003 - Journal of Aesthetic Education 37 (3):108.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 108-112 [Access article in PDF] Themes in the Philosophy of Music, by Stephen Davies. New York: Oxford University Press, 2003, 283 pp., hardcover. Over the last few decades, there has been a remarkable output of several books and articles on the philosophy of music. Stephen Davies is one of the leading contributors to this growing literature in the Philosophy of Music. (...)
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  24.  30
    Aesthetic experience in the political philosophy of A. Kojève: towards understanding the practice and theory of the total state.Pavel Egorov - 2023 - Sotsium I Vlast 4 (98):21-36.
    Introduction. The article is focused on analyzing the aesthetic aspect of A. Kojève’s philosophy, the ability of his philosophy, from an aesthetic point of view, to clarify a number of key problems of the modern political and cultural environment. The purpose of the study is to determine the epistemological attitude of A. Kojève’s philosophy able to clarify the way in which his philosophy problematizes the current cultural and political reality. Methods. Hermeneutics, comparative analysis and deconstruction are used as (...)
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  25.  78
    General properties of bayesian learning as statistical inference determined by conditional expectations.Zalán Gyenis & Miklós Rédei - 2017 - Review of Symbolic Logic 10 (4):719-755.
    We investigate the general properties of general Bayesian learning, where “general Bayesian learning” means inferring a state from another that is regarded as evidence, and where the inference is conditionalizing the evidence using the conditional expectation determined by a reference probability measure representing the background subjective degrees of belief of a Bayesian Agent performing the inference. States are linear functionals that encode probability measures by assigning expectation values to random variables via integrating them with respect to the probability (...)
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  26.  47
    Art, Meaning, and Perception: A Question of Methods for a Cognitive Neuroscience of Art.W. P. Seeley - 2013 - British Journal of Aesthetics 53 (4):443-460.
    Neuroscience of art might give us traction with aesthetic issues. However it can be seen to have trouble modeling the artistically salient semantic properties of artworks. So if meaning really matters, and it does, even in aesthetic contexts, the prospects for this nascent field are dim. The issue boils down to a question of whether or not we can get a grip on the kinds of constraints present and available to guide interpretive behavior in our engagement (...)
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  27. Forgeries and art evaluation: An argument for dualism in aesthetics.Tomas Kulka - 2005 - Journal of Aesthetic Education 39 (3):58-70.
    In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...)
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  28.  29
    The Aesthetics of Everyday Life (review).Jeffrey Petts - 2008 - Journal of Aesthetic Education 42 (1):116-121.
    The review examines different essays from the context set by the idea of 'everyday aesthetics'. Confronted with the notion of "everyday aesthetics," one is immediately faced with some problems of definition. Such problems potentially threaten the viability of the everyday aesthetics project to extend the scope of philosophical aesthetics, so that, as Jonathan Smith suggests in his introduction to this collection of essays, "nothing in the everyday world (or at least very little) can be supposed devoid of the power to (...)
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  29.  11
    Esthétique du ≪signe pur≫. Adorno, Merleau-ponty et l’art comme réinvention infinie du réel.Blaise Bachofen - 2011 - Danish Yearbook of Philosophy 46 (1):7-24.
    AESTHETICS OF “PURE SIGN” ADORNO, MERLEAU-PONTY AND ART AS AN ENDLESS REINVENTION OF REALITY Contemporary painting has often dealt with signs, graffiti, calligraphy, and more precisely with aesthetic objects that take the form and appearance of signs, but which do not belong to any existing alphabet. These are forms that imitate signs but are what we might call “pure signs”, i.e. signifiers without a signified. This form of artistic experimentation has elicited parallel and convergent analyses by Merleau-Ponty and Adorno. (...)
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  30.  52
    Art and the teaching of love.Didier Maleuvre - 2005 - Journal of Aesthetic Education 39 (1):77-92.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 77-92 [Access article in PDF] Art and the Teaching of Love Didier Maleuvre Art is rightly thought to be the domain of expression and illusion. It is expression because every work of art, however stone-faced or impersonal in aspect, is the product of human intention. And it is illusion because, however concrete, vivid, or raw, it holds up only images. These (...)
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  31.  16
    A Partial Truth (Poems 2015–19) by Christopher Norris (review).Niall Gildea - 2023 - Substance 52 (2):122-126.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Partial Truth (Poems 2015–19) by Christopher NorrisNiall GildeaNorris, Christopher. A Partial Truth (Poems 2015–19). The Seventh Quarry Press, 2019. 133pp.“No interval but some event takes place.”(Norris, “Freeze-Frame,” A Partial Truth)A Partial Truth, a collection of thirty-seven pieces, is the seventh volume of poetry by philosopher and literary theorist Christopher Norris. Nobody familiar with Norris’s distinguished career will be surprised to learn that his recent turn to versification (...)
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  32. Three kinds of rationalism and the non-spatiality of things in themselves.Desmond Hogan - 2009 - Journal of the History of Philosophy 47 (3):pp. 355-382.
    In the transcendental aesthetic of the Critique of Pure Reason, Kant claims that space and time are neither things in themselves nor properties of things in themselves but mere subjective forms of our sensible experience. Call this the Subjectivity Thesis. The striking conclusion follows an analysis of the representations of space and time. Kant argues that the two representations function as a priori conditions of experience, and are singular "intuitions" rather than general concepts. He also contends that the (...)
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  33.  19
    (1 other version)A comparative study of artistic play and.Mitsuru Fujie - 2003 - Journal of Aesthetic Education 37 (4):107-114.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known (...)
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  34.  13
    What Is Wrong with Aesthetic Empiricism? An Experimental Study.Clément Canonne & Pierre Saint-Germier - forthcoming - Review of Philosophy and Psychology:1-35.
    According to Aesthetic Empiricism, only the features of artworks accessible by sensory perception can be aesthetically relevant. In other words, aesthetic properties supervene on perceptual properties. Although commonly accepted in early analytic aesthetics, Aesthetic Empiricism has been the target of a number of thought experiments popularized by Gombrich, Walton, and Levinson, purporting to show that perceptually indiscernible artworks may differ aesthetically. In particular, this literature exploits three kinds of differences among perceptually indiscernible (...) that may account for aesthetic differences: relative to categories of art, historical provenance, or means of production. Like in all philosophical thought experiments, the reliability of the elicited intuitions remains an empirical question that we address here with the methods of experimental philosophy. Throughout three studies, we show that most people do not believe that non-perceptual properties can modulate our evaluation of an artwork’s beauty. However, intuitions were much more divided when considering expressive aesthetic properties (such as intensity), and even clearly reversed when considering artistic properties (such as originality or technical achievement). Overall, our studies show that the central intuitions elicited by the classical indiscernibility arguments strongly depend on the class of manipulated properties (expressive aesthetic properties vs formal aesthetic properties; aesthetic properties vs artistic properties) and are thus more suited to refute artistic empiricism than aesthetic empiricism, narrowly construed. (shrink)
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  35.  12
    The Imago Templi of the Invisible Church: Idealism and Abstract Art.Haris Ch Papoulias - 2017 - RAPHISA REVISTA DE ANTROPOLOGÍA Y FILOSOFÍA DE LO SAGRADO 1 (2).
    Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)
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  36. A Still Life Is Really a Moving Life: The Role of Mirror Neurons and Empathy in Animating Aesthetic Response.Carol S. Jeffers - 2010 - Journal of Aesthetic Education 44 (2):31.
    In lieu of an abstract, here is a brief excerpt of the content:A Still Life Is Really a Moving LifeThe Role of Mirror Neurons and Empathy in Animating Aesthetic ResponseCarol S. Jeffers (bio)IntroductionIn the Western aesthetic canon, the still life enjoys a certain prestige; its place in the museum and on the pages of the art history text is secure. Art aficionados who appreciate the character of Cezanne's apples help to ensure the lofty standing of the still life, (...)
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  37.  32
    The crisis of greek poetics: A re-interpretation. [REVIEW]Michael Murray - 1973 - Journal of Value Inquiry 7 (3):173-187.
    The central thrust of Platonic poetics - for Plato had no aesthetics - is not the outright abolition of poetry, nor merely a relocation of it in view of recent acquisitions in the scientific knowledge of the day. Rather it is the quest for an authentic poetry and for ways of differentiating true from false poetry. The experience of transcendence through poetic symbols - of insight into ultimate reality - cannot be explained on the basis of the mimetic theory. The (...)
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  38. Environmental harm: Political not biological.Mark Sagoff - 2009 - Journal of Agricultural and Environmental Ethics 22 (1):81-88.
    In their fine paper, Evans et al. discuss the proposition that invasive non-native species are harmful. The question to ask is, “Harmful to whom?” Pathogens that make people sick and pests that damage their property—crops, for example—cause harms of kinds long understood in common law and recognized by public agencies. The concept of “ harm to the environment,” in contrast, has no standing in common law or legislation, no meaning for any empirical science, and no basis in a political consensus (...)
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  39. The Method of In-between in the Grotesque and the Works of Leif Lage.Henrik Lübker - 2012 - Continent 2 (3):170-181.
    Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as (...)
     
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  40. Art, Meaning, and Aesthetics: The Case for a Cognitive Neuroscience of Art.William Seeley - 2015 - In Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati & Camilo José Cela Conde (eds.), Art, Aesthetics and the Brian. Oxford University Press UK. pp. 19-39.
    Empirical aesthetics and philosophy of art are often framed as disciplines in conflict with one another. Psychologists working in empirical aesthetics argue that philosophical theories of art reflect the evaluative biases of critics and experts and so fail as objective accounts of artistic practice. Philosophers argue that the causal-psychological explanations appealed to in empirical aesthetics can not account for the role normative conventions play in appreciative judgements, and so fail to differentiate artworks and artistic practices from ordinary artifacts and (...)
     
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  41.  54
    When little girls become junior connoisseurs: A cautionary tale of art museum education in the hyperreal.Melinda M. Mayer - 2006 - Journal of Aesthetic Education 40 (3):48-58.
    In lieu of an abstract, here is a brief excerpt of the content:When Little Girls Become Junior Connoisseurs:A Cautionary Tale of Art Museum Education in the HyperrealMelinda M. Mayer (bio)Introducing the TaleA young girl about eleven years old appeared on the TV screen. She stood in an art museum expounding upon the painting hanging behind her. She talked about the artist and what the image portrayed. With an air of elitist prissiness that suited the museum environment, the girl delivered her (...)
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  42. The Virtue of Subtlety and the Vice of a Heavy Hand.Alex King - 2017 - British Journal of Aesthetics 57 (2):119-137.
    Subtlety is a concept as deeply intertwined with aesthetic judgements as virtually any other. But it is not clear what makes subtlety a good property of an artwork, or indeed if it is one. In this paper, I explore this under-discussed issue. First, I spend some time setting out hallmarks of subtlety and discussing different ways in which subtlety might be valuable. I then go on to defend a particular view about why subtlety is aesthetically valuable, by thinking through (...)
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  43.  36
    (1 other version)Din ile İlişkisi Bağlamında Fıtratın Mahiyeti.Adil Bor - 2017 - Cumhuriyet İlahiyat Dergisi 21 (3):1671-1704.
    : The thought of the Qurʾān consists of certain concepts. The concept of “fiṭrah” that expresses the physical and spiritual side of the people, is one of crucial concepts which stands for the conseption of the Qurʾān. Therefore this concept has become the one drawing attention of scholars from the earlies. Usually, the concept of “fiṭrah” is interpreted as the religion of Islam and the initial creation or the human potentiality of acception a religion and whether they can change or (...)
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  44. Aestheticism and Spiritualism: A Narrative Study of the Exploration of Self through the Practice of Chinese Calligraphy.Ming-tak Hue - 2010 - Journal of Aesthetic Education 44 (2):18.
    In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a nation, (...)
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  45. The Metaphysics of Art Restoration.Rafael De Clercq - 2013 - British Journal of Aesthetics 53 (3):261-275.
    Art restorations often give rise to controversy, and the reason does not always seem to be a lack of skill or dedication on the side of the restorer. Rather, in some of the most famous cases, the reason seems to be a lack of agreement on basic principles. In particular, there seems to be a lack of agreement on how the following two questions are to be answered. First, what is art restoration supposed to achieve, in other words, what is (...)
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  46.  45
    Architecture as performance: Sigurd Lewerentz's uncut bricks.Ken Wilder - 2021 - Aesthetic Investigations 5 (1):28-50.
    Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes (...)
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  47.  18
    Contemporary Art and the Problem of Indiscernibles: An Adverbialist Approach.Tomáš Koblížek - forthcoming - Estetika: The European Journal of Aesthetics 60 (1):19-35.
    This paper addresses Arthur Danto’s claim that contemporary artworks, such as Andy Warhol’s Brillo Box, do not differ perceptually from ordinary objects, and that in order to see contemporary artworks as art the viewer has to move from mere experience to a meaning expressed by the work. I propose to supplement Danto’s thesis. I argue that, while some contemporary artworks may indeed be perceptually indistinguishable from ordinary objects, these works are distinguishable not only by means of (...)
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  48.  44
    Aesthetics without Objects: Towards a Process-Oriented Aesthetic Perception.Nicola Perullo - 2022 - Philosophies 7 (1):21.
    In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do not happen (...)
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    Entangled Values: A Reply to Dodd.Robert Stecker - 2015 - British Journal of Aesthetics 55 (3):393-398.
    It is not uncommon these days to claim that we should distinguish between artistic value and other types of value, including aesthetic value. A problem for this proposal is posed by the fact that artworks have valuable properties that are no part of its artistic value. Unless there is a way to distinguish artistically valuable properties from other valuable properties, some will be unconvinced that the distinction is viable.1 For this reason, I have proposed a (...)
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    Untitled.Dale Jacquette - 1995 - Philosophy and Literature 19 (1):102-105.
    In lieu of an abstract, here is a brief excerpt of the content:UntitledDale JacquetteI recently acquired the unpublished manuscripts of an obscureearly twentieth-century philosopher. Among the papers is included a detailed account of the semantics of untitled artworks and literary productions. I am convinced of the truth of this important aesthetic theory, and I wish to serve as editor to help see the work to publication. Unfortunately, the manuscript is untitled, which poses an interesting difficulty.The principles of the (...)
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