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  1. Folk Aesthetic Intersubjectivism.Giulio Pietroiusti - manuscript
    Cova et al. (2019) have tested people's beliefs on aesthetic disagreement using experiments based on questionnaires. Since the vast majority of people chose answers that are incompatible with aesthetic intersubjectivism, Cova et al. claim that the aesthetics literature is misguided in assuming that ordinary people are intersubjectivists. Contesi et al. (2024) argue that those results are not in contrast with the aesthetics literature, given that folk intersubjectivism is generally understood as an implicit commitment, rather than an explicit belief; its presence, (...)
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  2. On Christian Values and Bresson's Forms A Contribution to a Philosophical Legacy of Cinema.Maria Irene Aparicio - 2024 - In Sérgio Dias Branco (ed.), Exploring Film and Christianity. Routledge.
    This chapter focuses on the cinematic representation of Christian values such as faith and love in Robert Bresson's films, Journal d'un curé de campagne (1951) [Diary of a Country Priest] and Les Anges du péché (1943) [Angels of Sin], as connected with the pathos of film characters by a kind of productive montage (Sergei Eisenstein), but also by sublime narratives, i.e., “invisible” movements (Gilles Deleuze). To understand those values and their correlative (im)perceptible movements, the chapter analyzes and discusses film sequences (...)
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  3. Fourfolded objects, or toward a philosophy of object-oriented curation.Jan Gresil Kahambing - 2024 - Curator: The Museum Journal 67 (2).
    This paper attempts to contextualize a philosophy of curation that is object-oriented or toward a “return to the object.” In the museum, three interrelated philosophical problems pervade curation practices that prevent access to the object as it is. Here, the subject-object relations or idealism-realism issues are reconsidered as a specific niche of the philosophy of curation. To address these issues, this paper claims that Jean-Paul Martinon and Graham Harman's philosophical return to the Heideggerian fourfold (das Geviert) can introduce creative pathways (...)
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  4. Beauty as Evidence of Intelligent Design.Logan Paul Gage - 2023 - In God's Grandeur. Manchester, NH: Sophia Institute Press. pp. 199-216.
  5. Response-Dependence and Aesthetic Theory.Alex King - 2023 - In Chris Howard & Rach Cosker-Rowland (eds.), Fittingness. OUP. pp. 309-326.
    Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two aesthetic properties that (...)
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  6. Edith Landmann-Kalischer: Essays on Art, Aesthetics, and Value.Edith Landmann-Kalischer - 2023 - Oxford: Oxford University Press. Edited by Samantha Matherne. Translated by Daniel O. Dahlstrom.
    This volume brings together essential essays by an important but neglected thinker in early twentieth-century German philosophy, Edith Landmann-Kalischer. As the first English translation of her writings, this volume represents a landmark step in the effort to restore to its rightful place her philosophy and, in particular, its methodologically unified approach to aesthetic, moral, and epistemic value. The three essays translated - “On the Cognitive Value of Aesthetic Judgments: A Comparison of Sensory Judgments and Value Judgments” (1905), “On Artistic Truth” (...)
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  7. Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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  8. Further exploration of anti-realist intuitions about aesthetic judgment.James Andow - 2022 - Philosophical Psychology 35 (5):621-661.
    Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in (...)
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  9. Imperfectionist Aesthetics in Art and Everyday Life.Peter Cheyne (ed.) - 2022 - London: Routledge.
    This book presents interdisciplinary research on the aesthetics of perfection and imperfection. Broadening this growing field, it connects the aesthetics of imperfection with issues in areas including philosophy, music, literature, urban environment, architecture, art theory, and cultural studies. -/- The contributors to this volume argue that imperfection has value in being open and inclusive. The aesthetics of imperfection is thus typified by organic, unpolished production and the avoidance of perfect finish, instead representing living and natural change, and opposing the consumerist (...)
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  10. Aesthetic Values Are Distal Versions of Practical Values.Tom Cochrane - 2022 - Journal of Aesthetics and Art Criticism 81 (1):83-84.
    I believe the first thing to say about value is that it is something that we do. We value things. There is no value out there independent of valuing beings. Thi.
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  11. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  12. Nature and Aesthetics: Methexis, Mimēsis and Poiēsis.Alexander J. B. Hampton - 2022 - In Alexander J. B. Hampton & Douglas Hedley (eds.), The Cambridge Companion to Christianity and the Environment. Cambridge University Press. pp. 263-85.
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  13. The Aesthetic Value of Literary Works in Roman Ingarden’s Philosophy.Hicham Jakha - 2022 - Kultura I Wartości (32):165-185.
    In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...)
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  14. Descriptivism and the Determination Thesis: an Untenable Marriage in the Metaontology of Art.Nemesio G. C. Puy - 2022 - Philosophical Quarterly 72 (3):595-614.
    The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...)
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  15. Aesthetic Realism and Manifest Properties.Andrea Sauchelli - 2022 - Journal of Aesthetics and Art Criticism 80 (2):201-213.
    This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.
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  16. The Aesthetic Value of the World.Tom Cochrane - 2021 - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
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  17. Measuring metaaesthetics: Challenges and ways forward.David Moss & Lance S. Bush - 2021 - New Ideas in Psychology 62.
    A growing body of psychological research seeks to understand how people's thinking comports with long-standing philosophical theories, such as whether they view ethical or aesthetic truths as subjective or objective. Yet such research can be critically undermined if it fails to accurately characterize the philosophical positions in question and fails to ensure that subjects understand them appropriately. We argue that a recent article by Rabb et al. (2020) fails to meet these demands and propose several constructive solutions for future research.
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  18. How to be an aesthetic realist.Elizabeth Tropman - 2021 - Ratio 35 (1):61-70.
    This paper develops a form of realism about aesthetics that is stronger than typical versions of aesthetic realism. As I conceive of it, aesthetic realism is the view that there are some response-independent aesthetic facts. This kind of realism is unpopular in aesthetics and is often viewed as a non-starter. Against this pessimism, I argue that the prospects for this realist approach are more favorable than commonly supposed. I offer some reasons to prefer my brand of aesthetic realism to competing (...)
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  19. Tasty roads to Flavour.Axel Barceló Aspeitia - 2020 - Manuscrito 43 (4):1-12.
    The goal of this brief note is to offer a generalisation of Gómez-Torrente argumentative strategy against perspectivism, which he has developed as a defence of color realism in (2016) and (2019) and then apply it to evaluative language. In particular, I want to defend the thesis that at least some aesthetic predicates can have non-evaluative reference. As an example, I will work with the predicate “tasty” (and its antonym “disgusting”) to argue that it some times refers to a non-subjective non-evaluative (...)
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  20. (1 other version)A Critique of Moderate Formalism.Simon Fokt - 2020 - Estetika: The European Journal of Aesthetics 50 (1):41.
    Moderate formalism is the view that all artworks which have aesthetic properties have formal aesthetic properties, and some but not all of those works also have non-formal aesthetic properties. Nick Zangwill develops this view in his Metaphysics of Beauty after having argued against its alternatives – extreme formalism and anti-formalism. This article reviews his arguments against the rivals of moderate formalism, and argues that the rejection of anti-formalism is unjustified. Zangwill does not succeed in proving that the broadly determined (context-determined) (...)
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  21. A Study of the Essence of the Cinematic Frame According to the Metaphors of the Window and Framework.Milad Roshani Payan - 2019 - Kimiahonar 8 (32):25-36.
    The cinematic frame is the boundary between the cinematic image and the outside world. In the history of theoretical studies of cinema, the essence of the cinematic frame is analyzed in many ways. Here we focus on two significant viewpoints among them. One of these significant viewpoints considered cinematic frame as a window, and another one considered it as a framework. Both of them had (and have) some supporters. In the case of the window, which realist theories preferred, the cinematic (...)
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  22. Expressivism and Arguing about Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
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  23. Moral Realism, Aesthetic Realism, and the Asymmetry Claim.Louise Hanson - 2018 - Ethics 129 (1):39-69.
    Many people accept, at least implicitly, what I call the asymmetry claim: the view that moral realism is more defensible than aesthetic realism. This article challenges the asymmetry claim. I argue that it is surprisingly hard to find points of contrast between the two domains that could justify their very different treatment with respect to realism. I consider five potentially promising ways to do this, and I argue that all of them fail. If I am right, those who accept the (...)
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  24. Two Epistemic Issues for a Narrative Argument Structure.Gilbert Plumer - 2018 - In Steve Oswald (ed.), Argumentation and Inference. Proceedings of the 2nd European Conference on Argumentation, Fribourg 2017. College Publications. pp. 519-526.
    The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability?
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  25. (1 other version)The Compass of Beauty: A Search for the Middle.Lars Spuybroek - 2018 - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it a competitor of Heidegger’s fourfold.
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  26. Transformation of the French Pattern of a Naturalistic Character in Ivan Franko’s Literary Works.Nataliia Yatskiv - 2018 - Kyiv-Mohyla Humanities Journal 5:183-200.
    The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed (...)
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  27. Realism in Film: Less is More.Jiri Benovsky - 2017 - Dialogue 56 (1):131-141.
    What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.
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  28. Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
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  29. Perceptual learning, the mere exposure effect and aesthetic antirealism.Bence Nanay - 2017 - Leonardo 50:58-63.
    It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic realism/antirealism debate. (...)
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  30. The Transcendental Argument of the Novel.Gilbert Plumer - 2017 - Journal of the American Philosophical Association 3 (2):148-167.
    Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if (...)
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  31. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...)
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  32. Fictional Realism.Ioan Motoarca - 2016 - Dissertation, University of Illinois at Chicago
    There are two kinds of mainstream realist views of fictional characters: (1) They are abstract entities, created by the writers. They do not genuinely possess the properties ascribed to them in the fiction. (2) They are non-existent objects (alternatively, abstract objects) that do genuinely possess the properties ascribed in the fiction. The dissertation criticizes (1) and (2) and argues for a third realist view, according to which fictional characters exist and have the properties ascribed in the fiction. That solves some (...)
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  33. Beauty and The End of Art, Wittgenstein, Plurality and Perception.Sonia Sedivy - 2016 - New York: Bloomsbury Academic.
    Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make (...)
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  34. UM PANORAMA INICIAL SOBRE DIMENSÃO ESTÉTICA EM MARCUSE E SUA CRÍTICA AOS ESTETAS DO MARXISMO ORTODOXO.Jair Soares - 2016 - Encontro Nacional Herbert Marcuse.
    The aim of this abstract is to present an overview of the thinking of the philosopher Hebert Marcuse in relation to Art, exposing his criticism of the orthodox conception of Marxist aesthetics, as well as to explain the author 's proposal on art as an essential component of the revolution in opposed to the affirmative culture of the "status quo" and the established ". For such an exposition to the methodology used, it started from a literary and philosophical consultation in (...)
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  35. Could Perspective ever be a Symbolic Form? Revisiting Panofsky with Cassirer.Emmanuel Alloa - 2015 - Journal of Aesthetics and Phenomenology 2 (1):51-72.
    Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...)
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  36. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  37. A Defense of Taking Some Novels As Arguments.Gilbert Plumer - 2015 - In B. J. Garssen, D. Godden, G. Mitchell & A. F. Snoeck Henkemans (eds.), Proceedings of the 8th International Conference of the International Society for the Study of Argumentation [CD-ROM]. Sic Sat. pp. 1169-1177.
    This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that (...)
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  38. The Acrobatics of the Figure: Piranesi and Magnificence.Lars Spuybroek - 2015 - In Dr J. G. Wallis de Vries (ed.), ARCHESCAPE: The Piranesi Flights. 1001 Publishers. pp. 5-11.
    An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.
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  39. Charis and Radiance: The Ontological Dimensions of Beauty.Lars Spuybroek - 2014 - In S. Van Tuinen (ed.), Giving and Taking: Antidotes to a Culture of Greed. pp. 119–49.
    This essay developed out of the final chapter of The Sympathy of Things where I related beauty to a notion of radical generosity. Tracing generosity back to the ancient Greeks brought me to a whole new world of grace and “charis”, the etymological root of words like charisma and charity. The essay establishes a fundamental connection between grace and beauty, deeply interrelating movement and object. In the second part the argument develops into an ontology based on the concept of radiance, (...)
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  40. 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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  41. 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 shown (...)
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  42. 'Of course there are fictional characters'.Mark Sainsbury - 2012 - Revue Internationale de Philosophie 262 (4):615-40.
    There is no straightforward inference from there being fictional characters to any interesting form of realism. One reason is that “fictional” may be an intensional operator with wide scope, depriving the quantifier of its usual force. Another is that not all uses of “there are” are ontologically committing. A realist needs to show that neither of these phenomena are present in “There are fictional characters”. Other roads to realism run into difficulties when negotiating the role that presupposition plays when we (...)
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  43. Hutcheson's Idea of Beauty and the Doomsday Scenario.Rafe McGregor - 2010 - Postgraduate Journal of Aesthetics 7 (1):13-23.
    Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or complex, and the (...)
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  44. Aesthetic Value, Intersubjectivity and the Absolute Conception of the World.G. Anthony Bruno - 2009 - Postgraduate Journal of Aesthetics 6 (3).
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...)
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  45. Aesthetic Realism And Metaphor.Julian Jonker - 2009 - Postgraduate Journal of Aesthetics 6 (2).
    One intuition we have about critical discourse is that we can distinguish between aesthetic and non-aesthetic assertions. When we say that a composition has a quick tempo and makes much use of staccato, we are remarking upon non-aesthetic features of the work. When we say of the same composition that it is vibrant, we are, in some sense, referring to an aesthetic feature. How should we draw the line between the aesthetic and non-aesthetic features of a work, and what import (...)
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  46. (1 other version)Meta-Aesthetics: Realism, Objectivism, Cognitivism.Elisabeth Schellekens Dammann - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 170-187.
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  47. (1 other version)Meta-Aesthetics: Realism, Objectivism, Cognitivism.Elisabeth Schellekens Dammann - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan.
    Discusses three current debates in meta-aesthetics.
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  48. A Critical Realist Perspective on Aesthetic Value.Ian Verstegen - 2006 - Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. Then a rough (...)
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  49. (3 other versions)What Are Aesthetic Properties?Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191–227.
    [Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in (...)
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  50. Thomas Reid's Aesthetic Realism.Roger Pouivet - 2005 - Journal of Scottish Philosophy 3 (1):35-45.
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