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  1. Is the debate between Rawlsians and liberal perfectionists about aesthetics?Terence Rajivan Edward - manuscript
    Does the debate between Rawlsians and liberal perfectionists boil down to the following: for liberal perfectionists, the government should fund aesthetic projects that are in good taste; for Rawlsians, the government should be neutral on the aesthetic value of anything? If so, liberal perfectionists are committed to the view that there is objective aesthetic value. In this paper, I argue that within the Rawlsian system is a thesis that is difficult to reconcile with objectivity about aesthetics.
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  2. "Shadow-lands": The Suffering Image.Gavin Keeney - manuscript
    Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.
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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. Aesthetic Higher-Order Evidence for Subjectivists.Luis Oliveira & Chris Mag Uidhir - 2023 - British Journal of Aesthetics 63 (2):235-249.
    Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.
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  5. 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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  6. 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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  7. Beauty.Jennifer Anne McMahon - 2022 - In The Oxford Encyclopedia of Literary Theory. UK: Oxford University Press. pp. 86-101.
    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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  8. 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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  9. 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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  10. Non-standard Emotions and Aesthetic Understanding.Irene Martínez Marín - 2020 - Estetika: The European Journal of Aesthetics 2 (57):135–49.
    For cognitivist accounts of aesthetic appreciation, appreciation requires an agent (1) to perceptually respond to the relevant aesthetic features of an object o on good evidential grounds, (2) to have an autonomous grasp of the reasons that make the claim about the aesthetic features of o true by pointing out the connection between non-aesthetic features and the aesthetic features of o, (3) to be able to provide an explanation of why those features contribute to the overall aesthetic value of o. (...)
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  11. 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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  12. 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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  13. Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...)
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  14. Introduction: From pleasures to principles.Jennifer A. McMahon - 2018 - In Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. New York, USA: Routledge. pp. 1-9.
    The arguments of each chapter demonstrate that there is no neutral perspective from which to analyse aesthetic qualities. Such qualities cannot be described as their very perception involves evaluation. In short, the chapters focus on those aspects of a first person perspective that can be considered inter-personal in the sense that they are susceptible of intentional calibration and enculturation. That said, not all chapters approach the theme from the same perspective nor with the same targets in mind. For example, approaching (...)
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  15. Meaning in Life and the Metaphysics of Value.Daan Evers - 2017 - De Ethica 4 (3):27-44.
    According to subjectivist views about a meaningful life, one's life is meaningful in virtue of desire satisfaction or feelings of fulfilment. Standard counterexamples consist of satisfaction found through trivial or immoral tasks. In response to such examples, many philosophers require that the tasks one is devoted to are objectively valuable, or have objectively valuable consequences. I argue that the counterexamples to subjectivism do not require objective value for meaning in life. I also consider other reasons for thinking that meaning in (...)
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  16. 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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  17. 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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  18. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: 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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  19. Context building and educating imaginative engagement.David E. W. Fenner - 2010 - Journal of Aesthetic Education 44 (3):109-123.
    In my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context (...)
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  20. The beautiful, the sublime the grotesque: the subjective turn in aesthetics from the Enlightenment to the present.Michael James Matthis (ed.) - 2010 - Newcastle upon Tyne: Cambridge Scholars Press.
    The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kant's towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning (...)
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  21. Who’s Who from Kant to Hegel II: Art and the Absolute.Peter Graham Thielke - 2010 - Philosophy Compass 5 (5):398-411.
    Kant's 'Copernican Revolution', which began in the Critique of Pure Reason (1781/1787), had, by the early 1790s, fundamentally altered the terrain of German philosophy – but not entirely in the way that Kant had foreseen. Skeptical challenges to Kant's discursive account of cognition, in which experience arises from the separate faculties of sensibility and understanding, had led thinkers such as K.L. Reinhold and J.G. Fichte to attempt to provide a first, foundational principle for the critical philosophy. These efforts were enormously (...)
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  22. 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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  23. Topography of the Border: Derrida Rewriting Transcendental Aesthetics.Joanna Hodge - 2009 - In Dominiek Hoens, Sigi Jottkandt & Gert Buelens (eds.), The Catastrophic Imperative: Subjectivity, Time and Memory in Contemporary Thought. Palgrave-Macmillan.
  24. Roman viewing (J.) Elsner Roman Eyes. Visuality and Subjectivity in Art and Text. Pp. xviii + 350, ills, colour pls. Princeton and Oxford: Princeton University Press, 2007. Cased, £32.50, US$49.50. ISBN: 978-0-691-09677-. [REVIEW]Zahra Newby - 2008 - The Classical Review 58 (2):420-.
  25. The subjective universality of aesthetic judgements revisited.Bart Vandenabeele - 2008 - British Journal of Aesthetics 48 (4):410-425.
    When we are touched by the beauty of something, we cannot help judging that the experienced feeling of pleasure ought to be shared by others. In Kantian terms, a pure judgement of taste requires or demands everyone else's assent. I examine some of the major intricacies of Kant's account and aim to correct some distorted views of it. I argue that the autonomy (or ‘heautonomy’) of the judgement of taste is not presupposed but made possible by the modal requirement as (...)
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  26. Art, aesthetics and subjectivity.Fred Rush - 2007 - European Journal of Philosophy 15 (2):283–296.
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  27. Color.Eric M. Rubenstein - 2006 - Internet Encyclopedia of Philosophy.
    Philosophy has long struggled to understand the nature of color. The central role color plays in our lives, in visual experience, in art, as a metaphor for emotions, has made it an obvious candidate for philosophical reflection. Understanding the nature of color, however, has proved a daunting task, despite the numerous fields that contribute to the project. Even knowing how to start can be difficult. Is color to be understood as an objective part of reality, a property of objects with (...)
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  28. Cinema and subjectivity in Krzysztof kieslowski.Paul C. Santilli - 2006 - Journal of Aesthetics and Art Criticism 64 (1):147–156.
  29. Einführung in die philosophische Ästhetik.Maria Elisabeth Reicher - 2005 - Darmstadt: Wissenschaftliche Buchgesellschaft.
    Dieses Buch ist eine bewusst systematisch orientierte Einführung in die grundlegendsten Fragen der philosophischen Ästhetik. Es richtet sich in erster Linie an Studierende der Philosophie, aber auch an interessierte Laien und Vertreter/innen anderer Disziplinen. Zusammenfassungen, Übungsaufgaben und Literaturhinweise am Ende jedes Kapitels machen es auch für das Selbststudium geeignet. Aus dem Inhalt: I. Was ist philosophische Ästhetik? – Auf der Suche nach einer Definition der philosophischen Ästhetik – Die Gegenstände der philosophischen Ästhetik – Die Fragen der philosophischen Ästhetik – Die (...)
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  30. Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd edn. [REVIEW]Elisabeth Schellekens - 2004 - British Journal of Aesthetics 44 (3):304-307.
  31. Subjectivism in the Theory of Pictorial Art.John Hymen - 2003 - The Monist 86 (4):676-701.
    1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece and (...)
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  32. Beyond subjectivism: Heidegger on language and the human being.Abraham Mansbach - 2002 - Westport, Conn.: Greenwood Press.
    Machine generated contents note: 1 The Problem of Subjectivism -- 2 The Self: Dispersion and Constancy -- 3 Decentering the Subject: Works of Art as Heroes -- 4 Practice, Language, and Poetry -- 5 Language: The Transcendental Path -- 6 Language as a Web -- 7 The Human Being as Speaker and Mortal -- 8 Being Human in the Age of Technology.
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  33. The art of nature: Hegel and the critique of judgment.Allen Hance - 1998 - International Journal of Philosophical Studies 6 (1):37 – 65.
    This essay examines the reasons for Hegel's frequently professed claim that Kant's Critique of Judgment simultaneously reveals the internal limits of critical philosophy and opens the door to his own system of speculative idealism. It evaluates Hegel's contention that the conceptions of aesthetic experience, organic purposiveness, and the intuitive intellect developed in the third Critique together conspire to undermine the epistemological and metaphysical foundations of the theories of nature and freedom advanced in the first and second Critiques . Finally it (...)
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  34. » Ästhetik im Ausgang vom Werk. Eugene Delacroix: Fantasie arabe (1833). Exemplarische Überlegungen «.Thomas Loer - 1993 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft:154-170.
  35. Aesthetics and subjectivity: from Kant to Nietzsche.Andrew Bowie - 1990 - New York: Manchester University Press.
    This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.
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  36. Why is Chu Kuang-Ch'ien's Aesthetic Thought Subjective Idealism?Ts'ai I. - 1975 - Contemporary Chinese Thought 6 (3):62-118.
    In the realm of man's culture, among the things created by man, art should be beautiful; its primary essential characteristic should be that it be able to evoke a sense of beauty in the person, that by its beauty it be able to provide for the person the pleasure of the sense of beauty. This is a fact that no one can deny outright. However, saying that art should be beautiful is not the same as saying that all art is (...)
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  37. Subjectivity and justification in aesthetic judgments.Guy Sircello - 1968 - Journal of Aesthetics and Art Criticism 27 (1):3-12.
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  38. Subjectivity in aesthetics.H. G. Alexander - 1955 - Philosophical Quarterly 5 (21):329-341.
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  39. Subjectivity and the aesthetic use of symbols (I).Denis Grey - 1951 - Australasian Journal of Philosophy 29 (2):98 – 108.
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  40. Subjectivity and the aesthetic use of symbols (II).Denis Grey - 1951 - Australasian Journal of Philosophy 29 (3):164 – 174.
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  41. Deleuze, Jonas, and Thompson Toward a New Transcendental Aesthetic and a New Question of Panpsychism.John Protevi - unknown
    Both Deleuze in DR and Thompson / Jonas can be fairly said to be biological panpsychists. That‘s pretty much what ―Mind in Life‖ means: mind and life are co-extensive: life = autopoiesis and cognition = sense-making. Thus Mind in Life = autopoietic sense-making = control of action of organism in environment. Sense-making here is three-fold: 1) sensibility as openness to environment; 2) signification as positive or negative valence of environmental features relative to the subjective norms of the organism; 3) direction (...)
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