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  1. The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances.Xiaoyan Hu - 2019 - Proceedings of the European Society for Aesthetics (E-Book), Vol. 11.
    In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection on (...)
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  2. The Dialectic of Consciousness and Unconsciousness in Spontaneity of Genius: A Comparison Between Classical Chinese Aesthetics and Kantian Ideas.Xiaoyan Hu - 2017 - Proceedings of the European Society for Aesthetics (E-Book), Vol. 9.
    This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...)
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  3. Beyond Representation: Reconsidering Loehr's Periodisation of Chinese Painting.Xiaoyan Hu - 2017 - Proceedings of ICA 2016 ‘Aesthetics and Mass Culture’ (E-Book), 2016.
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  4. The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics (E-Book), Vol. 8.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...)
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  5. Immaterial: Rules in Contemporary Art.Sherri Irvin - 2022 - Oxford University Press.
    Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...)
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  6. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...)
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  7. "Facciamo l'Uomo": Proposte Filosofiche Per Un Umanesimo Critico. Studi in Onore di Andrea Poma.Bertolino Luca - 2016 - In Sondra Bacharach, Jeremy Neil Booth & Siv B. Fjærestad (eds.), Collaborative Art in the Twenty-First Century. Routledge. pp. 166-178.
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  8. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...)
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  9. Deleuze's 'Difference and Repetition -Irfan Ajvazi.Irfan Ajvazi - 2021 - Idea Books.
    Deleuze's 'Difference and Repetition -Irfan Ajvazi.
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  10. Kierkegaard, Mimesis, and Modernity: A Study of Imitation, Existence, and Affect.Wojciech Kaftanski - 2021 - Routledge.
    This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. Kierkegaard’s (...)
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  11. The Expression of Emotion in Pictures.Vanessa Brassey - 2021 - Philosophy Compass 16 (9):e12767.
    Philosophy Compass, Volume 16, Issue 9, September 2021.
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  12. Heidegger's Revolutionary (Anti-/Counter-/Post-)Modernism.Jussi M. Backman - 2021 - Gatherings: The Heidegger Circle Annual 11:93-101.
    A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".
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  13. Perceiving Images and Styles.Nathaniel Goldberg & Chris Gavaler - 2021 - JOLMA. The Journal for the Philosophy of Language, Mind and the Arts 2 (1):132-146.
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  14. Where Images Make Their Wonder: An Introduction.Alessandro Cavazzana & Francesco Ragazzi - 2021 - Journal for the Philosophy of Language Mind and the Arts 2 (1):7-20.
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  15. Seeing in Mirrors.Alberto Voltolini - forthcoming - Journal of Aesthetics and Art Criticism.
    Notwithstanding Plato’s venerable opinion, many people nowadays claim either that mirrors are not pictures, or that, if they are such, they are just transparent pictures in Kendall Walton’s sense of a particular kind of picture. In this article, however, I want to argue that mirrors are bona fide pictures. For they are grasped via what, as I assume in the article, makes a picture a picture, that is, a representation with a figurative value, namely, a depiction; namely, a certain seeing-in (...)
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  16. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    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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  17. Non/Living Queerings, Undoing Certainties, and Braiding Vulnerabilities: A Collective Reflection.Marietta Radomska, Mayra Citlalli Rojo Gomez, Margherita Pevere & Terike Haapoja - 2021 - Artnodes 27:1-10.
    The ongoing global pandemic of Covid-19 has exposed SARS-CoV-2 as a potent non-human actant that resists the joint scientific, public health and socio-political efforts to contain and understand both the virus and the illness. Yet, such a narrative appears to conceal more than it reveals. The seeming agentiality of the novel coronavirus is itself but one manifestation of the continuous destruction of biodiversity, climate change, socio-economic inequalities, neocolonialism, overconsumption and the anthropogenic degradation of nature. Furthermore, focusing on the virus – (...)
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  18. Del muro al grafiti en la obra de Antoni Tàpies.Raquel Cascales - 2019 - Arte, Individuo y Sociedad 3 (31):625-641.
    El estudio de los grafitis de Antoni Tàpies que se lleva a cabo en este artículo pretende profundizar en un aspecto poco considerado de la obra del autor y, sin embargo, crucial para comprender el conjunto de su obra. Esta perspectiva permite destacar el interés del artista por superar la separación entre arte y vida, recontextualizándolo más allá de la corriente informalista en las que se le ha encasillado y acercándolo a los movimientos internacionales del arte de acción. Para explicar (...)
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  19. Art Therapy Alleviates the Levels of Depression and Blood Glucose in Diabetic Patients: A Systematic Review and Meta-Analysis.Qingqi Yang, Qunhui Shao, Qiang Xu, Hui Shi & Lin Li - 2021 - Frontiers in Psychology 12.
    Objective: To systematically analyze the effects of art therapy on the levels of depression, anxiety, blood glucose, and glycated hemoglobin in diabetic patients.Methods: We searched Cochrane Library, PubMed, Embase, and ClinicalTrials.gov databases from inception to January 24, 2021. The language of publication was limited to English. Randomized controlled trials that used art therapy to improve mental disorders in diabetic patients were involved. After selection of eligible studies, data were extracted, including the first author's full-name, year of publication, the first author's (...)
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  20. Double Portraiture.Eleen M. Deprez & Michael Newall - 2019 - In Hans Maes (ed.), Portraits and Philosophy. Routledge. pp. 81-96.
    This chapter examines the nature and artistic quality of double portraits. Double portraiture poses unexpected and interesting challenges to existing philosophical accounts of portraiture. We give an account of double portraiture as involving the representation of a significant relationship between two subjects, and an expression of its character. The account argues that a picture with two single portraits does not necessarily make a double portrait, and that a double portrait does not have to contain two single portraits. We then show (...)
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  21. Titian: Love, Desire, Death. [REVIEW]Michael Newall & Eleen M. Deprez - forthcoming - British Journal of Aesthetics.
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  22. Empathie in der Kunst.Íngrid Vendrell-Ferran - forthcoming - In Siegmund Judith (ed.), Handbuch Kunstphilosophie.
    Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  23. Externalization on Stage: The Exil Ensemble’s Hamletmaschine.Katrin Trüstedt - 2020 - In Martin Jörg Schäfer & Karin Nissen-Rizvani (eds.), TogetherText: Prozessual erzeugte Texte im Gegenwartstheater. Berlin, Germany: pp. 142–155.
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  24. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  25. An Inter-Action: Rembrandt and Spinoza.Dimitris Vardoulakis & Mieke Bal - 2011 - In Spinoza Now. Minneapolis, MN, USA: pp. 277-303.
    Spinoza and Rembrandt were contemporaries and in fact they were neighbours in Amsterdam. Even though there is no record that they ever met, it is hard to imagine that they never crossed paths. This article seeks to explore common ideas that we can find in the philosopher and the painter. This contributes both to a philosophical examination of Rembrandt and examines the possibility of an aesthetics in Spinoza.
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  26. The Modern Paradigm of Art and Its Frontiers.Gizela Horvath - 2019 - In Mario do Rosario Monteiro (ed.), Modernity, Frontiers and Revolutions. Boca Raton London New York Leiden: pp. 314-324.
    Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of the (...)
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  27. “Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti: Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
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  28. “Martin Creed: Conceptual Art and More”.Elisa Caldarola - forthcoming - In Davide Dal Sasso & Elisabeth Schellekens (ed.), Aesthetics, Philosophy and Martin Creed. Londra, Regno Unito:
    In this paper, I put forward a philosophical analysis of some works by Martin Creed. I suggest that all the works under consideration are works of conceptual art as well as of installation art, and that they display significant expressive properties. The paper is structured as follows: in the first section, I claim that the works are ontologically similar and that they all appear problematic, because it is not very clear how they should be appreciated as artworks; in the second (...)
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  29. Filosofia dell'arte contemporanea: installazioni, siti, oggetti.Elisa Caldarola - 2020 - 62100 Macerata MC, Italia: Quodlibet.
    L’arte contemporanea è caleidoscopica: può catapultarci in ambienti complessi o minimali richiedendo la nostra attiva partecipazione, ancorarsi a luoghi particolari, porci di fronte a opere apparentemente indistinguibili da oggetti ed eventi della vita quotidiana, appropriarsi illegalmente degli spazi pubblici, e così via. Questo volume muove dalla premessa che uno dei compiti della filosofia dell’arte sia prestare attenzione a specifiche pratiche artistiche e a teorie sull’arte avanzate in altri ambiti di ricerca, per poi organizzare in maniera perspicua la molteplicità dei dati (...)
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  30. On Experiencing Installation Art.Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):339-343.
    This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.
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  31. Installation Art and Exhibitions: Sharing Ground.Eleen M. Deprez - 2020 - Journal of Aesthetics and Art Criticism 78 (3):345-350.
    Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing properties in common: (...)
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  32. Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder’s Share.Ken Wilder - 2020 - Journal of Aesthetics and Art Criticism 78 (3):351-356.
    Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...)
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  33. Do Trompe l'Oeils Look Right When Viewed From the Wrong Place?Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (3):319-330.
    Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: Depicted objects are not perceived as present and We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate : the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate : they lead to appreciate spatial shifts resulting from (...)
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  34. Installation Art.Gemma Argüello Manresa & Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):331-332.
    This is a very short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.
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  35. Towards a Philosophy of Installation Art.Gemma Argüello Manresa - 2020 - Journal of Aesthetics and Art Criticism 78 (3):333-338.
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  36. La estética y el arte de regreso a la Academia.Bertha Laura Álvarez Sánchez & José Ramón Fabelo Corzo (eds.) - 2014 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...)
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  37. Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
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  38. Visual Metaphors: Revisiting the Non-Conceptual.Michalle Gal - 2019 - In Kristof Nyiri & Andras Benedek (eds.), Perspective on Visual Learning, Vol. 1. The Victory of the Pictorial Aga. Budapest, Hungary: pp. 79-90.
    The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...)
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  39. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  40. No Time to Move: Motion, Painting and Temporal Experience.Jack Shardlow - 2020 - Philosophy 95 (3):239 - 260.
    This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...)
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  41. Curating Interdisciplinarity in Literature-Art: A Review of Mukhaputa.Srajana Kaikini - 2018 - Rupkatha Journal On Interdisciplinary Studies in Humanities 10 (2):251 - 259.
    This is a philosophical review of the exhibition dedicated to Literature – Art titled Mukhaputa (Cover page) held on occasion of the Manipal International Literature and Arts Platform 2017 in Manipal, India. The curatorial strategy of the exhibition explores the intersectional relationships between literature and visual arts at large. The context of this critical review is the recent past of modern literature journals in print that encouraged artists and illustrators to converse with literature and in turn poets and authors to (...)
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  42. Art in the Time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  43. I Hate Applause: Norm Macdonald and Laughter.Jeremy Fried - 2020 - In Ruth Tallman & Jason Southworth (eds.), Saturday Night Live and Philosophy: Deep Thoughts Through the Decades. pp. 169-176.
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  44. Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation.Srajana Kaikini - 2018 - Deleuze and Guatarri Studies 12 (1):29-44.
    This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...)
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  45. Spur, Zeugnis Und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  46. Street Art and the New Status of the Visual Arts.Graziella Travaglini - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):177-194.
    This paper explores the «nature» of street art, highlighting its innovative features, the new socio-political status, and the differences between this emerging art form and dominant trends in contemporary visual art. This examination builds on the premise that artistic phenomena can only be considered from a critical perspective that situates questioning within a historical and specific gaze. Therefore, my aim is not to place this art movement within categorial boundaries, identifying the necessary and eternally true characteristics of street art, but (...)
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  47. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2017 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  48. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  49. Visual Experiences in Cinquecento Theatrical Spaces.Javier Berzal de Dios - 2018 - Toronto, ON, Canada: University of Toronto Press.
    Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period’s philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, (...)
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  50. Art et nature dans l'esthétique phénoménologique française. M. Merleau-Ponty et M. Dufrenne : La rencontre du logos philosophique ave le logos de l'art.Alexandra Mouriki-Zervou - 1989 - Dissertation,
    Cette thèse essaie de montrer que la pensée phénoménologique de Μ. Merleau-Ponty et de M. Dufrenne suit cette direction de la dernière pensée de Husserl qui descend vers la nature, vers cette élément résistant à la phénoménologie, auquel la phénoménologie tendra à assurer sa place. En essayant de penser l'impense husserlien, M. Merleau-Ponty et M. Dufrenne arriveront à l'idée de la nature en tant qu'originaire, matrice de possibles, champ général de l'être qui est en perpétuel devenir et qui, donc, ne (...)
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