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  1. Everyday Aesthetics.Yuriko Saito - 2010 - Oxford University Press.
    Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...)
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  • Aesthetics, Experience, and Discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...)
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  • The Experiential Account of Aesthetic Value.Alan H. Goldman - 2006 - Journal of Aesthetics and Art Criticism 64 (3):333–342.
  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • Touch and the Experience of the Genuine.C. Korsmeyer - 2012 - British Journal of Aesthetics 52 (4):365-377.
    Genuineness is an important property of objects that are rare, old, or preserved as memorials. Being genuine enhances economic value for objects such as works of art, and it is obviously critical for historical purposes, such as assessing the artefacts from a past culture. Here I argue that genuineness is also an aesthetic property that delivers an experience of its own. I contend that the sense of touch covertly operates in such experiences, as this sense conveys the impression of being (...)
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  • The Triumph of Time: Romanticism Redux.Carolyn Korsmeyer - 2014 - Journal of Aesthetics and Art Criticism 72 (4):429-435.
  • Aesthetic Deception: On Encounters with the Past.Carolyn Korsmeyer - 2008 - Journal of Aesthetics and Art Criticism 66 (2):117–127.
  • History, Value, and Irreplaceability.Erich Hatala Matthes - 2013 - Ethics 124 (1):35-64.
    It is often assumed that there is a necessary relationship between historical value and irreplaceability, and that this is an essential feature of historical value’s distinctive character. Contrary to this assumption, I argue that it is a merely contingent fact that some historically valuable things are irreplaceable, and that irreplaceability is not a distinctive feature of historical value at all. Rather, historically significant objects, from heirlooms to artifacts, offer us an otherwise impossible connection with the past, a value that persists (...)
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  • Staying in Touch.Carolyn Korsmeyer - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
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  • Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  • Everyday Aesthetics. Y. Saito - 2001 - Philosophy and Literature 25 (1):87-95.
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  • Authenticity.Anna Karlström - 2015 - In Kathryn Lafrenz Samuels & Trinidad Rico (eds.), Heritage Keywords. University Press of Colorado.
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  • Everyday Aesthetics.Yuriko Saito - 2001 - Philosophy and Literature 25 (1):87-95.
    Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.
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  • Real Old Things.Carolyn Korsmeyer - 2016 - British Journal of Aesthetics 56 (3):219-231.
    Although we experience many cultural artifacts by way of reproductions, there remains a particular thrill in experiencing genuine objects—‘real things’. I argue that genuineness is a property that possesses many dimensions of value, including aesthetic value. Typically, aesthetic qualities are perceptual, but genuineness is not a perceptual property. I investigate the aesthetic dimensions of genuineness by considering the role of touch in encounters with old things, using the example of an ancient bronze figurine whose reputation as genuine has waxed and (...)
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