Results for 'Aesthetic properties'

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  1.  94
    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 (...)
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  2. The Affective Experience of Aesthetic Properties.Kris Goffin - 2019 - Pacific Philosophical Quarterly 100 (1):283-300.
    It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative (...)
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  3. Rich Perceptual Content and Aesthetic Properties.Dustin Stokes - 2018 - In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford University Press.
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, (...)
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  4. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
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  5.  83
    Aesthetic Properties.Rafael De Clercq - 2011 - In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. Routledge. pp. 144-154.
    This chapter focuses on three questions concerning the aesthetic properties of music: What determines whether a musical piece has a certain aesthetic property? Is music capable of having emotional properties such as sadness? And are there aesthetic properties that music is incapable of having?
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  6. Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191-227.
    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 (...)
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  7.  69
    Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy (...)
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  8.  1
    Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Proceedings of the Aristotelian Society, Supplementary Volumes 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 (...)
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  9.  19
    Aesthetic Properties of Pictorial Perception.Shigeko Takahashi - 1995 - Psychological Review 102 (4):671-683.
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  10. The Concept of an Aesthetic Property.Rafael DeClercq - 2002 - Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
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  11. Aesthetic Properties.Rafael de Clercq - manuscript
    Paradigmatic aesthetic properties include beauty, elegance, gracefulness, harmony, balance, loveliness, prettiness, handsomeness, and unity, as well as their negative counterparts, for example, ugliness, clumsiness and disunity. The book investigates the nature, reality, and structure(s) of these properties. It also focuses on special cases such as rightness of architectural proportion, musical beauty, functional beauty, and the aesthetic properties that are responsible for our interest in ‘painful art’ (horror and tragedy). [Manuscript is currently undergoing revision.].
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  12.  11
    Aesthetic Properties.Derek Matravers - 2005 - Aristotelian Society Supplementary Volume 79 (1):191-210.
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  13. The Structure of Aesthetic Properties.Rafael De Clercq - 2008 - Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a (...)
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  14. Aesthetic Properties, Evaluative Force, and Differences of Sensibility.Jerrold Levinson - 2001 - In Emily Brady & Jerrold Levinson (eds.), Aesthetic Concepts: Essays After Sibley. Oxford University Press. pp. 61--80.
     
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  15.  58
    Aesthetic Properties: Context Dependent and Perceptual.Kendall L. Walton - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1).
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.
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  16. Aesthetic Properties 1 - Derek Matravers.Derek Matravers & Jerrold Levinson - unknown
    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 (...)
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  17.  25
    Aesthetic Properties, the Acquaintance Principle, and the Problem of Nonperceptual Arts.Filippo Focosi - 2019 - Journal of Aesthetic Education 53 (1):61.
    The search for a definition of art has been at the forefront of the debate in the analytical philosophical tradition for at least the last fifty years. If for nearly twenty years the dominant accounts were those offered by proponents of a relational account of art, be it in the form of an institutional or of an intentional/historical theory, by the middle 1980s, aesthetic theories of art started to reappear. What binds together the definitions elaborated by such diverse authors (...)
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  18.  9
    Aesthetic Properties: Context Dependent and PerceptualSymposium: “Categories of Art” at 50.Kendall L. Walton - 2020 - Journal of Aesthetics and Art Criticism 78 (1):79-84.
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  19. Aesthetic Properties, Aesthetic Laws, and Aesthetic Principles.Eddy Zemach - 1987 - Journal of Aesthetics and Art Criticism 46 (1):67-73.
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  20. 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 (...)
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  21. Grounding Moralism: Moral Flaws and Aesthetic Properties. Smuts - 2011 - Journal of Aesthetic Education 45 (4):34-53.
    My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral (...)
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  22. Aesthetic Properties of Persons.Carol S. Gould (ed.) - forthcoming
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  23. Realism About Aesthetic Properties.Alan H. Goldman - 1993 - Journal of Aesthetics and Art Criticism 51 (1):31-37.
  24.  28
    Aesthetic Properties and Perceptual Proof.Tohru Genka - 2014 - Kagaku Tetsugaku 47 (2):87-103.
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  25. Supervenience, Essentialism and Aesthetic Properties.Gregory Currie - 1990 - Philosophical Studies 58 (3):243 - 257.
  26. Non-Perceptual Aesthetic Properties: Comments for James Shelley.Noël Carroll - 2004 - British Journal of Aesthetics 44 (4):413-423.
    James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails (...)
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  27. Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties.Rafael De Clercq - 2005 - Journal of Aesthetics and Art Criticism 63 (1):27–32.
    The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.
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  28. Do Gestalt Effects Show That We Perceive High-Level Aesthetic Properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level (...)
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  29.  85
    Being Realistic About Aesthetic Properties.Jerrold Levinson - 1994 - Journal of Aesthetics and Art Criticism 52 (3):351-354.
  30.  11
    Non-Perceptual Aesthetic Properties: Comments for James Shelley.No Ë & L. Carroll - 2004 - British Journal of Aesthetics 44 (4):413-423.
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  31.  43
    The Reality of Aesthetic Properties: A Response to Goldman.Carol S. Gould - 1994 - Journal of Aesthetics and Art Criticism 52 (3):349-351.
  32.  34
    Aesthetics Makes Nothing Happen? The Role of Aesthetic Properties in the Constitution of Non‐Aesthetic Value.María José Alcaraz León - 2018 - Journal of Aesthetics and Art Criticism 76 (1):21-31.
    The relationship between aesthetic value and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aesthetic value of a work of art. (...)
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  33.  93
    Glamour as an Aesthetic Property of Persons.Carol S. Gould - 2005 - Journal of Aesthetics and Art Criticism 63 (3):237–247.
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  34.  95
    The Shape of the World: What If Aesthetic Properties Were Real?Crispin Sartwell - 2011 - Nordic Journal of Aesthetics 22 (40-41).
    Perhaps we should entertain the idea that aesthetic properties are no less (but no more) objective than properties like weight or shape. Indeed, the weight and shape of something are themselves aesthetic properties of that thing. And we might speculate or (what the heck) assert that aesthetic properties are no more (but no less) socially constructed than size or material composition, for example. Indeed the size and material composition of something are aesthetic (...)
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  35.  32
    Problems with Contextualizing Aesthetic Properties.Robert Fudge - 2003 - Journal of Aesthetics and Art Criticism 61 (1):67-70.
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  36.  39
    The Limits of Art: On Borderline Cases of Artworks and Their Aesthetic Properties.Jiri Benovsky - 2020 - Springer.
    This open access book is about exploring interesting borderline cases of art. It discusses the cases of gustatory and olfactory artworks, proprioceptive artworks, intellectual artworks, as well as the vague limits between painting and photography. The book focuses on the author’s research about what counts as art and what does not, as well as on the nature of these limits. Overall, the author defends a very inclusive view, 'extending' the limits of art, and he argues for its virtues. Some of (...)
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  37.  34
    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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  38.  69
    The Intrinsic, Non-Supervenient Nature of Aesthetic Properties.Marcia Muelder Eaton - 1994 - Journal of Aesthetics and Art Criticism 52 (4):383-397.
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  39. Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties.Malcolm Budd - 1999 - European Journal of Philosophy 7 (3):295–311.
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  40.  12
    Aesthetics Makes Nothing Happen? The Role of Aesthetic Properties in the Constitution of Non‐Aesthetic Value.María Joséalcaraz León - 2018 - Journal of Aesthetics and Art Criticism 76 (1).
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  41. A Beautiful Piece Of Property: Toward a New Definition of Aesthetic Properties.Bryan Parkhurst - 2011 - American Society for Aesthetics Graduate E-Journal 3 (1):11-23.
    Aesthetic valuism” maintains that aesthetic properties harbor an ineliminable evaluative component, and that to correctly and sincerely apply an aesthetic predicate to a thing just is to give an appraisal of its aesthetic goodness or badness. Anti-valuism denies this, and holds that even in the identification and ascription of evaluatively-loaded aesthetic properties, such as beautiful or graceful, we may identify a non-evaluative, purely descriptive, and patently aesthetic form of judgment or discrimination. In (...)
     
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  42.  7
    Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties.Malcolm Budd - 1999 - European Journal of Philosophy 7 (3):295-311.
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  43. Gadamer's hermeneutics, non-intentionalism and the underdeterminedness of aesthetic properties.David Weberman - 2004 - O Que Nos Faz Pensar:255-277.
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  44. Worldmaking: Property Rights in Aesthetic Creations.Peter H. Karlen - 1986 - Journal of Aesthetics and Art Criticism 45 (2):183-192.
    This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to (...) creations is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)
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  45.  70
    Aesthetically Non-Dwelling: Sympathy, Property, and the House of Beauty in Hume's Treatise.Neil Saccamano - 2011 - Journal of Scottish Philosophy 9 (1):37-58.
    One of the distinctive features of Hume's presentation of disinterested aesthetic pleasure in the Treatise is its basis in sympathy as the communication of sentiment between a spectator and specifically an owner of a beautiful object. By tracking the recurring example of the beautiful house, which properly provides pleasure only to the owner who dwells in it, I reconsider the operation of sympathy in relation to property. My central argument is that sympathy underwrites the disinterested sociality of judgments of (...)
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  46.  16
    Fractal-Scaling Properties as Aesthetic Primitives in Vision and Touch.Catherine Viengkham, Zoey Isherwood & Branka Spehar - forthcoming - Axiomathes:1-20.
    Natural forms, often characterized by irregularity and roughness, have a unique complexity that exhibit self-similarity across different spatial scales or levels of magnification. Our visual system is remarkably efficient in the processing of natural scenes and tuned to the multi-scale, fractal-like properties they possess. The fractal-like scaling characteristics are ubiquitous in many physical and biological domains, with recent research also highlighting their importance in aesthetic perception, particularly in the visual and, to some extent, auditory modalities. Given the multitude (...)
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  47.  21
    Supervenience and Realization: Aesthetic Objects and Their Properties.Michael Watkins - 2021 - British Journal of Aesthetics 61 (2):229-245.
    Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations (...)
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  48.  64
    Aesthetic Perception and the Puzzle of Training.Madeleine Ransom - 2022 - Synthese 200 (2):1-25.
    While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of (...)
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  49. Aesthetic Laws, Principles and Properties: A Response to Eddy Zemach.Mary Mothersill - 1989 - Journal of Aesthetics and Art Criticism 47 (1):77-82.
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  50.  23
    Some Properties of an “Aesthetic” Field Theory.M. Muraskin - 1972 - Foundations of Physics 2 (2-3):181-188.
    We continue our study of the Lorentz-invariant field theory based on the equations Γ jk;l i =0 and gij;k=0. To first order in a perturbation expansion, we find Γ jk;l i =0 reduces to the wave equation. In orders higher than the first, we find that Γ jk;l i =0 cannot be linearized. We also find that the simple wave-type equation gij∂2g/∂xi∂xj=0 is contained in the theory when an appropriate choice is made for the parameters at the origin point.
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