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  1.  27
    Everyday Heritage and Place- Making.Lisa Giombini - 2019 - Espes 9 (2):50-61.
    In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...)
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  2.  7
    Climate Change, Philosophy, and Fiction.Marta Benenti & Lisa Giombini - 2023 - In Pellegrino Gianfranco & Marcello Di Paola (eds.), Handbook of Philosophy of Climate Change. Springer Nature. pp. 503-523.
    This chapter addresses fictional narratives as a specific kind of fiction capable of eliciting particular effects on their recipients. The first section of the chapter considers the status of climate fiction (cli-fi) as a literary genre, and identifies a set of standard properties that qualify most works in the category. The second section addresses the specific fictional engagement prompted by cli-fi and discusses its relationship with thought experiments. The third section examines, from a psychological angle, whether and how climate narratives (...)
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  3.  12
    Music from beyond (or how to deal with a musical forgery).Lisa Giombini - 2023 - Lebenswelt: Aesthetics and Philosophy of Experience 19.
    Rosemary Brown (1916-2001), a housewife from South-London, was one of the most famous mediums of her time. Throughout her lifetime, famous composers such as Liszt, Beethoven, Schubert, Debussy and Chopin sought her from the realm of the dead to dictate their posthumous compositions. Brown’s ‘received’ musical pieces became a case study for musicians and psychologists. None, however, ever came up with a convincing explanation for the pieces’ existence. Rather than being a story of sheer madness or clairvoyance, in this paper (...)
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  4. Aesthetics and musicology.Lisa Giombini - 2023 - In Max Ryynänen & Zoltán Somhegyi (eds.), Aesthetic theory across the disciplines. Lanham: Rowman & Littlefield.
     
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  5.  3
    Applying aesthetics to everyday life: methodologies, history and new directions.Lisa Giombini & Adrián Kvokacka (eds.) - 2023 - New York: Bloomsbury Academic.
    Applying Aesthetics to Everyday Life surveys current debates in the field of everyday aesthetics, examining its history, methodology and intersections with cognate research areas. Lisa Giombini and Adrián Kvokacka bring together an international team of renowned scholars who are shaping the present and future of the discipline. They demonstrate how the historical origins of everyday aesthetics emerges across the history of Western aesthetic thought, from Renaissance thinkers to the modern German philosophers Baumgarten, Kant and Heidegger. Chapters shed light on the (...)
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  6.  21
    But is this really authentic? Revising authenticity in restoration philosophy.Lisa Giombini - 2018 - Lebenswelt. Aesthetics and Philosophy of Experience 12.
    Over the past few decades debates in the field of conservation have called into question the suppositions underpinning contemporary restoration theory and practice. Restorers seem to base their choices on implicit ideas about the authenticity, identity and value of works of art, ideas that need to undergo a more systematic theoretical evaluation. I begin by focusing on the question of whether authenticity is fully established in the process of the creation of an artwork: namely, at its initial point of existence. (...)
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  7.  20
    Contemporary Aesthetics. A Topographic Attempt.Lisa Giombini & Adrián Kvokačka - 2019 - Espes 9 (2):3-9.
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  8.  16
    Contemporary Aesthetics. A Topographic Attempt.Lisa Giombini & Adrián Kvokačka - 2019 - Espes. The Slovak Journal of Aesthetics 9 (2):3-9.
    In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.
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  9.  10
    Contemporary Aesthetics. A Topographic Attempt.Lisa Giombini & Adrián Kvokačka - 2020 - Espes. The Slovak Journal of Aesthetics 8 (2):3-9.
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  10. Care in conservation ethics.Lisa Giombini - 2023 - In Lisa Giombini & Adrián Kvokacka (eds.), Applying aesthetics to everyday life: methodologies, history and new directions. New York: Bloomsbury Academic.
     
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  11.  24
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2019 - Espes 9 (2):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...)
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  12.  23
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2020 - Espes 9 (1):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...)
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  13.  12
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2020 - Espes. The Slovak Journal of Aesthetics 8 (2):59-73.
    In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This method, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...)
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  14.  9
    Everyday Heritage and Place-Making.Lisa Giombini - 2020 - Espes. The Slovak Journal of Aesthetics 9 (2):50-61.
    In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...)
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  15. Introduction, rethinking roots, imagining futures.Lisa Giombini & Adrián Kvokačka - 2023 - In Lisa Giombini & Adrián Kvokacka (eds.), Applying aesthetics to everyday life: methodologies, history and new directions. New York: Bloomsbury Academic.
     
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  16.  9
    Nel gesto, nell’atto. L’arte della performance tra opera e evento.Lisa Giombini - 2019 - Lebenswelt. Aesthetics and Philosophy of Experience 13.
    What kind of art is performance art? In what sense – if any – can it be defined? This paper is an attempt to answer these questions by drawing on the category of ‘performative gesture’. One crucial manifestation of the character of performance art is the way it challenges our traditional ideas about what art is. A pivotal point is that performance art does not hold up to the traditional notion of artistic creativity as either a process of ‘production’ or (...)
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