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Richard Lind [12]Richard W. Lind [8]Richard Walfred Lind [1]
  1. Attention and the aesthetic object.Richard W. Lind - 1980 - Journal of Aesthetics and Art Criticism 39 (2):131-142.
  2. The aesthetic essence of art.Richard Lind - 1992 - Journal of Aesthetics and Art Criticism 50 (2):117-129.
    There are good reasons to believe that "making a statement," in a broader sense than Danto's, is a "necessary" condition of art. But phenomenological analysis tends to show that an artwork must be "aesthetic" as well as meaningful. Otherwise, what the artist has to say could not be distinguished from many "non"artistic forms of communication. Moreover, its meaning must "subserve" the aesthetic function of the artwork, in a role best described as "significance"." "Art" must therefore be defined in terms of (...)
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  3.  13
    Must the critic be correct?Richard W. Lind - 1977 - Journal of Aesthetics and Art Criticism 35 (4):445-456.
  4.  55
    The priority of attention: Intentionality for automata.Richard Lind - 1986 - The Monist 69 (October):609-619.
    IT is the major stumbling block to the claim that machines could one day possess true intelligence. The question is not whether machines would be able to produce outputs indistinguishable from those of a person, as proponents of “artificial intelligence” have traditionally maintained. Searle has shown, rather, that the real question is whether machines could ever be conscious of objects in the way we know ourselves to be. That would seem to make it, at least in part, a phenomenological problem. (...)
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  5.  36
    The Priority of Attention.Richard Lind - 1986 - The Monist 69 (4):609-619.
    IT is the major stumbling block to the claim that machines could one day possess true intelligence. The question is not whether machines would be able to produce outputs indistinguishable from those of a person, as proponents of “artificial intelligence” have traditionally maintained. Searle has shown, rather, that the real question is whether machines could ever be conscious of objects in the way we know ourselves to be. That would seem to make it, at least in part, a phenomenological problem. (...)
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  6. A microphenomenology of aesthetic qualities.Richard Lind - 1985 - Journal of Aesthetics and Art Criticism 43 (4):393-403.
    Microphenomenology (the refelctive reconstruction of attentional processes operative in perception) explicates the distinction between aesthetic and nonaesthetic qualities in a way that avoids traditional objections. aesthetic qualities are identified as phenomenal manifestations of a specific sort of spontaneous attentional event. particular aesthetic qualities are show to fall within any of six different categories of features attributable to this event. some aesthetic predicates strictly imply such features while others only 'suggest' them.
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  7.  22
    Art as Aesthetic Statement.Richard Lind - 1993 - The Journal of Aesthetic Education 27 (3):1.
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  8. Aesthetic'Sympathy'and Expressive Qualities.Richard W. Lind - 1988 - In Michael H. Mitias (ed.), Aesthetic quality and aesthetic experience. Würzburg: Königshausen & Neumann. pp. 45--63.
     
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  9.  26
    A Micro-Phenomenology of Consonance and Dissonance.Richard Lind - 1997 - Journal of Philosophical Research 22:321-355.
    “Consonance” and “dissonance” can be shown to denote a syndrome of relative characteristics falling within three distinct dimensions of experience: 1) tension-repose, 2) pleasure-displeasure, 3) coherence-incoherence. There is a demonstrable, complex relationship between the specific degree of each of those characteristics associated with a particular tonal interval and the degree of complication of the ratio of that interval. No extant theory is able to explain that correlation, including the currently popular theory of psychological expectation. Using micro-phenomenology, I hypothesize that a (...)
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  10.  6
    A Micro-Phenomenology of Consonance and Dissonance.Richard Lind - 1997 - Journal of Philosophical Research 22:321-355.
    “Consonance” and “dissonance” can be shown to denote a syndrome of relative characteristics falling within three distinct dimensions of experience: 1) tension-repose, 2) pleasure-displeasure, 3) coherence-incoherence. There is a demonstrable, complex relationship between the specific degree of each of those characteristics associated with a particular tonal interval and the degree of complication of the ratio of that interval. No extant theory is able to explain that correlation, including the currently popular theory of psychological expectation. Using micro-phenomenology, I hypothesize that a (...)
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  11.  16
    A Phenomenological Definition of “Good”.Richard W. Lind - 1979 - Southwestern Journal of Philosophy 10 (1):107-115.
  12.  72
    Does the unconscious undermine phenomenology?Richard W. Lind - 1986 - Inquiry: An Interdisciplinary Journal of Philosophy 29 (1-4):325-344.
    According to Paul Ricoeur, the Freudian unconscious invalidates the ability of Husserlian phenomenology to explicate human psychology. The stumbling block is said to be the mechanism of repression, which can not only obviate conscious access to certain ideas and motives but also distort consciousness itself. The whole enterprise of phenomenology would seem to be at stake. But we must carefully distinguish being a conscious object from being a conscious process. By means of ?micro?phenomenology?, the reflective analysis of focal dynamics, I (...)
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  13.  49
    Microphenomenology and Numerical Relations.Richard W. Lind - 1984 - The Monist 67 (1):29-45.
    The last two decades or so have borne witness to a modest revival of interest in the possibility that numerical relations are, at bottom, perceived properties or relations of some sort. In an earlier era writers as divergent as J. S. Mill and Edmund Husserl pursued just such a possibility, only to be swept out of the mathematical mainstream with a battery of broadsides from Gottlob Frege. Despite more recent arguments that numerical understanding is somehow derived from experience, however, no (...)
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  14.  25
    Micro-phenomenology: Toward a hypothetico-inductive science of experience.Richard Lind - 1996 - International Philosophical Quarterly 36 (4):429-42.
  15.  9
    Micro-Phenomenology.Richard Lind - 1996 - International Philosophical Quarterly 36 (4):429-442.
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  16.  14
    Towards a Phenomenological Metaethics.Richard W. Lind - 1983 - Philosophy Research Archives 9:639-663.
    Hany metaethicists have all but abandoned the possibility that ordinary value language has any sort of universal logic. But careful phenomenological reflection indicates that we call something “good” only if we tacitly believe that it is disposed to be “pragmatically attractive” in some way. Conversely, “bad” things must be “pragmatically repellent”. Linguistic and phenomenological evidence supports these observations. Differences in the meanings of diverse value judgments seem to be due to variations in the practical context in which the attraction or (...)
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    Towards a Phenomenological Metaethics.Richard W. Lind - 1983 - Philosophy Research Archives 9:639-663.
    Hany metaethicists have all but abandoned the possibility that ordinary value language has any sort of universal logic. But careful phenomenological reflection indicates that we call something “good” only if we tacitly believe that it is disposed to be “pragmatically attractive” in some way. Conversely, “bad” things must be “pragmatically repellent”. Linguistic and phenomenological evidence supports these observations. Differences in the meanings of diverse value judgments seem to be due to variations in the practical context in which the attraction or (...)
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  18.  22
    The case for micro-phenomenology.Richard Lind - 1993 - Journal of Aesthetics and Art Criticism 51 (4):622-625.
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  19.  8
    The Priority of Attention.Richard Lind - 1986 - The Monist 69 (4):609-619.
    IT is the major stumbling block to the claim that machines could one day possess true intelligence. The question is not whether machines would be able to produce outputs indistinguishable from those of a person, as proponents of “artificial intelligence” have traditionally maintained. Searle has shown, rather, that the real question is whether machines could ever be conscious of objects in the way we know ourselves to be. That would seem to make it, at least in part, a phenomenological problem. (...)
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  20.  29
    Why isn't minimal art Boring?Richard Lind - 1986 - Journal of Aesthetics and Art Criticism 45 (2):195-197.
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