Results for 'aesthetic experience'

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  1.  9
    Aesthetic Experience and Intellectual Pursuits.Elisabeth Schellekens - 2022 - Aristotelian Society Supplementary Volume 96 (1):123-146.
    The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central (...)
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  2.  10
    Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal.George Hagman (ed.) - 2005 - Rodopi.
    “George Hagman looks anew at psychoanalytic ideas about art and beauty through the lens of current developmental psychology that recognizes the importance of attachment and affiliative motivational systems. In dialogue with theorists such as Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and many others, Hagman brings the psychoanalytic understanding of aesthetic experience into the 21st century. He amends and extends old concepts and offers a wealth of stimulating new ideas regarding the creative process, the ideal, beauty, ugliness, and –perhaps (...)
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  3. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  4.  46
    Aesthetic Experience, Transitional Objects and the Third Space: The Fusion of Audience and Aesthetic Objects in the Performing Arts.Ian Woodward & David Ellison - 2010 - Thesis Eleven 103 (1):45-53.
    Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. (...)
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  5.  19
    The Evolution of Aesthetic Experience.William Hirstein - 2021 - IAI.Tv: Philosophy for Our Times.
    Our love for art is a compound byproduct of four different evolutionary events which attached reward to conscious experience itself, to the direction of attention to significant items in consciousness, to representations of scenarios in the brain's default mode network, and to the experience of novel stimuli. Aesthetic experiences contain varying amounts of these rewards, which helps to explain their diversity.
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  6.  55
    Category Independent Aesthetic Experience: The Case of Wine.David Sackris - 2013 - Journal of Value Inquiry 47 (1-2):111-120.
    Kendall Walton’s “Categories of Art” seeks to situate aesthetic properties contextually. As such, certain knowledge is required to fully appreciate the aesthetic properties of a work, and without that knowledge the ‘correct’ or ‘true’ aesthetic properties of a work cannot be appreciated. The aim of this paper is to show that the way Walton conceives of his categories and art categorization is difficult to square with certain kinds of aesthetic experience—kinds of experience that seems (...)
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  7.  63
    Is Aesthetic Experience Possible?Sherri Irvin - 2014 - In Greg Currie Nj, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 37-56.
    On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant (...)
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  8. Aesthetic Experience in Religion.Geddes Macgregor - 1947 - Macmillan.
     
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  9. Aesthetic Experience Revisited.Noël Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  10.  22
    Aesthetic Experience and the Unfathomable: A Pragmatist Critique of Hermeneutic Aesthetics.Mark Gilks - 2021 - British Journal of Aesthetics 61 (2):185-198.
    In his attack on the notion of immediate experience, Hans-Georg Gadamer argues that aesthetic experience should be absorbed into hermeneutics because alone it cannot account for the historical nature of experience ; predicated on an ontological theory of art, the unfathomable, therefore, is the sense we have of these infinite hermeneutic depths. I argue that this account is methodologically and existentially unacceptable: methodologically because it is overly speculative, and existentially because it betrays authentic existence. I critique (...)
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  11.  45
    Aesthetic Experience, Aesthetic Value.Jane Forsey - 2017 - Estetika 54 (2):175-188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  12. Aesthetic Experience and the Ethical Dimension Essays on Moral Prblems in Aesthetics.Arto Haapala & Oiva Kuisma - 2003
     
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  13. Aesthetic Experience and Aesthetic Value.Robert Stecker - 2006 - Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  14.  69
    Aesthetic Experience: From Analysis to Eros.Richard Shusterman - 2006 - Journal of Aesthetics and Art Criticism 64 (2):217–229.
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  15. 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; (...)
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  16. Aesthetic Experience and Aesthetic Object.Roman Ingarden - 1960 - Philosophy and Phenomenological Research 21 (3):289-313.
    The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical (...)
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  17. The Aesthetic Experience.Derek Matravers - 2003 - British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving (...)
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  18. Authenticity and the Aesthetic Experience of History.Erich Hatala Matthes - 2018 - Analysis 78 (4):649-657.
    In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the way (...)
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  19.  23
    Feeling Beauty: The Neuroscience of Aesthetic Experience.G. Gabrielle Starr - 2013 - MIT Press.
    A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry.
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  20.  16
    Aesthetic Experiences Across Cultures: Neural Correlates When Viewing Traditional Eastern or Western Landscape Paintings.Taoxi Yang, Sarita Silveira, Arusu Formuli, Marco Paolini, Ernst Pöppel, Tilmann Sander & Yan Bao - 2019 - Frontiers in Psychology 10.
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  21.  15
    The Aesthetic Experience of Kandinsky's Abstract Art: A Polemic with Henry's Phenomenological Analysis.Anna Ziółkowska-Juś - 2017 - Estetika 54 (2):212-237.
    The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite (...)
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  22.  79
    IV—Aesthetic Experience as a Metacognitive Feeling? A Dual-Aspect View.Jérôme Dokic - 2016 - Proceedings of the Aristotelian Society 116 (1):69-88.
  23.  28
    Aesthetic Experience, Medical Practice, and Moral Judgement. Critical Remarks on Possibilities to Understand a Complex Relationship.Marcus Düwell - 1999 - Medicine, Health Care and Philosophy 2 (2):161-168.
    The aim of the paper is to examine the possible relationships between the different dimensions of aesthetics on the one hand, and medical practice and medical ethics on the other hand. Firstly, I consider whether the aesthetic perception of the human body is relevant for medical practice. Secondly, a possible analogy between the artistic process and medical action is examined. The third section concerns the comparison between medical ethical judgements and aesthetic judgement of taste. It is concluded that (...)
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  24.  37
    Sport, Aesthetic Experience, and Art as the Ideal Embodied Metaphor.Tim L. Elcombe - 2012 - Journal of the Philosophy of Sport 39 (2):201-217.
    Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ?is sport art?? and ?are aesthetics implicit to sport??, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, (...)
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  25.  10
    Aesthetic Experience Revisited.NoË Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
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  26. Aesthetic Experience Regained.Monroe C. Beardsley - 1969 - Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  27.  8
    Aesthetic Experience: From Analysis to Eros.Richard Shusterman - 2006 - Journal of Aesthetics and Art Criticism 64 (2):217-229.
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  28. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  29.  63
    Aesthetic Experience in Schopenhauer's Metaphysics of Will.Alex Neill - 2008 - European Journal of Philosophy 16 (2):179-193.
  30.  82
    Aesthetic Experience in Shaftesbury: Richard Glauser.Richard Glauser - 2002 - Aristotelian Society Supplementary Volume 76 (1):25–54.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be (...)
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  31.  38
    Aesthetic Experience, Mimesis and Testimony.Roger W. H. Savage - 2012 - Études Ricoeuriennes / Ricoeur Studies 3 (1):172-193.
    In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity (...)
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  32. The Phenomenology of Aesthetic Experience.Mikel Dufrenne - 1973 - Northwestern University Press.
  33. Aesthetic Experience.Gary Iseminger - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 99--116.
     
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  34. The Aesthetic Experience According to Abhinavagupta. Abhinavagupta - 1968 - Varanasi, Chowkhamba Sanskrit Series Office.
     
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  35.  74
    Aesthetic Experience in Everyday Life: A Reply to Dowling.K. Melchionne - 2011 - British Journal of Aesthetics 51 (4):437-442.
  36.  59
    Aesthetic Experience and Human Evolution.Ellen Dissanayake - 1982 - Journal of Aesthetics and Art Criticism 41 (2):145-155.
  37.  51
    Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism.Jonathan Owen Clark - 2013 - Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the (...)
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  38.  23
    Aesthetic Experience.Richard Shusterman & Adele Tomlin - 2007 - In Michael Beaney (ed.), The Analytic Turn: Analysis in Early Analytic Philosophy and Phenomenology. Routledge.
    consist (in part) in our taking pleasure in the awe or wonder we feel towards them.'' But although forms of awe and wonder are feelings that at least some ...
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  39. The Aesthetic Experience with Visual Art “At First Glance”.Paul Locher - 2015 - In Frederik Stjernfelt & Peer F. Bundgaard (eds.), Investigations Into the Phenomenology and the Ontology of the Work of Art. Springer Verlag.
     
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  40.  23
    Aesthetic Experience in Forests.Holmes Rolston - 1998 - Journal of Aesthetics and Art Criticism 56 (2):157 - 166.
  41.  22
    The Aesthetic Experience as a Characteristic Feature of Brain Dynamics.Giuseppe Vitiello - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):71-89.
    The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, (...)
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  42.  32
    The Aesthetic Experience According to Abhinavagupta.Archie J. Bahm - 1956 - Journal of Aesthetics and Art Criticism 18 (2):270-271.
  43.  7
    Aesthetic Experience at the Borders of Art and Life: The Case of the Man in Gold.Richard Shusterman - 2021 - Eidos. A Journal for Philosophy of Culture 5 (2):103-111.
    Preview: Beyond Baumgarten, the modern field of aesthetics can be seen as an attempt to go beyond the limits of older philosophies of beauty, sublimity, and taste in order to engage a much wider domain of qualities and judgments relating to our pleasurable and meaningful experiences of art and nature. The defining strategy of Hegelian aesthetics is to take the essence of aesthetics beyond the limits of nonconceptual sensuous experience and to celebrate instead the idea of art as purveying (...)
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  44. Aesthetic Experience and Somaesthetics.Richard Shusterman (ed.) - 2018 - Brill.
    This essay collection explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics. After examining philosophical accounts of embodiment and aesthetic experience, the essays apply somaesthetic theory to the diverse fine arts and the art of living.
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  45. Aesthetic Experience.Richard Shusterman & Adele Tomlin (eds.) - 2007 - Routledge.
    In this volume, a team of internationally respected contributors theorize the concept of aesthetic experience and its value. Exposing and expanding our restricted cultural and intellectual presuppositions of what constitutes aesthetic experience, the book aims to re-explore and affirm the place of aesthetic experience--in its evaluative, phenomenological and transformational sense--not only in relation to art and artists but to our inner and spiritual lives.
     
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  46.  26
    Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives.Tone Roald & Simon Høffding - 2019 - Journal of Aesthetics and Phenomenology 6 (1):1-20.
    ABSTRACTThis paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion (...)
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  47.  22
    Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of (...)
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  48.  11
    Aesthetic Experience and the Powers of Possession.Richard Shusterman - 2019 - Journal of Aesthetic Education 53 (4):1.
    Since the second half of the twentieth century, the influential concept of aesthetic experience has been strongly criticized by powerful voices both in analytic philosophy and in continental theory, sometimes to the point of rejecting its significance for art or even to denying its very existence. Nonetheless, it stubbornly reasserts itself as central to understanding art's meaning and value. Philosophical critique of aesthetic experience takes multiple forms. Theorists seeking a definition of art generally reject aesthetic (...)
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  49. Aesthetic Experience as a Primary Phase and as an Artistic Development.John Dewey - 1950 - Journal of Aesthetics and Art Criticism 9 (1):56-58.
  50.  85
    Silencing Theodicy with Enthusiasm: Aesthetic Experience as a Response to the Problem of Evil in Shaftesbury, Annie Dillard, and the Book of Job.John McAteer - 2016 - Heythrop Journal 57 (5):788-795.
    The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate (...)
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