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  1. Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies.Nele Van De Mosselaer - 2020 - British Journal of Aesthetics 60 (3):241-251.
    What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology (...)
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  2. Aproximación teórica a la especificidad de los valores estéticos.José Ramón Fabelo Corzo - 2004 - Graffylia 4 (4):17-25.
    El artículo busca acercarse a la comprensión de los rasgos particulares de los valores estéticos, fundamentalmente en las obras de arte. Para ello parte de la premisa de que el valor estético no es en sí mismo un atributo del objeto artístico, ni el resultado exclusivo de la plasmación en él de cierto ideal estético. Para que un objeto sea portador de valor estético ha de funcionar precisamente como tal, lo cual presupone la presencia y participación de otros sujetos que (...)
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  3. Trust and Sincerity in Art.C. Thi Nguyen - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  4. Visual Metaphors: Revisiting the Non-Conceptual.Michalle Gal - 2019 - In Kristof Nyiri & Andras Benedek (eds.), Perspective on Visual Learning, Vol. 1. The Victory of the Pictorial Aga. Budapest, Hungary: pp. 79-90.
    The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing nonconventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...)
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  5. Artistic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - forthcoming - Proceedings of the American Catholic Philosophical Association 94 (2020).
    Classical authors were generally artistic realists. The predominant artistic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this theory of art as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of (...)
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  6. ‘Vivaldi for Gorillas”: Seeking Aesthetics in Adversity.Venkat Ramanan - 2020 - Aesthetics Research Lab 1.
    Why does someone reach for beauty in circumstances of adversity when it is usually presumed that staying alive presupposes all else?
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  7. Aesthetic Ineffability and the Rebirth of the Reader.Venkat Ramanan - 2020 - Aesthetics Research Lab 1.
    The ineffable experience in literature may be a product of both the author and the reader. There is similarly a need for a confluence between the artist and viewer in other art forms too for ineffability to arise.
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  8. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart: Franz Steiner Verlag.
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
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  9. Mathematics and Finance: Some Philosophical Remarks.Emiliano Ippoliti - forthcoming - Topoi:1-11.
    I examine the role that mathematics plays in understanding and modelling finance, especially stock markets, and how philosophy affects it. To this end, I explore how mathematics penetrates finance via physics, constructing a ‘financial physics’, and I outline the philosophical backgrounds of this process, in particular the ‘philosophy of equilibrium’ and that of critical points or ‘out-of-equilibrium’. I discuss the main characteristics and a few weaknesses of these mathematizations of financial systems, notably econometrics and econophysics, and I compare the two (...)
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  10. Patterns, Patterns, Patterns: Art and Meaning at the Crossroads Between Two Opposing Forces.Olga Ramirez Calle - 2020 - Theoria (2):220-244.
    This article aims to defend the need to recognize the independent role of those cognitive abilities on whose behalf linguistic meaning is introduced from the proper institution of language. I call this capacity “private pattern recognition” (PPR) and argue that it plays an essential part not just in the instauration of linguistic meaning but also in other relevant cognitive phenomena such as artistic creation and understanding. Moreover, it is precisely the failure to separate both aspects that gives rise to important (...)
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  11. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  12. Spur, Zeugnis Und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  13. Meta-Aesthetics: Realism, Objectivism, Cognitivism.Elisabeth Schellekens Dammann - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics and Value Theory. London: Palgrave Macmillan.
    Discusses three current debates in meta-aesthetics.
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  14. Meta-Aesthetics: Realism, Objectivism, Cognitivism.Elisabeth Schellekens Dammann - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. London: Palgrave Macmillan. pp. 170-187.
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  15. Spatially-Rotated Paintings: A Reply to Markosian’s "Sideways Music".Shen-yi Liao - manuscript
    In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can be given regarding intuitions about (...)
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  16. A Tour of the Senses.Carolyn Korsmeyer - 2019 - British Journal of Aesthetics 59 (4):357-371.
    Traditionally, the bodily senses of smell, taste, and touch have been designated ‘nonaesthetic’ senses and their objects considered unsuited to be fashioned into works of fine art. Recent innovations in the art world, however, have introduced scents, tastes, and tactile qualities into gallery exhibits, movements that, at least superficially, appear parallel to philosophical revaluations of the senses. This paper investigates the aesthetic scope of the five external senses, addressing some standard arguments about the limits of the ‘lower’ senses. I defend (...)
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  17. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  18. Enriching Arts Education Through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
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  19. On Reading Scruton: Art, Truth, and Temperament.Simon Blackburn - 2019 - Philosophy 94 (3):367-381.
    Art is the one corner of human life in which we may take our ease. To justify our presence there the only thing that is demanded of us is a passion for representation. In other places our passions are conditional and embarrassed; we are allowed to have only so many as are consistent with those of our neighbours; with their convenience and well-being, with their convictions and prejudices, rules and regulations. Art means an escape from all this. Wherever her brilliant (...)
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  20. Kierkegaard on the Value of Art: An Indirect Method of Communication.Antony Aumann - 2019 - In Patrick Stokes, Eleanor Helms & Adam Buben (eds.), The Kierkegaardian Mind. New York: pp. 166-176.
    Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...)
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  21. Aesthetic Experts.Tereza Hadravová - 2019 - Espes 8 (2):27-36.
    In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments (...)
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  22. History and Intentions in the Experience of Artworks.Alessandro Pignocchi - 2014 - Topoi 33 (2):477-486.
    The role of personal background knowledge--in particular knowledge about the context of production of an artwork--has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches' explanatory power and framing their collaboration with the humanities (Bullot and Reber, in press). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal (...)
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  23. Some Ecological Thoughts About Artworks and Perception.William Seeley - forthcoming - In Shyam Wuppulri & Dali Wu (eds.), The Armchair and the Paintbrush. Basingstoke, UK:
    Artworks are attentional engines. They are artifacts intentionally designed to direct attention to what we might call their artistically salient features. The artistically salient features of a work are those aspects of their formal-compositional structure that carry information about what they express, their point, purpose, or meaning. These aspects of a work reflect the range of compositional strategies and choices an artist has employed to produce their work. Critically, artists deploy exogenous and endogenous perceptual strategies tailored to direct attention and (...)
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  24. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  25. Jonathan Barnes, Malcolm Schofield, Richard Sorabji: Articles on Aristotle, 4. Psychology and Aesthetics. Pp. Xii + 212; 1 Photogravure. London: Duckworth, 1979. £12. [REVIEW]D. A. Rees - 1982 - The Classical Review 32 (1):99-100.
  26. On Virtual Transparency.Grant Tavinor - 2019 - Journal of Aesthetics and Art Criticism 77 (2):145-156.
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  27. Aesthetics and the Limits of the Extended Mind.Ted Nannicelli - 2019 - British Journal of Aesthetics 59 (1):81-94.
    This paper seeks to establish closer connections and spur dialogue between philosophers working on 4E cognition and aestheticians. In part, the aim is to offer a critical overview of the ways 4E research might inform our understandings of the arts. Yet it is also partly to flag some potential art-specific challenges to some of the theses found within the 4E literature. I start by examining the strongest extant claims regarding art and active externalism, and argue that it is hard to (...)
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  28. 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 of perception into account. (...)
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  29. Kieran Cashell, Aftershock: The Ethics of Contemporary Transgressive Art. [REVIEW]Shelley Campbell - 2011 - Journal of Critical Realism 10 (4):543-551.
    In the following essay I explore some implications of Kieran Cashell’s notably original recent book Aftershock. This is a searching examination of how we might treat transgressive artwork by exploring certain shortcomings of the aesthetic tradition and equally certain shortcomings of those who speak with artistic authority (critics, commentators, and artists themselves). Cashell cuts through a grossly impacted volume of subterfuge in order to advance arguments that question how we have come to appreciate artwork and which show how some transgressive (...)
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  30. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...)
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  31. Snobbery in Appreciative Contexts.Stephanie Patridge - 2018 - British Journal of Aesthetics 58 (3):241-253.
    Matthew Kieran has recently argued that those he calls ‘appreciative snobs’ go wrong by valuing appreciative objects primarily because of their ability to raise the snob’s social status, what I call social contagion snobbery. In this paper, I argue that there are at least two other ways that snobbery commonly manifests itself in appreciative contexts, what I call attitudinal snobbery and contextual snobbery. As it turns out, all three snobs—Kieran’s social-contagion snob, the attitudinal snob, and the contextual snob—represent distinct ways (...)
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  32. Degrees of Attention in Experiencing Art.Ancuta Mortu - 2018 - Estetika 55 (1):45-66.
    This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed (...)
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  33. The Bodily Other and Everyday Experience of the Lived Urban World.Oren Bader & Aya Peri Bader - 2016 - Journal of Aesthetics and Phenomenology 3 (2):93-109.
    This article explores the relationship between the bodily presence of other humans in the lived urban world and the experience of everyday architecture. We suggest, from the perspectives of phenomenology and architecture, that being in the company of others changes the way the built environment appears to subjects, and that this enables us to perform simple daily tasks while still attending to the built environment. Our analysis shows that in mundane urban settings attending to the environment involves a unique attentional (...)
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  34. The Aesthetic and Cognitive Value of Surprise.Alexandre Declos - 2014 - Proceedings of the European Society for Aesthetics 6:52-69.
    It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...)
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  35. Aesthetic Preferences in Mathematics: A Case Study†.Irina Starikova - 2018 - Philosophia Mathematica 26 (2):161-183.
    Although mathematicians often use it, mathematical beauty is a philosophically challenging concept. How can abstract objects be evaluated as beautiful? Is this related to their visualisations? Using an example from graph theory, this paper argues that, in making aesthetic judgements, mathematicians may be responding to a combination of perceptual properties of visual representations and mathematical properties of abstract structures; the latter seem to carry greater weight. Mathematical beauty thus primarily involves mathematicians’ sensitivity to aesthetics of the abstract.
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  36. Tasting in Time: The Affective and Temporal Dimensions of Flavour Perception.Cain Todd - 2018 - The Monist 101 (3):277-293.
    This paper explores some connections between flavour perception, emotion, and temporal experience. Focussing on the question, If you like that taste of X and I do not, are we tasting the same thing X?, I will approach it by looking at some differences between how experts and nonexperts ‘taste’. I will eventually answer that if by ‘the same thing’ we mean the overall flavour profile of a complex sensory object, then the answer must be negative. I will argue that there (...)
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  37. Empirical Aesthetics.William Seeley - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics (2 ed.). New York, NY, USA: Oxford University Press.
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  38. Art, Aesthetics and the Brian.Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati & Camilo José Cela Conde (eds.) - 2015 - Oxford University Press UK.
    Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. This volume brings together the work on such questions by leading (...)
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  39. Maes, Hans and Jerrold Levinson, Eds. Art and Pornography: Philosophical Essays. Oxford University Press, 2012, Vi + 335 Pp., $65.00 Cloth. [REVIEW]Simon Fokt - 2013 - Journal of Aesthetics and Art Criticism 71 (4):381-383.
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  40. Æstetisk kultur [Aesthetic Culture].Soren Kjorup & Lars Aagaard-Mogensen - 1980 - Journal of Aesthetics and Art Criticism 38 (4):458.
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  41. The Aesthetic DimensionThe Frankfort School.Charles Dyke, Herbert Marcuse & Zolton Tar - 1978 - Journal of Aesthetics and Art Criticism 37 (2):222.
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  42. A Reply to Professor Margolis.George Dickie - 1975 - Journal of Aesthetics and Art Criticism 34 (2):229.
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  43. Liberations, New Essays on the Humanities in RevolutionAvant-Garde ArtArt and Aesthetics in Primitive SocietiesThe Association of Ideas and Critical Theory in Eighteenth-Century England.Robert W. Uphaus, Ihab Hassan, Thomas B. Hess, John Ashbery, Carol F. Jopling & Martin Kallich - 1971 - Journal of Aesthetics and Art Criticism 30 (1):141.
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  44. Munro's "Oriental Aesthetics:" A ReviewOriental Aesthetics.Archie J. Bahm & Thomas Munro - 1966 - Journal of Aesthetics and Art Criticism 24 (4):585.
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  45. The Science of Art: Aesthetic Formalism in John Dewey and Albert Barnes, Part 2.David A. Granger - 2018 - Journal of Aesthetic Education 52 (2):53.
    Due to its considerable length, this article has been published in two parts. Part 1, which appeared in the previous issue of the journal, discussed the intriguing relationship between John Dewey and Albert Barnes, as well as the circumstances behind the creation of the Barnes Foundation and its art education programs. Following this, it established both areas of convergence and divergence in Barnes’s and Dewey’s understandings of aesthetic formalism, organic unity, and form and content in the arts. Part 2 now (...)
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  46. Aesthetic Cognitive Module Theory: A Core Structure.Zhihong Li, Yanhui Wang & Fanjun Meng - 2018 - Journal of Aesthetic Education 52 (2):71.
    The purpose of aesthetic research is to uncover the internal method in human aesthetic behaviors and to answer the following questions: Where do beautiful things come from? Why are things beautiful? What is the reason that some things are beautiful while others are not? How can people derive aesthetic pleasure? Until those fundamental problems are solved, further questions cannot be answered, such as “Why do some people like certain things, while other people like other things?” and “How does human aesthetic (...)
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  47. The Guardians of Human ValuesThe Humanities TodayHumanism and Politics. [REVIEW]Herbert J. Muller & Albert William Levi - 1972 - Journal of Aesthetic Education 6 (1/2):231.
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  48. Movement Class as an Integrative Experience: Academic, Cognitive, and Social Effects.Svetlana Nikitina - 2003 - Journal of Aesthetic Education 37 (1):54.
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  49. Toward a "Situated" View of the Aesthetic in Music Education.Margaret Barrett - 2002 - Journal of Aesthetic Education 36 (3):67.
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  50. Denis Diderot and the Aesthetic Point of View.David K. Holt - 2000 - Journal of Aesthetic Education 34 (1):19.
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