Results for ' Negative Aesthetics'

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  1. Qalandariyat: Marginality in the Negative Aesthetics of Sufi Poetry.Zahra Rashid - 2023 - Open Philosophy 6 (1):1-17.
    A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this (...)
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  2. Negative Aesthetics in Art, Environment, and Everyday Life: Arnold Berleant's Theory and the Novels of Kirino Natsuo.Mara Miller - 2010 - Sztuka I Filozofia (Art and Philosophy) (10):90--117.
     
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  3. Toward a negative aesthetic of sustainability in Tim Winton's Dirt Music.Erin Corderoy & Michaela Baker - 2015 - In Christopher Crouch, An introduction to sustainability and aesthetics: the arts and design for the environment. Boca Raton, Florida: BrownWalker Press.
     
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  4.  25
    Law’s (Negative) aesthetic: Will it save us?Martti Koskenniemi - 2015 - Philosophy and Social Criticism 41 (10):1039-1045.
    The article reviews Hauke Brunkhorst’s new book on the critical theory of revolutions.
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  5. (1 other version)Some Remarks on Descriptive and Negative Aesthetic Concepts: A Critical Note.Ondřej Dadejík & Štěpán Kubalík - 2013 - Estetika: The European Journal of Aesthetics 50 (2):206-211.
    This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits Kulka’s treatment of what he calls the main thesis of Frank Sibley’s famous essay ‘Aesthetic Concepts’ (1959). According to this thesis, ‘There are no non-aesthetic features which serve as conditions for applying aesthetic terms’, and ‘aesthetic or taste concepts are not in this respect condition-governed’. Kulka argues that this thesis fails to apply to descriptive concepts and some negative aesthetic concepts. In his view there exist (...)
     
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  6. The Ugly Truth: Negative Aesthetics and Environment.Emily Brady - 2011 - Royal Institute of Philosophy Supplement 69:83-99.
    In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...)
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  7.  66
    Homelessness in the Urban Landscape: Beyond Negative Aesthetics.Ionut Untea - 2018 - The Monist 101 (1):17-30.
    The great popularity of homelessness as an artistic theme in the twentieth century and beyond may be explained by the frequency by which the everyday image of homeless persons impacts upon the passerby’s aesthetic perception of the urban environment. Nonetheless, as yet, homelessness has not been included in the field of the aesthetics of everyday life. This article is meant to fill this void. Being inspired by frequent personal encounters with homeless persons and drawing on parallels between the effort (...)
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  8. " What Came about Brought to Nothing": Negative Aesthetic Value.P. McCormick - 2003 - Acta Philosophica Fennica 72:33-44.
     
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  9. Fabio Akcelrud Durao, Modernism and Coherence: Four Chapters of a Negative Aesthetics Reviewed by.Jeffrey Atteberry - 2009 - Philosophy in Review 29 (3):175-177.
  10.  30
    12. ‘Three-Minute Access’: Fugazi’s Negative Aesthetic.Colin J. Campbell - 2007 - In Donald Burke, Colin J. Campbell, Kathy Kiloh, Michael Palamarek & Jonathan Short, Adorno and the Need in Thinking: New Critical Essays. University of Toronto Press. pp. 278-295.
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  11.  11
    On the Asymmetry between Positive and Negative Aesthetic Judgements: A Response to Dadejík and Kubalík.Tomáš Kulka - 2020 - Estetika: The European Journal of Aesthetics 51 (1):86.
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  12.  2
    Negativity and Zwischen: An Account of Byung-Chul Han’s Aesthetics.Alberto Morán Roa - 2024 - Journal of Aesthetics and Phenomenology 11 (1):119-134.
    Byung-Chul Han’s reflections on aesthetics are heavily influenced by Martin Heidegger’s hermeneutic reading of phenomenology and the theses of his Doktormutter, Utte Guzzoni, on the mutual determination of opposites and the intermediate space (Zwischen) that serves as a background for their constitution. Once these foundations have been explored, it can be seen how Hanian approaches to the aesthetic dimension of phenomena are connected with his criticisms of the philosophical development of the West and the problems of its contemporary facet. (...)
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  13.  25
    Aesthetic Preference for Negatively-Valenced Artworks Remains Stable in Pathological Aging: A Comparison Between Cognitively Impaired Patients With Alzheimer's Disease and Healthy Controls.Elisabeth Kliem, Michael Forster & Helmut Leder - 2022 - Frontiers in Psychology 13.
    BackgroundDespite severe cognitive dysfunction in Alzheimer's disease, aesthetic preferences in AD patients seem to retain some stability over time, similarly to healthy controls. However, the underlying mechanisms of aesthetic preference stability in AD remain unclear. We therefore aimed to study the role of emotional valence of stimuli for stability of aesthetic preferences in patients with AD compared to cognitively unimpaired elderly adults.MethodsFifteen AD patients score 12–26) without visual impairment and/or psychiatric disorder, as well as 15 healthy controls without cognitive impairment (...)
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  14.  9
    Aesthetics of Negativity: Blanchot, Adorno, and Autonomy.William S. Allen - 2016 - New York: Fordham University Press.
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  15. Aesthetic Negativity.Arne Melberg - 1999 - Kierkegaardiana 20:151.
  16.  11
    Aesthetic Experience: Meaning, Communication and Negativity. The aesthetic Hermeneutic and its Critics.Pol Capdevila - 2007 - Enrahonar: Quaderns de Filosofía 38:181.
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  17.  98
    The Sovereignty of Art: Aesthetic Negativity in Adorno and Derrida.Christoph Menke - 1998 - MIT Press.
    Art is not only autonomous, following its own law, different from nonaesthetic reason, but sovereign: it subverts the rule of reason.In this book Christoph Menke attempts to explain art's sovereign power to subvert reason without falling ...
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  18. Generative Disgust, Aesthetic Engagement, and Community.Erin Bradfield - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen, Cultural Approaches to Disgust and the Visceral. Routledge. pp. 175-187.
    How do individuals and communities respond to negative aesthetic experience? Historically, philosophical aesthetics has devoted much thought to positive aesthetic experience, including the beautiful, agreeable, charming, and tasteful. But this is only a partial picture. Some aesthetic experience displeases: the ugly, disgusting, and horrific are but a few examples with which aestheticians have grappled in recent decades. The aversive and visceral nature of disgust has generated particular interest. But as Carolyn Korsmeyer points out in _Savoring Disgust: The Foul (...)
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  19.  14
    Agamben’s Concept of Negativity and Aesthetics. 김지혜 - 2023 - Journal of the New Korean Philosophical Association 111:135-152.
    이 논문은 현대 정치철학자 조르조 아감벤(Giorgio Agamben, 1942~)의 부정성을 설명하는 데에 목적을 두고 있다. 아감벤은 예외상태, 호모 사케르 그리고 삶-의-형태 개념과 더불어 부정성 개념 역시 중요하게 다루고 있다. 이러한 아감벤의 부정성 개념은 헤겔과 하이데거에게 깊은 영향을 받은 것으로, 그는 자신의 저서 『언어와 죽음』(1982)과 『열림』(2002)에서 본격적으로 두 철학자의 이론을 재해석하고 서술한 바 있다. 따라서 이 논문 역시 아감벤의 부정성 개념에 이론적 단초를 제공하였던, 헤겔의 부정성 개념과 하이데거의 죽음(부정성)의 의미를 소개하고 있다. 이에 더하여, 아감벤은 동시대의 정치에서 부정성의 역할을 특히 강조하고 있는데, 이러한 (...)
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  20.  77
    Is There Really A Puzzle Over Negative Emotions And Aesthetic Pleasure?María José Alcaraz León - 2017 - Nordic Journal of Aesthetics 25 (52).
    Two seemingly contradictory aspects have marked art’s appreciation – and aesthetic appreciation in general. While an experience of pleasure seems to ground judgments of aesthetic value, some artworks seem to gain our praise by the very negative – unpleasant – experience they provoke. Known as the paradox of negative emotions, aestheticians have, at least since Aristotle, tried to deal with these cases and offer different explanations of the phenomenon. In this article, María José Alcaraz León does not directly (...)
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  21.  20
    Experiencing Revulsion: Aesthetic Discomfort and Ordinary Life.Radu-Cristian Andreescu - 2023 - Open Philosophy 6 (1):15-24.
    Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways (...)
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  22.  15
    10. Adorno’s Aesthetics of Reconciliation: Negative Presentation of Utopia or Post-metaphysical Pipe-Dream?Donald A. Burke - 2007 - In Donald Burke, Colin J. Campbell, Kathy Kiloh, Michael Palamarek & Jonathan Short, Adorno and the Need in Thinking: New Critical Essays. University of Toronto Press. pp. 233-260.
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  23.  49
    Aesthetics at the Intersection of the Species Problem and De-Extinction Technology.Michael Aaron Lindquist - 2020 - Environmental Values 29 (5):605-624.
    De-extinction technology aims to bring extinct species back into existence, often with the goal of releasing created organisms into natural environments. In this paper, I argue that there are aesthetic reasons to avoid engaging in de-extinction and release projects, even if they pass moral permissibility criteria. The strength of these reasons depends on conclusions regarding species authenticity – a problem that arises at the intersection of de-extinction technology and the ‘species problem’ in the philosophy of biology. Since species authenticity affects (...)
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  24.  23
    The Aesthetics of Scientific Experiments.Milena Ivanova & Alice Murphy (eds.) - 2023 - New York, NY: Routledge.
    The relationship between aesthetics and science has begun to generate substantial interest. However, for the most part, the focus has been on the beauty of theories, and other aspects of scientific practice have been neglected. This book offers a novel perspective on aesthetics in experimentation via ten original essays from an interdisciplinary group comprised of philosophers, historians of science and art, and artists. -/- The collection provides an analysis of the concept of beauty in the evaluation of experiments. (...)
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  25. Global Climate Change and Aesthetics.Emily Brady - 2022 - Environmental Values 31 (1):27-46.
    What kinds of issues does the global crisis of climate change present to aesthetics, and how will they challenge the field to respond? This paper argues that a new research agenda is needed for aesthetics with respect to global climate change (GCC) and outlines a set of foundational issues which are especially pressing: (1) attention to environments that have been neglected by philosophers, for example, the cryosphere and aerosphere; (2) negative aesthetics of environment, in order to (...)
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  26. From beauty to belief: The aesthetic and diversity values of plants and pets in shaping biodiversity loss belief among Vietnamese urban residents.Quan-Hoang Vuong, Minh-Phuong Thi Duong, Ni Putu Wulan Purnama Sari, Viet-Phuong La & Minh-Hoang Nguyen - 2024 - Humanities and Social Sciences Communications 11:1510.
    Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic experiences (positive (...)
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  27.  6
    The temptation of non-being: negativity in aesthetics.Artemii Magun - 2024 - New York: Bloomsbury Academic.
    Why do we enjoy artworks that depict disasters and suffering? Is this a hangover from the Modernist impulse to break the rules of harmony? Is there actually a proper way to perform negativity in art without resorting to nihilism? The Temptation of Non-Being uses these fundamental questions to paint a picture of contemporary art as beset by an outbreak of the negative, and to construct a new theory of art as a medium of complex negativity. Charting the depth of (...)
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  28.  77
    Do Negative Judgments of Taste Have a priori Grounds in Kant?Christian Helmut Wenzel - 2012 - Kant Studien 103 (4):472-493.
    When contrasting something with its opposite, such as positive numbers with negative numbers, repulsion with attraction, good and evil, beauty and ugliness, Kant some-times says the latter are not merely cases of negation or privation of the former, but that they have their own, independent grounds. But do negative judgments of taste really have a priori grounds? There are two kinds of negative judgments of taste: “This is not beautiful” and “This is ugly.” Can they be a (...)
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  29. Art as a Form of Negative Dialectics: 'Theory' in Adorno's Aesthetic Theory.William D. Melaney - 1997 - Journal of Speculative Philosophy 11 (1):40 - 52.
    Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his (...)
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  30. Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
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  31. Adorno, Theodor W.(1973) Negative Dialectics, London: Routledge & Keegan Paul.——(1976) The Positivist Dispute in German Sociology, London: Heinemann.——(1984) Aesthetic Theory London: Routledge.——(1999) The Complete Correspondence, 1928–1940. Theodor W. Adorno and Walter Benjamin,(ed.) Henri Lonitz and trans. Nicholas Walker, Cambridge: Polity Press.——(2001) The Stars Down to Earth and Other Essays on the Irrational in Culture. [REVIEW]Can One Live After Auschwitz - 2009 - In Jenny Edkins & Nick Vaughan-Williams, Critical theorists and international relations. New York, N.Y.: Routledge. pp. 354.
     
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  32.  62
    The Ethical Dimensions of Aesthetic Engagement.Yuriko Saito - 2017 - Espes 6 (2):19-29.
    This paper explores the ethical dimensions of aesthetic engagement, the central theme of Arnold Berleant’s aesthetics. His recent works on social aesthetics and negative aesthetics explicitly argue for the inseparability of aesthetics from the rest of life, in particular ethical concerns. Aesthetic engagement requires overcoming the subject-object divide and adopting an attitude of open-mindedness, responsiveness, reciprocity, and collaboration, as well as the willingness and readiness to expose negative aesthetics for what it is. These (...)
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  33.  46
    The aesthetics of the invisible: George Berkeley and the modern aesthetics.Endre Szécsényi - 2022 - History of European Ideas 48 (6):731-743.
    ABSTRACT George Berkeley is usually not discussed in the canonical histories of modern aesthetics. Similarly, Berkeley scholars do not seem to have paid attention to his possible contribution to modern aesthetics. Berkeley exploited certain theoretical potentials of the emerging aesthetic experience that was invented and formulated especially by his contemporaries like Joseph Addison, Richard Steele and Lord Shaftesbury. He applied these elements in shaping a theologico-aesthetic language in the very same period when Francis Hutcheson and Alexander Baumgarten wrote (...)
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  34.  74
    The Distancing-Embracing model of the enjoyment of negative emotions in art reception.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40:e347.
    Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional (...)
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  35.  93
    Nietzsche, Aesthetics and Modernity.Matthew Rampley - 1999 - New York: Cambridge University Press.
    Nietzsche, Aesthetics and Modernity analyses Nietzsche's response to the aesthetic tradition, tracing in particular the complex relationship between the work and thought of Nietzsche, Kant and Hegel. Focusing in particular on the critical role of negation and sublimity in Nietzsche's account of art, it explores his confrontation with modernity and his attempt to posit a revitalized artistic practice as the counter-movement to modern nihilism. Drawing on the full range of his published and unpublished writings, together with his comments on (...)
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  36.  11
    The Aesthetics of Fear in German Romanticism.Paola Mayer - 2019 - McGill-Queen's University Press.
    Enlightenment - both the phenomenon specific to the eighteenth century and the continuing trend in Western thought - is an attempt to dispel ignorance, achieve mastery of a potentially hostile environment, and contain fear of the unknown by promoting science and rationality. Enlightenment is often accompanied and challenged by countercultures such as German Romanticism, which explored the nature of fear and deployed it as a corrective to the excesses of rationalism. The Aesthetics of Fear in German Romanticism uncovers the (...)
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  37. The Sovereignty of Art: Aesthetic Negativity in Adorno and Derrida. [REVIEW]Andrew Fisher - 1999 - Radical Philosophy 94.
     
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  38.  60
    VI—Aesthetic Beautification.Andrew Huddleston - 2022 - Proceedings of the Aristotelian Society 122 (2):119-139.
    Aesthetic beautification is a familiar artistic phenomenon. Even as they face death, heroes and heroines in operas still sing glorious music. Characters in Shakespearean tragedies still deliver beautifully eloquent speeches in the throes of despair. Even when depicting suffering and horror, paintings can still remain a transfixing delight for the eyes. In such cases, the work of art represents or expresses something to which we would, in ordinary life, attribute a negative valence, but it does so beautifully. Doubtless there (...)
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  39. A New Aesthetic Argument for Theism.Noah McKay - 2023 - Faith and Philosophy 40 (2):221-244.
    I outline and defend a version of the aesthetic argument for the existence of God, according to which theism explains our capacity for subjective aesthetic experience better than its major competitor, naturalism. I argue that naturalism fails to adequately explain the nature and range of our aesthetic experiences, since these are amenable neither to standard Darwinian explanation nor to explanation in terms of more complex sociobiological mechanisms such as sexual selection or between-group selection. I concede that aesthetic experience may be (...)
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  40.  38
    Aesthetic experiences and flourishing in science: A four-country study.Christopher J. Jacobi, Peter J. Varga & Brandon Vaidyanathan - 2022 - Frontiers in Psychology 13.
    In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on a (...)
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  41. Expressing aesthetic judgments in context.Isidora Stojanovic - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  42. Christoph Menke, The Sovereignty of Art: Aesthetic Negativity in Adorno and Derrida.A. Fisher - forthcoming - Radical Philosophy.
  43. The Illusion of Unity: Traces of Negativity in Schiller's Aesthetic Theory.M. Lehtinen - 2003 - Acta Philosophica Fennica 72:45-64.
     
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  44.  19
    Investigating the interaction of pleasantness and arousal and the role of aesthetic emotions on episodic memory using a musical what-where-when paradigm.Safiyyah Nawaz & Diana Omigie - 2023 - Cognition and Emotion 37 (2):320-328.
    Recent evidence suggests that the presence of music experienced as pleasant positively influences episodic memory (EM) encoding. However, it is unclear whether this impact of pleasant music holds regardless of how arousing the music is, and what influence, if any, music-induced aesthetic emotions have. Furthermore, most music EM studies have used verbal or facial memory tasks limiting the generalisability of these findings to everyday EMs with spatiotemporal richness. The current study used an online what-where-when paradigm to assess music's influence on (...)
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  45.  6
    Critical Aesthetics Between American Pragmatism and the Frankfurt School.Bethany Henning - 2024 - Human Affairs 34 (4):596-607.
    The publication of Art as Experience in 1934 marked a theoretical turning point away from the disinterested spectatorship of Kant towards an aesthetics of everyday life. Dewey’s major claim therein is that “aesthetic experience” is privileged and ought to be taken as paradigmatic for all experience because it is controlled by an affective unity that he calls “pervasive quality” which harmonizes thought and action with its social and environmental context. In 1935 Walter Benjamin argued that pre-industrial works of art (...)
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  46.  62
    Nuanced aesthetic emotions: emotion differentiation is related to knowledge of the arts and curiosity.Kirill Fayn, Paul J. Silvia, Yasemin Erbas, Niko Tiliopoulos & Peter Kuppens - 2017 - Cognition and Emotion 32 (3):593-599.
    The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings (...)
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  47.  94
    The Neuropsychology of Aesthetic, Spiritual, and Mystical States.Eugene G. D'Aquili & Andrew B. Newberg - 2000 - Zygon 35 (1):39-51.
    An analysis of the underlying neurophysiology of aesthetics and religiousexperience allows for the development of an Aesthetic‐Religious Continuum. This continuumpertains to the variety of creative and spiritual experiences available to human beings. This mayalso lead to an understanding of the neurophysiological mechanism underlying both“positive” and “negativeaesthetics. An analysis of this continuumallows for the ability to understand the neurophenomenological aspects of a variety of humanexperiences ranging from relatively simple aesthetic experiences to profound spiritual and unitarystates such as (...)
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  48. Aesthetic Testimony and the Norms of Belief Formation.Jon Robson - 2013 - European Journal of Philosophy 23 (3):750-763.
    Unusability pessimism has recently emerged as an appealing new option for pessimists about aesthetic testimony—those who deny the legitimacy of forming aesthetic beliefs on the basis of testimony. Unusability pessimists argue that we should reject the traditional pessimistic stance that knowledge of aesthetic matters is unavailable via testimony in favour of the view that while such knowledge is available to us, it is unusable. This unusability stems from the fact that accepting such testimony would violate an important non-epistemic norm of (...)
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  49.  58
    Aesthetic Delight and Beauty: A Comparison of Kant’s Aesthetics and Abhinavagupta’s Theory of Rasa.Sangeetha Menon, Shankar Rajaraman & Saurabh Todariya - 2022 - Journal of Dharma Studies 5 (1):51-62.
    The study aims to address the existing research gap through a thematic comparison between the aesthetics of Kant and Abhinavagupta. This paper explores Kant’s notion of aesthetic judgment based on disinterestedness with Abhinavagupta’s analysis of sādhāraṇīkaraṇa. We argue that the notions of “disinterested judgment” in Kant and sādhāraṇīkaraṇa in Abhinavagupta points towards the impersonal nature of aesthetic delight which makes the universality of aesthetic experience possible. Hence, aesthetics in both Kant and Abhinavgupta are not the personal and subjective (...)
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  50.  38
    Sublimity, Negativity, and Architecture. An Essay on Negative Architecture through Kant to Adorno.Stephen M. Bourque - 2015 - Rivista di Estetica 58:166-174.
    Architecture defines and consumes people. It exposes them to a multitude of varieties of different aesthetic engagements. Architecture becomes a lived experience. However, this lived experience is always caught in the inner workings of the social and more specifically within cultural ideology. In modern capitalism, culture pervades every aspect of our lives. It shows its presence everywhere from our own homes to the public streets. Culture is everywhere, and architecture is a tool used for both the benefit and detriment of (...)
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