Relevant bibliographies by topics / Philosophy of aesthetics

Academic literature on the topic 'Philosophy of aesthetics'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Philosophy of aesthetics"

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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  
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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.

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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.

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Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.
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Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.

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Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.
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Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
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Lelièvre, Samuel. "La philosophie ricœurienne de l’esthétique entre poétique et éthique." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (February 1, 2017): 43–73. http://dx.doi.org/10.5195/errs.2016.374.

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Ricœur’s philosophy never locates itself directly in the field of philosophical aesthetics inasmuch as philosophical aesthetics never arises as a field of major questioning and discursive development for Ricœur’s philosophy or as a field that would guide that philosophy. However, Ricœur maintains an ongoing but complex connection with aesthetics throughout his philosophical work. Here we defend the thesis that there are difficulties relating both to the complexity of Ricœur’s philosophy and to the crisis situation of aesthetics as an autonomous field of philosophical inquiry. A more direct confrontation with philosophical aesthetics, such as that developed by analytic philosophy and critical theory today, is necessary in order to be aware of this connection between Ricœur’s philosophy and aesthetics. It then appears that if Ricœur’s philosophy makes it possible to maintain a certain autonomy of the field of aesthetics inherited from Kant, it is not through developing some unlikely “Ricœurian aesthetic” but thanks to a Ricœurian philosophy of aesthetics essentially determined on three levels: 1) the connection between poetics and aesthetics within a philosophy of imagination, 2) the connection between criticism and hermeneutics with regard the notions of text and distanciation, 3) the connection between ontology and communication that summarizes the two previous steps by combining phenomenological, analytic and critical perspectives. Thus it can be assumed that this autonomy of the field of aesthetics is possible only at a horizon of meaning determined by Ricœur’s philosophical anthropology: at the axiological level, the field of aesthetics differs upstream from the field of poetics and downstream from the field of ethics; at the ontological level, Ricœur’s philosophy of aesthetics concerns a region that is both intermediate between and congruent to those treated by Ricœur’s philosophy of imagination and by Ricœur’s philosophy of action.
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Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.

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Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
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Wiesing, Lambert. "Phänomenologische und experimentelle Ästhetik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 68–82. http://dx.doi.org/10.28937/1000107594.

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Der Artikel versucht drei Thesen zu verteidigen: Erstens die Ansicht, dass man zwar philosophische und empirische Ästhetiken klar unterscheiden und auch gegenüberstellen kann, dass der Begriff der experimentellen Ästhetik aber keineswegs nur für Ästhetiken reserviert werden sollte, welche außerhalb der Philosophie zu finden sind. Denn insbesondere bei phänomenologischen Ästhetiken, so die zweite These, lässt sich in einem bestimmten Sinne auch von einer experimentellen Ästhetik sprechen – nämlich genau dann, wenn mit der Methode der Eidetischen Variation gearbeitet wird, und insofern sich diese Methode als eine Form von mentalem Selbstexperiment verstehen lässt. Da diese Methode aber nun nicht nur innerhalb der phänomenologischen Philosophie verwendet wird, soll drittens die Ansicht verteidigt werden, dass es in der Philosophie insgesamt eine lange Tradition experimenteller Ästhetiken gibt und zum Beispiel die Transzendentale Ästhetik Kants geradezu ein Musterbeispiel einer solchen ist, da sie ihre Erkenntnisansprüche weder induktiv noch deduktiv, sondern mittels des Experiments einer Eidetischen Variation begründet.<br><br>The article tries to defend three theses: First the opinion that in fact philosophical and empirical aesthetics can be clearly distinguished and as well juxtaposed, but the term experimental aesthetics should not only be reserved for aesthetics, which can be found outside of philosophy. Because notably phenomenological aesthetics, so the second thesis, are in a certain way experimental aesthetics – namely if and only if the method of Eidetic Variation is used and insofar this method can be understood as a form of a mental self-experiment. Since this method is not only used in phenomenological philosophy, thirdly the opinion should be defended that there is a long tradition of experimental aesthetics in philosophy taken as a whole and e.g. Kant’s transcendental aesthetic is an epitome of such kind, because it bases its claim for knowledge neither inductively nor deductively, but using the experiment of an Eidetic Variation.
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Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.
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Dissertations / Theses on the topic "Philosophy of aesthetics"

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Warsop, David John. "Structure and aesthetic properties : an analysis of the notion of structure in aesthetics." Thesis, University of Sheffield, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296764.

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Dugas, Alex T. "Beauty, Ever Ancient, Ever New: The Philosophy of Beauty of Plotinus and St. Augustine." Athenaeum of Ohio / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=athe1526051732407169.

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Rowe, M. W. "Philosophy, psychology, criticism : A defence of traditional aesthetics." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377287.

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Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.
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Spoor, Iris P. "Defending Perceptual Objectivism: A Naturalistic Realist Analysis of Aesthetic Properties." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511799160442784.

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Bailey, Rowan. "The philosophy of sculpture : the sculpture of philosophy : casting bodies of thought." Thesis, University of Leeds, 2009. http://eprints.hud.ac.uk/16898/.

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This thesis explores both the conceptual register and tropic play of sculpture as a fine art in some of the key writings of Plato, Immanuel Kant, Johann Gottfried Herder, and Georg Wilhelm Friedrich Hegel. It serves to show how sculpture is both shaped by and reshapes in turn philosophy's explicit register of sculpture as an art form. The central argument within this thesis is that sculpture turns its back on philosophy as soon as philosophy casts sculpture out of its mould. Registering sculpture as a fine art within philosophy reveals that whilst specific examples of sculpture may appear to confirm the conceptual meanings ascribed to it by the philosophers Kant, Herder and Hegel, can equally show its unreliability and inconsistency as an art form. The title of this thesis The Philosophy of Sculpture: The Sculpture of Philosophy serves as a heading for an engagement with an explicit reading of sculpture as a fine ati and the sculptural as a trope. Therefore, the sculpture of philosophy is read as a heading for the presentation of sculpture as an object or art form in the writings of Kant, Herder and Hegel. The philosophy of sculpture appeals to an engagement with the use of the sculptural through the tropes of casting, moulding, sculpting, carving, modelling, shaping and forming in the writing of philosophy. This will show that there is something specifically philosophical about sculpture as a practice. Furthermore, the crossovers between these two approaches highlight the effects they give place to, particularly in the context of reading sculpture through a case study. Therefore, the latter half of this thesis engages with the ways in which the sculptural appears within architectural formations and explores an alternative reading of sculpture in relation to some of the themes generated out of a collaborative project between the philosopher Jacques Derrida and the architect Peter Eisenman.
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Browne, Paul Leduc. "Lukacs's aesthetics and ontology, 1908-23." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339014.

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This thesis examines the development of Georg Lukacs's early philosophy, and specifically of his concept of the subject-object dialectic, from the History of Development of Modern Drama (1908) to History and Class Consciousness (1923). Between 1908 and 1918, Lukacs came to see as the only possible philosophical options either Hegel's ontology or a resolutely anti-ontological Neo-Kantian value-philosophy inspired by Lask, combined with a quasi-religious metaphysic inspired by Fichte, Kierkegaard and Dostoevsky. In the Heidelberg Aesthetics (1916-1918), the programme of Hegel's metaphysics (the phenomenology of the identical subject-object) is presented as only realizable within a resolutely non-metaphysical aesthetic, as one sphere of validity within a Neo-Kantian framework. History and Class Consciousness transposes the logical structure of this aesthetic theory into the ontological domain, articulating a Marxist critique of Neo-Kantianism which rediscovers in the proletariat the phenomenology of the identical subject-object as the logic of being, i.e. as ontology. This thesis is the first study in English to bring to light fully this dialectic, because it is the first to analyze Lukacs's Philosophy of Art (1912-1914) and Heidelberg Aesthetics (1916-1918), and their relation to History and Class Consciousness. It contributes not only to a new understanding of Lukacs's transition to Marxism, but also sheds light on the genesis of his later philosophy. Its detailed critique of History and Class Consciousness from a point of view inspired by the dialectics of labour in Lukacs's later Ontology of Social Being, lays new emphasis on the latter's relevance to contemporary social theory.
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Gourova, Maria Andreevna. "The Aesthetic Idea and the Unity of Cognitive Faculties in Kant's Aesthetics." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/philosophy_theses/41.

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In this paper, I will try to answer the question how the aesthetic idea in Kant’s aesthetic theory accounts for the universal validity of the subjective judgment of taste, and what the nature of the aesthetic idea is that makes such account possible. This claim about universal validity of the subjective judgment of taste in Kant’s philosophy is regarded to be problematic because of the seeming contradiction between the subjectivity of a judgment and its universality. What can solve this contradiction, from my point of view, is the role of the aesthetic idea that it plays in the judgment of taste and the subjective principle that puts cognitive powers of mind in a harmonious free relationship. The main feature that makes the aesthetic idea the source of the universal validity is its universal communicability expressed in the universally pleasurable feeling of the judgment of taste.
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Van, der Berg Servaas de V. "On depiction and expression : two essays in philosophical aesthetics." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5203.

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Thesis (MA (Philosophy))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis consists of two essays, each focussing on a current topic in aesthetics in the tradition of analytic philosophy. First paper (On depiction) Given broad consensus that resemblance theories do not do well at explaining depiction, two alternative approaches have dominated the literature in recent decades: (1) Perceptual accounts try to ground depiction in the phenomenology of our pictorial experiences; (2) Structural accounts understand pictures as symbols in pictorial symbol systems. I follow Dominic Lopes in granting that the two approaches, often interpreted as each other’s rivals, both have merit and are successful in answering divergent questions about depiction. After taking stock of the most influential theories from both approaches, I turn to John Kulvicki’s recent work. He has made surprising progress as a proponent of the structural approach. His attempt to define depiction in structural terms is groundbreaking and, for the most part, successful. The paper measures some of his suggestions on picture structure and perception against the well-established “twofoldness”-thesis of the perceptual theorist on depiction, Richard Wollheim. Wollheim’s theory is defended and suggestions made to adapt Kulvicki’s theory accordingly. Second paper (On expression) Since Frank Sibley’s early papers in the mid-twentieth century, analytic aesthetics has broadened its field of inquiry to extend past the traditional focus on judgements of beauty or aesthetic merit, to peripheral terms, concepts, properties and judgements (e.g. of grace, elegance, garishness, daintiness, dumpiness, etc.). Nick Zangwill gives a traditionalist report of what binds the new, broad and heterogeneous category of the aesthetic together. He argues that purely evaluative aesthetic judgements of beauty or ugliness (i.e. “verdicts”) are fundamental. All other aesthetic judgements derive their evaluative aesthetic nature from them. In this essay it is argued that Zangwill’s defence of beauty’s supremacy in the category of the aesthetic, does not do justice to ostensible instances of non-evaluative judgements that ascribe expressive properties to artworks. Nelson Goodman’s cognitivist theory of expression in art is used as a foil for Zangwill’s claims.
AFRIKAANSE OPSOMMING: Hierdie tesis bestaan uit twee essays, elk oor ’n aktuele onderwerp in estetika in die tradisie van die analitiese filosofie. Eerste essay (Oor uitbeelding, oftewel “piktoriale representasie”) Gegewe ’n algemene konsensus dat ooreenkoms-teorieë nie slaag daarin om uitbeelding (“depiction”) te verklaar nie, is daar twee alternatiewe benaderings wat die onlangse literatuur oor die onderwerp oorheers: (1) die perseptuele benadering probeer uitbeelding begrond in die fenomenologie van ons piktoriale ervaringe; (2) die strukturele benadering verstaan beelde as simbole in piktoriale simboolsisteme. In navolging van Dominic Lopes neem ek aan dat dié twee benaderings, wat normaalweg as mekaar se opponente beskou word, altwee meriete dra en onderskeidelik sukses behaal in die beantwoording van heel uiteenlopende vrae oor die aard van uitbeelding. Na ’n bestekopname van die mees invloedryke teorieë onder beide benaderings, word John Kulvicki se onlangse werk oorweeg. Hy maak verrassende vooruitgang as ondersteuner van die strukturele benadering. Sy poging om uitbeelding in strukturele terme te definiëer is revolusionêr en bied stof vir nadenke. In hierdie essay word sommige van sy voorstelle oor beeld-struktuur en -waarneming gemeet aan die gevestigde “twofoldness”-tesis van Richard Wollheim. Wollheim se perseptuele teorie word verdedig en ’n voorstelle word gemaak om Kulvicki se teorie daarvolgens aan te pas. Tweede essay (Oor uitdrukking) Sedert Frank Sibley se vroeë essays in die middel van die twintigste eeu het die analitiese estetika sy visier verbreed om verby die tradisionele fokus op oordele van skoonheid en estetiese waarde te kyk, na perifere terme, begrippe, eienskappe en oordele (van bv. grasie, delikaatheid, balans, strakheid, elegansie, ens., ens.). Nick Zangwill gee ’n tradisionalistiese verslag van wat die nuwe, breë en heterogene kategorie van die estetiese saambind. Hy argumenteer dat suiwer evaluerende oordele van skoonheid fundamenteel bly. Alle ander estetiese oordele se estetiese aard word daarvan afgelei. In hierdie essay argumenteer ek dat Zangwill se verdediging van skoonheid (of estetiese waarde) as fundamenteel tot die kategorie van die estetiese, nie laat reg geskied aan aantoonbare gevalle van nie-evaluerende oordele, naamlik dié wat ekspressiewe eienskappe aan kunswerke toeskryf, nie. Nelson Goodman se kognitiewe teorie van van uitdrukking in kuns word gebruik as teenhanger en wegspringplek vir kritiek op Zangwill se aansprake.
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Šparada, Renata. "Internet as Aesthetic Medium." Thesis, Uppsala universitet, Avdelningen för estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-452910.

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The dissertation explains the internet as an aesthetic medium, authorship in the medium and platforms’ influence on the medium’s aesthetic function. This is achieved by analysing the actual art that uses the internet as an aesthetic medium. The aesthetic function of the internet as a medium is different from its informative and communicative function. It entails manipulation of the medium defined by the permanent and instant interconnectedness of the digitalised instances or representations of people, things, artificial intelligence and information to achieve a specific aesthetic aim. Internet as a medium, similarly to comics and film, allows for different kinds of authorship. A typical example of art that uses the internet as a medium is a meme. This is because memes involve meta-level discussions and group authorship, elements that are most easily facilitated by the internet as a medium. Art that uses the internet as an aesthetic medium can be single-authored if the sole author manipulates digital interconnectedness in an aesthetically significant way. Besides this general level of how the internet is characterised as a medium, there is a practical level that includes platforms on which artwork is made. These two levels are necessarily connected. Even though platforms also manipulate digitalised interconnectedness, they do not erase the internet’s potential as an aesthetic medium because artists manipulate this already manipulated content.
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Books on the topic "Philosophy of aesthetics"

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Aesthetics. Armonk, N.Y: M.E. Sharpe, 1998.

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Aesthetics. London: UCL Press, 1997.

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Systematic aesthetics. Gainesville: University Press of Florida, 1995.

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White, Boyd. Aesthetics primer. New York: Peter Lang, 2009.

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White, Boyd. Aesthetics primer. New York: Peter Lang, 2009.

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Siṅgha, Darabāra. Philosophy of aesthetics: Reading Caudwell. Delhi: Anupama Publications, 1992.

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Fløistad, Guttorm, ed. Aesthetics and Philosophy of Art. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5.

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The philosophy & aesthetics of music. Lincoln: University of Nebraska Press, 1999.

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Aesthetics of appearing. Stanford, Calif: Stanford University Press, 2005.

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Brown, Julia Prewitt. Cosmopolitan criticism: Oscar Wilde's philosophy of art. Charlottesville: University Press of Virginia, 1997.

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Book chapters on the topic "Philosophy of aesthetics"

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Taliaferro, Charles. "Aesthetics (Philosophy)." In Encyclopedia of Sciences and Religions, 25–29. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_1548.

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Romero, Gustavo E. "Aesthetics." In Scientific Philosophy, 81–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97631-0_6.

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Baggini, Julian, and Gareth Southwell. "Aesthetics." In Philosophy: Key Themes, 178–203. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137008879_7.

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Hegel, G. W. F. "The Philosophy of Fine Art." In Aesthetics, 496–500. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-100.

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Marenbon, John. "Aesthetics." In Encyclopedia of Medieval Philosophy, 1–8. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1151-5_13-2.

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Bonadeo, Cecilia Martini, Angela Guidi, Antonella Straface, Roxanne D. Marcotte, Cecilia Martini Bonadeo, Samuel Noble, Emily J. Cottrell, et al. "Aesthetics." In Encyclopedia of Medieval Philosophy, 26–32. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-1-4020-9729-4_13.

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Marenbon, John. "Aesthetics." In Encyclopedia of Medieval Philosophy, 53–60. Dordrecht: Springer Netherlands, 2020. http://dx.doi.org/10.1007/978-94-024-1665-7_13.

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Welsch, Wolfgang. "Aesthetics beyond aesthetics." In Aesthetics and the Philosophy of Art, 3–24. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-2.

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Klinger, Cornelia. "Aesthetics." In A Companion to Feminist Philosophy, 341–52. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164498.ch34.

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Lintott, Sheila. "Why (Not) Philosophy of Stand-Up Comedy?" In Aesthetics, 362–66. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-73.

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Conference papers on the topic "Philosophy of aesthetics"

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Polmeer, Gareth. "Sublating Time: Hegel’s speculative philosophy and digital aesthetics." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.

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Chudoba, Eva. "JOHN DEWEYS AESTHETICS OF EVERY DAY LIFE." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.100.

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Яшин, Б. Л. "Philosophical Disciplines in Pedagogical Higher Education as the Foundation of the General Culture of the Future Teacher." In Современное образование: векторы развития. Роль социально-гуманитарного знания в подготовке педагога: материалы V международной конференции (г. Москва, МПГУ, 27 апреля – 25 мая 2020 г.). Crossref, 2020. http://dx.doi.org/10.37492/etno.2020.60.58.009.

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в статье раскрывается роль философии и других философских дисциплин в системе подготовки будущего учителя. Утверждается, что одним из результатов реформ в области высшего образования стало существенное сокращение количества аудиторных часов, отводимых на курс философии, а изучение логики, этики и эстетики, способствующих формированию у будущего учителя высокой культуры мышления, «гражданственности, патриотизма, духовности, гуманности и других человеческих качеств», поставлено в зависимость от предпочтений руководителей образовательных программ. Показывается, что одной из серьезных проблем в преподавании философии остается негативное отношение к этой дисциплине учащихся и преподавателей профильных дисциплин вузов. Формулируются наиболее важные задачи, решение которых могло бы существенным образом изменить ситуацию: повышение активности преподавателей философии на факультетах и в вузе в целом, поиск и использование новых эффективных форм и средств преподавания, внедрение в процесс обучения компьютерных технологий, интернета, укрепление связей преподавателей философии и профильных дисциплин. the article reveals the role of philosophy and other philosophical disciplines in the system of training a future teacher. It is stated that one of the results of reforms in the field of higher education was a significant reduction in the number of classroom hours allocated to the course of philosophy, and the study of logic, ethics and aesthetics that contribute to the formation of a future teacher of a high culture of thinking, «citizenship, patriotism, spirituality, humanity and other human qualities», is dependent on the preferences of educational program managers. It is shown that one of the major problems in teaching philosophy is the negative attitude of students and teachers of specialized disciplines of higher education institutions to this discipline. The most important tasks are formulated, the solution of which could significantly change the situation: increasing the activity of philosophy teachers at the faculties and in the University as a whole, searching for and using new effective forms and means of teaching, introducing computer technologies, the Internet into the learning process, and strengthening the links between philosophy teachers and specialized disciplines.
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McHaffie, Brandon, Peter Routledge, and Alessandro Palermo. "Enhancing the application potential of dissipative controlled rocking connections through detailing and design." In IABSE Congress, Christchurch 2021: Resilient technologies for sustainable infrastructure. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/christchurch.2021.0220.

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<p>Research on low-damage systems has been significant in the past decade. These systems combine post- tensioning, which provides self-centring; and typically use replaceable devices, which give energy dissipation. WSP has used recent research, carried out at the University of Canterbury, on low-damage bridge piers and applied this into a real structure – the Wigram-Magdala Link Bridge. This is believed to be the first bridge in New Zealand and possibly worldwide to adopt such a system. Given this was the first application of the system to a real structure, there were some valuable learnings during design and construction. Firstly, the application of axial dissipaters has some limitations due to available material sizes, construction difficulty and aesthetics. Secondly, there is still some additional cost and complexity associated with using the low-damage system. Given these difficulties, this paper presents an alternative design philosophy which better captures the benefits of the low-damage system, which include cost-effective repair method, controlled damage and additional robustness and resilience. The alternative design philosophy presented is expected to result in reduced construction costs by reducing pier and foundation demands. Peak displacements and forces will be compared to the results from non-linear time history analysis to verify the performance of the low-damage connection using scaled ground motions. Furthermore, the paper will present the possible application of an alternative dissipation device, the lead extrusion damper, which can further improve the performance of low-damage connections.</p>
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Aguilar Rendón, Nora Karina, Nora Morales Zaragoza, and José Luis Hernández Azpeitia. "Infographics as a tool for business agreement." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3376.

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This paper analyzes infographics as a problem solving tool to act as a medium for establishing dialog in the business context. Businness needs agreements, usually made in a written-form in a document called “brief”. The drawings, illustrations, visual narratives or infographic work can be considered a form of visual agreements for the participants. We present two case studies that consider the use of particular elements and cognitive processes involved in this visual agreement strongly connected to synthesis in dialog , memory and message clarity. By analyzing the visual languaje structure of real case infographic projects of the national housing social debt collection process (Infonavit, 2010) and the problem of child obesity (Cepol, 2012) where drawing plays a major role as a tool to communicate the operation of visual imaginery, we suggest a prominent role of drawing in the shaping process of the client´s inner topology. We introduce a preliminar analyitical framework –drawn from studies and theories like dual-coding theory (Pavios,1971), rhethoric, neurocognitive processes (Kosslyn, 1986), aesthetics and language philosophy (Goodman, 1978)– for understanding how this visual agreement denote and connote unstated viewing conventions and prioritize particular interpretations that can significantly affect the final solution. Finally we identify areas of future inquiry of new approaches on identity construction from a synthetic representation point of view.DOI: http://dx.doi.org/10.4995/IFDP.2016.3376
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Dong, Lili. "Research on Traditional Aesthetic Philosophy in the Japanese Literature." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.283.

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He, Shuqing. "Beauty and Art in the Oriental Philosophy. An Aesthetic Study in the Traditional Chinese Philosophy." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.20.

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Didenko, Natalia. "Music Time: from Intonation to Style Philosophy and Aesthetic Analysis." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.49.

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Yang, Jiyong, and Xianjie Yang. "The discovery about the commonness of Six Dynasties' aesthetics of literature and art and ideological system's methodology———the traditional contexts' characteristics of philosophy and value research contained in Wen Fu, The Literary Mind and the Carving of Dragons and other literary works." In Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ichssr-19.2019.137.

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Zhang, Pengju, and Hai Liang. "Analytical Philosophy to Philosophical Analysis: Arthur C. Danto’s Analytical Approach to the Formation of Aesthetic Thought." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.039.

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