Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)

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Plato likens our situation to being prisoners in a cave, mistaking shadows on the walls for reality, and not realizing that ultimate existence lies outside in the light. The best we can do is to lead a moral life, to excel, to approach the perfection of our Form. But then the Form of photography appeared, and led Plato back deeper into the cave, into the darkest space possible.

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Read the paper here. Sensation as participation in visual art. Aesthetic Pathways 2 2 : Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine?

Jerrold Levinson

I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses.

They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. Read an extract. Cazea ux, C. The Continental Aesthetics Reader, 2nd edition. Abingdon: Routledge.


This is a substantially revised edition of The Continental Aesthetics Reader , first published in The majority of these return to theories of existence, with the consequence that each thinker posits a view of the world which is often systematic, complex and distinct from the theories of his or her contemporaries. This means that there are a number of difficult, individual theories to be explained.

Beauty is not in the eye-stalk of the beholder. Smithka and C. Their casings, I mean. Not the squid-like creatures inside. Can it be applied to a monster from a science-fiction television series?

Hegel's Aesthetics. Introduction

An over-sized, elaborate pepper-pot, with a few grills, slats, and semi-spheres? Phenomenology and radio drama.

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  • British Journal of Aesthetics 45 2 : The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression. However, alternative theories of sensation are offered by phenomenology. Read the full paper here. Art philosophy junction. A well-documented discussion of philosophy of art that can serve well as a textbook on the subject for American readers. Choice This book is a thorough and remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art, which Stecker sees as 'two distinct though overlapping fields' A pleasure to read and a paradigmatic introduction to the subject -- a highly recommended resource for students and teachers alike.

    What is "Art"?

    Russell DiSilvestro The British Journal Of Aesthetics In this welcome new introduction, Robert Stecker presents and debates some of the most engaging and intractable issues in contemporary aesthetics with his characteristic clarity, good sense, and thoroughness. Peter Lamarque. Convert currency. Add to Basket. Condition: New. Seller Inventory NEW More information about this seller Contact this seller.

    Robert Stecker.

    Philosophy of Art and Aesthetics

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