By Jerrold Levinson

ISBN-10: 0198767218

ISBN-13: 9780198767213

Jerrold Levinson, probably the most sought after philosophers of artwork at the present time, provides a brand new selection of essays, following on from his 4 prior collections, Music, artwork and Metaphysics (1990), The Pleasures of Aesthetics (1996), Contemplating Art (2006), and Musical Concerns (2015).

Aesthetic Pursuits in particular enhances Levinson's final quantity, Musical Concerns, through amassing fresh essays no longer all in favour of track, yet as an alternative targeting literature, movie, and visible paintings, whereas addressing problems with humour, attractiveness, and the sentiments. The essays in Aesthetic Pursuits, that are wide-ranging, will allure strongly to aestheticians, paintings enthusiasts, and philosophers alike.

The quantity includes seven formerly unpublished essays through Levinson, within which the writer severely engages with awesome modern contributions to aesthetic theory.

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Stecker, as I read him, appears committed to this sense of valuing as an active stance or engagement. 27 To sum up this part of my discussion, though I agree with Iseminger that tracking features without appreciating them does not qualify as an aesthetic state of mind, I disagree that an aesthetic state of mind, in which  TOWARD AN ADEQUATE CONCEPTION OF AESTHETIC EXPERIENCE one appreciates or values-for-its-own-sake some embedded perceptualimaginative experience, is not thereby an aesthetic experience as well.

References Budd, Malcolm (1995). Values of Art (Penguin). Budd, Malcolm (2008). “Aesthetic Essence,” in Aesthetic Essays (Oxford University Press). Carroll, Noël (2000). “Art and the Domain of the Aesthetic,” BJA 40. Carroll, Noël (2002). “Aesthetic Experience Revisited,” BJA 42. Carroll, Noël (2005). “Aesthetic Experience: A Question of Content,” in M. , Contemporary Debates in Aesthetics and the Philosophy of Art (Blackwell). Dickie, George (1964). “The Myth of the Aesthetic Attitude,” American Philosophical Quarterly 1.

But one might readily accept that aesthetic experience necessarily involves some sort of affective or hedonic reaction to an object, and yet deny that such a reaction is necessarily positive. I would not disagree, which is why I propose that the positive character of aesthetic experience is best understood as a default, rather than a strictly necessary feature of such experience. For it seems that experiences of the disorderly, the ugly, and the disgusting are naturally conceived as kinds of aesthetic experience, if undesirable ones.

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Aesthetic Pursuits: Essays in Philosophy of Art by Jerrold Levinson

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