-
3Prilastitev čutnosti in subverzija lepoteFilozofski Vestnik 36 (1). 2015.Zaradi svoje vsenavzočnosti v izkustvu ima estetska čutnost mnoge manifestacije, tako očitne kot prikrite. Članek preučuje nekatere večinoma skrite načine, v katerih sta okus in estetska sodba, ki se kažeta v čutnem izkustvu, prefinjeno prisvojena in izrabljena. Te postopke opisujem kot prilastitev estetske čutnosti in imajo škodljive posledice za zdravje, družbo in okolje. Omenjene prakse so oblika estetske negacije, ki izkrivlja čutno izkustvo in manipulira z njim, kot je v interesu množičnega…Read more
-
Environment and the Arts: Perspectives on Environmental AestheticsEnvironmental Values 13 (1): 121-123. 2004.
-
2The Music in My PhilosophyASA Newsletter. 2012.Music has not been as prominent in philosophy or as influential in aesthetics as the visual arts, at least in the Western tradition. Reflecting on my years of experience as both a philosopher and a musician, I am increasingly intrigued by speculating if and how today’s aesthetic discourse might have taken a different direction if music been its central focus. It is tempting to wonder whether, in some cases, the musical art may indeed have had an influence, even if less conspicuous than some othe…Read more
-
17Marx's Concept of ManBloomsbury Academic. 2004.A provocative new view of Marx stressing his humanist philosophy and challenging both Soviet distortion and Western ignorance of his basic thinking.
-
16Aesthetics and the Theory of CriticismPhilosophy and Phenomenological Research 36 (4): 583-584. 1976.
-
19Reason in Society: Five Types of Decisions and Their Social ConditionsPhilosophy and Phenomenological Research 23 (3): 453-454. 1962.
-
8An Anatomy of Values: Problems of Personal and Social ChoicePhilosophy and Phenomenological Research 32 (3): 416-417. 1971.
-
8453The aesthetic fieldThomas. 1970.The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered…Read more
-
29Re-Thinking Aesthetics: Rogue Essays on Aesthetics and the ArtsRoutledge. 2016.The essays, collected by Berleant in this volume all express the impulse to reject the received wisdom of modern aesthetics: that art demands a mode of experience sharply different from others and unique to the aesthetic situation, and that the identity of the aesthetic lies in keeping it distinct from other kinds of human experience, such as the moral, the practical, and the social. Berleant shows, on the contrary, that the value, the insight, the force of art and the aesthetic are all enhanced…Read more
-
12V. Tejera's "Art and Human Intelligence" (review)Philosophy and Phenomenological Research 29 (2): 307. 1968.
-
201Notes for a phenomenology of musical performancePhilosophy of Music Education Review 7 (2): 73-79. 1999.In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain …Read more
-
Thomas M. Alexander, "John Dewey's Theory of Art, Experience, and Nature: The Horizons of Feeling" (review)Transactions of the Charles S. Peirce Society 24 (2): 193. 1988.
-
2S. Moser's "Absolutism and Relativism in Ethics" (review)Philosophy and Phenomenological Research 29 (3): 465. 1969.
-
Introduction: The aesthetics of natureIn Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments, Broadview Press. pp. 11--42. 2004.
-
25On the circularity of the cogitoPhilosophy and Phenomenological Research 26 (3): 431-433. 1966.A Discussion on Descartes and his use of doubt as a tool for judgement.
-
34M. Lipman's "What Happens in Art" (review)Philosophy and Phenomenological Research 28 (3): 449. 1968.
-
342The Art in Knowing a LandscapeDiogenes 59 (1-2): 52-62. 2012.What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like to do this through a re-we…Read more
-
3R. J. Roth's "John Dewey and Self-Realization" (review)Philosophy and Phenomenological Research 24 (4): 588. 1964.