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The Environment as an Aesthetic Paradigm in Art and Philosophy: Mutual Connections and InspirationsDialectics and Humanism 15 (1-2): 95-106. 1988.
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91The Aesthetics of EnvironmentTemple University Press. 1995.Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to…Read more
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245The sensuous and the sensual in aestheticsJournal of Aesthetics and Art Criticism 23 (2): 185-192. 1964.
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30Multinationals, local practice, and the problem of ethical consistencyJournal of Business Ethics 1 (3). 1982.The business practices of multinational corporations raise many provocative moral issues and offer a touchstone for some fundamental ethical concepts. This essay identifies a wide range of problems but centers on the matter of consistency in corporate policy between foreign and domestic practices and the kind of generality of standards that is required to achieve consistency. Two considerations are singled out for illustrative discussion: wage scales and bribes. Proposals are offered for achievi…Read more
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3T. Brunius' "Theory and Taste: Four Studies in Aesthetics" (review)Philosophy and Phenomenological Research 31 (4): 615. 1971.
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8335The 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
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12V. Tejera's "Art and Human Intelligence" (review)Philosophy and Phenomenological Research 29 (2): 307. 1968.
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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
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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.
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195Notes 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
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Introduction: The aesthetics of natureIn Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments, Broadview Press. pp. 11--42. 2004.
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1S. Moser's "Absolutism and Relativism in Ethics" (review)Philosophy and Phenomenological Research 29 (3): 465. 1969.
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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.
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33M. Lipman's "What Happens in Art" (review)Philosophy and Phenomenological Research 28 (3): 449. 1968.
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332The 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
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3R. J. Roth's "John Dewey and Self-Realization" (review)Philosophy and Phenomenological Research 24 (4): 588. 1964.
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8Thomas Munro's "Form and Style in the Arts: An Introduction to Aesthetic Morphology" (review)Philosophy and Phenomenological Research 33 (4): 581. 1973.
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205The Eighteenth Century Assumptions of Analytic AestheticsIn T. Z. Lavine & V. Tejera (eds.), History and Anti-History in Philosophy, Transaction Publishers. pp. 256--274. 1989.Although artistic activity has been a major social phenomenon in the western world, aesthetics has not always reflected the changes in techniques, processes, themes and uses through which the arts have developed and had their effect. Theory most often comes after the fact, and properly so. Yet aesthetics in its history has not only displayed an unfitting hubris, with thinkers attempting to legislate about style, suitability and materials to the artist; aesthetics has also lagged far behind the l…Read more