http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
Bence Nanay explores how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and experience. He focuses on the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics.
Cover; Aesthetics as Philosophy of Perception; Copyright; Dedication; Contents; Acknowledgments; List of Figures; 1: Aesthetics; 1.1 Aesthetics versus Philosophy of Art; 1.2 Perception; 1.3 Product Differentiation; 2: Distributed Attention; 2.1 Varieties of Aesthetic Experience; 2.2 Disinterested Attention; 2.3 Distributed versus Focused Attention; 2.4 The Importance of Aesthetic Attention; 2.5 Aesthetic Attention and Aesthetic Experience; 3: Pictures; 3.1 Picture Perception; 3.2 Canvas or Nature?; 3.3 The Twofoldness Claim; 3.4 Picture Perception versus the Aesthetic Appreciation of Pictures
3.5 From Twofoldness to Threefoldness3.6 The Three Folds; 3.6.1 The picture surface (A); 3.6.2 The three-dimensional object visually encoded in the surface (B); 3.6.3 The depicted object (C); 3.7 Distributed Attention and the Aesthetic Appreciation of Pictures; 3.8 Twofoldness versus Threefoldness; 4: Aesthetically Relevant Properties; 4.1 Attend or Ignore?; 4.2 Aesthetic Properties; 4.3 Aesthetically Relevant Properties; 4.4 Aesthetically Relevant Properties versus Aesthetic Properties; 4.5 Perceiving Aesthetically Relevant Properties
4.6 The Perceptual Impact of Aesthetically Relevant Properties5: Semi-Formalism; 5.1 Attend or Ignore (Again)?; 5.2 Formalism; 5.2.1 Formal properties as intrinsic properties of the picture surface; 5.2.2 Formal properties as plastic volumes; 5.3 Why Formalism?; 5.4 Semi-Formalism; 5.5 The Advantages of Semi-Formalism; 5.5.1 Semi-formalism inherits at least some of the formalist intuitions; 5.5.2 Semi-formalism is not obviously false; 5.5.3 Semi-formalism is not vacuous; 5.6 Semi-Formalism about Nonpictorial Art; 6: Uniqueness; 6.1 What Uniqueness? The Uniqueness of What?
6.2 Uniqueness as an Ontological Claim6.3 Uniqueness and Aesthetic Particularism; 6.4 Uniqueness and Aesthetic Experiences; 6.5 Uniqueness and Distributed Attention; 6.6 Innocent Eye versus Unprompted Eye; 7: The History of Vision; 7.1 In Favor of the History of Vision Claim; 7.2 Against the History of Vision; 7.3 Attempts at a Compromise; 7.4 Clarifying the History of Vision Claim; 7.5 Does Attention Have a History?; 7.6 The History of Visual Attention; 7.7 The History of Twofold Attention; 7.8 Cross-Cultural Variations in Attention; 8: Non-Distributed Attention; 8.1 Attentional Synchrony
8.2 Vicarious Experiences8.3 Identification and Character Engagement; 8.4 Epistemic Asymmetry Scenarios; 8.5 The Challenge from EpistemicAsymmetry Scenarios; 8.5.1 Character engagement as imagining from the inside; 8.5.2 Character engagement as sympathy; 8.5.3 Character engagement as direct perception; 8.5.4 Character engagement as mirror neuron activation; 8.6 Vicarious Experiences and Epistemic Asymmetry Scenarios; 8.7 Character Engagement beyond the Visual Arts; 8.8 Distributed and Non-Distributed Attention; References; Index
Includes bibliographical references and index.