| Lev Kreft |
Dandy Socialism |
1-23 |
| Robert Elliot Allinson |
An Aesthetic Theory in Four Dimensions: Collingwood and Beyond |
24-37 |
| Cécile Angelini |
How to Judge a Work of Art Today? Contemporary Echoes of Kantian Aesthetics |
38-64 |
| Emanuele Arielli |
Notes on the Self- Manipulation of Taste |
65-78 |
| Zsolt Bátori |
Categories of Photography |
79-88 |
| Rudi Capra |
Botturas Not-roast Guineafowl. Three Arguments Supporting the Artistic Status of Cuisine |
89-103 |
| Stephen Chadwick |
Artistic Astronomical Photographs and Representation |
104-121 |
| Damla Dönmez |
The Environmental Sublime: From Aesthetics to Ethics |
122-145 |
| Petteri Enroth |
The Cruelty of Form? Notes on the Social-Theoretical Aspects of Adornos Aesthetics |
146-163 |
| Jonathan Fine |
Beauty Before the Eyes of Others |
164-176 |
| Eran Guter |
Toward an Aesthetics of New-Media Environments |
177-189 |
| Peter Hajnal |
Medium and Materiality: Stanley Cavells Navist Theory of Art |
190-246 |
| Xiaoyan Hu |
The Notion of Qi Yun (Spirit Consonance) in Chinese Painting |
247-268 |
| Gioia Laura Iannilli |
Everyday Aesthetics: Institutionalization and Normative Turn |
269-287 |
| Jèssica Jaques |
A Philosophical Reading of Brillat-Savarins ‘The Physiology of Taste’ |
288-304 |
| Ancuta Mortu |
Marginal Attention and the Aesthetic Effect of Inconspicuous Art |
305-319 |
| Caterina Moruzzi |
An Alternative Account of the Ontology of Musical Works: Defending Musical Stage Theory |
320-335 |
| Vítor Moura |
Testing the Blending |
336-353 |
| Néill O’Dwyer |
Death and Ecstasy: Reflections on a Technological Sublime |
354-376 |
| Michael O’Hara |
Tracing the Invisible |
377-392 |
| Salvador Rubio Marco |
Expressiveness, Ineffability, and Comparisons |
393-403 |
| Gabriele Schimmenti |
The Young Marx between the End of Art and the Future of Art |
404-416 |
| Pioter Shmugliakov |
Heideggers Conception of Art and Cavells Hollywood |
417-431 |
| Niklas Sommer |
Beauty, Grace and Morality in Schiller’s On Grace and Dignity |
432-442 |
| Paul Stephan |
Nietzsches Non-Aesthetics. Nietzsches Radical Critique of Traditional Aesthetics |
443-470 |
| Alexander Stern |
Aboutness and Aura: Toward a Benjaminian Critique of Danto |
471-479 |
| Elena Tavani |
Image Character in Installation Art Practices |
480-493 |
| Enrico Terrone |
To Be Assessed. Peter Strawson on the Definition of Art |
494-514 |
| Cristina Travanini |
Aesthetic Value Judgements and the Challenge to Objectivity |
515-526 |
| Connell Vaughan |
Statecraft: Vandalism and Iconoclasm in the Digital Age |
527-544 |
| Iris Vidmar |
Challenges of Philosophical Art |
545-569 |
| Alberto Voltolini |
Seeing-in Is Not Seeing-Through |
570-590 |
| Tanya Whitehouse |
Ruin Porn and the Change in Function of Ruined Architecture: An Analysis |
591-624 |
| Ken Wilder |
Michael Hanekes ‘Caché (Hidden)’ and Wolfgang Iser’s ‘Blank’ |
625-636 |
| Zsófia Zvolenszky |
Fictional Names, Rigidity, and the Inverse-Sinatra Principle |
637-650 |
