| Sérgio Pinto Amorim |
The Forms, the Architect, and the Act of Doing Architecture |
1-14 |
| Pedro Borges de Araújo |
Notes on Aesthetics in Architecture |
15-39 |
| Emanuele Arielli |
AI-aesthetics and the artificial author |
40-54 |
| Alessandro Bertinetto |
Habits of Unexpectedness. Expressiveness in Musical Improvisation (and Beyond) |
55-83 |
| Thorstein Botz-Bornstein |
Guilt and Shame: Ethics and Aesthetic |
84-93 |
| Gregorio Fiori Carones |
Simmel and the Aesthetics of Luxury |
94-109 |
| Veronika Darida |
The Aesthetics of Gesture |
110-123 |
| Harry Drummond |
Pitches and Paintings: A Conferralist Theory of Art |
124-138 |
| Hannah Fasnacht |
Different Levels of Narrative Pictorial Content |
139-166 |
| Anna Fech |
What’s the “New” in “New Extractivism”? Tracing Postdigital Aesthetics in Vladan Joler’s Assemblage |
167-184 |
| Stacie Friend |
Fiction, Belief and Understanding |
185-204 |
| Pablo Genazzano |
General Remarks for a Historical and Systematic Reconstruction of Kant’s Analytic of the Sublime |
205-216 |
| Jeffrey Goodman |
Should We Accept Fictional Universals? |
217-233 |
| Peter Hajnal |
Aesthetic Education and Embodiment: Notes Toward a Cavellian Approach |
234-251 |
| Sarah Hegenbart |
Democratic and aesthetic participation as imposition: On the aesthetics of the collective |
252-270 |
| Gizela Horváth |
Displaying Participatory Art |
271-284
|
| René Jagnow |
Multisensory Experience of Paintings |
285-304
|
| Lev Kreft |
Resentiment, Artivism and Magic |
305-315
|
| Efi Kyprianidou |
Moral disgust and imaginative resistance |
316-327
|
| Federico Lauria |
Values in the Air: Musical Contagion, Social Appraisal and Metaphor Experience |
328-343
|
| Leonardo Lenner |
From Concept to Image and Vice Versa: the Philosophical Frontispiece |
344-362
|
| Lukáš Makky |
Revisiting the concept of the end of art |
363-383
|
| Martino Manca |
For the Snark was a Boojum. Towards a Positive Aesthetics of Literary Nonsense |
384-395
|
| Sofia Miguens |
The many ways of doing philosophy of architecture (and what they tell us about contemporary philosophy and the place of aesthetics in it) |
396-405
|
| Davide Mogetta |
Between Art and Philosophy. Patterns of Baxandall’s Criticism |
406-418
|
| Francisca Pérez-Carreño |
Fiction as Representation. Or the Verbal Icon Revisited |
419-430
|
| Dan Eugen Ratiu |
Objects at Work: How Do Artefacts Work Aesthetically in Everyday Organizational Life? |
431-457
|
| Matthew Rowe |
The Implications of Mistakes About Art: Ontological and Epistemological |
458-470
|
| Merel Semeijn |
Common Belief and Make-believe |
471-485
|
| Thomas Symeonidis |
On the different meanings of aestheticization |
486-496
|
| Małgorzata A. Szyszkowska |
The Impression of Music: Edmund Gurney’s ideas about music in The Power of Sound |
497-510
|
| Elettra Villani |
Aesthetic versus functional: overcoming their dichotomy in T. W. Adorno’s Functionalism today |
511-521
|
| Andrew Wynn Owen |
Does a plausible construal of aesthetic value give us reason to emphasize some aesthetic practices over others? |
522-532
|
| Giulia Zerbinati |
The Truth of Art. A Reflection starting from Hegel and Adorno |
533-541
|
