Books: 'Aesthetic values of the greenery'

1

Pawlowski, Tadeusz. Aesthetic Values. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2452-9.

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2

Pawłowski, Tadeusz. Aesthetic values. Kluwer Academic, 1989.

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3

H, Bailey Jackson, and Earlham College. Institute for Education on Japan., eds. Aesthetic & ethical values in Japanese culture. Institute for Education on Japan, Earlham College, 1990.

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4

India), Music Academy (Chennai, ed. Aesthetic and scientific values in Carnatic music. Parampara, 1997.

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5

Cons, Naham C. DAI--the dental aesthetic index. College of Dentistry, University of Iowa, 1986.

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6

Andrew, Edward. The genealogy of values: The aesthetic economy of Nietzsche and Proust. Rowman & Littlefield Publishers, 1995.

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7

Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-3561-6.

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8

Zōen, ed. Secret teachings in the art of Japanese gardens: Design principles, aesthetic values. Kodansha International, 1991.

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9

Slawson, David A. Secret teachings in the art of Japanese gardens: Design principles, aesthetic values. Kodansha International, 1987.

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10

Jenny, Joanna. Guidelines for using the DAI: A supplement to DAI--the dental aesthetic index. College of Dentistry, University of Iowa, 1988.

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11

Cronin, Catherine Anne. Are contemporary visual artists exchanging aesthetic values and meaningful content for shock tactics and sensation to gain instant acclaim and public attention. LCP, 2001.

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12

A, Bonn Mark, ed. Visitor profiles, economic impacts, and recreational aesthetic values associated with eight priority Florida springs located in the St. Johns River Water Management District. St. Johns River Water Management District, 2004.

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13

Shahbah, Mamdūḥ ʻAbd al-Jayyid. al-Qiyam al-jamālīyah wa-al-taʻbīrīyah fī manmanmāt al-manẓūmāt al-khamsah: Dirāsah naqdīyah taḥlīlīyah = The aesthetic and expressive values in miniatures of Khamsa of Nizami : analytical critical study. al-Majlis al-Aʻlá lil-Thaqāfah, 2016.

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14

Pawlowski, T. Aesthetic Values. Springer, 1989.

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15

Pawlowski, T. Aesthetic Values. Springer London, Limited, 2012.

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16

Aesthetic Values. Island Press, 1989.

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17

Pawlowski, Tadeusz. Aesthetic Values. Springer, 2011.

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18

Meynell, Hugo A. Nature of Aesthetic Value. Palgrave Macmillan Limited, 1986.

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19

Aesthetic & ethical values in Japanese culture. Institute for Education on Japan, Earlham College, 1990.

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20

The nature of aesthetic value. Macmillan, 1986.

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21

Novitz, David. Aesthetics of Popular Art. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0044.

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Questions about the aesthetic value and appreciation of popular art have only recently become an area of interest to Anglo-American aesthetics. This is curious, for the distinction between high and popular art — like that between high and popular culture, and between avant-garde art and mass art — is a familiar and longstanding one frequently drawn by critics, philosophers, and cultural theorists throughout the course of the twentieth century. It was extensively discussed by Marxist thinkers like Walter Benjamin, and was the stock-in-trade of the Critical Theorists Theodor Adorno and Max Horkheimer. Not just those two, but high-modernist philosophers and critics like R. G. Collingwood, Clement Greenberg, and Dwight MacDonald also made much of the distinction between ‘high’ and ‘low’ (or popular) art. Even so, it was a distinction that did not earn the serious attention of philosophical aesthetics until the penultimate decade of the twentieth century.

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22

D’Olimpio, Laura. The Necessity of Aesthetic Education. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350120938.

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The Necessity of Aesthetic Education is a manifesto. That which is experienced through engagement with art, through the many various and diverse art forms and media, is uniquely and essentially valuable to the lives of human beings. In order to fully appreciate and gain the most out of the arts, which offer a variety of aesthetic experience, there are concepts, skills and techniques integral to such understanding. In this book, Laura D’Olimpio argues that aesthetic education ought to be a compulsory part of education for all school-aged students, from pre-primary to high school, on the basis of its distinctive value. Such an argument is timely, given the so-called crisis in the arts and humanities, with declining student numbers in subjects that do not have a direct vocational correlative, and increased focus on science, engineering, technology and mathematics (STEM) subjects. As funding cuts increasingly slash the support for the arts, there is a need to argue for why the arts and arts education is valuable, for their own sake, as well as for the positive contributions they can and do make to society. Through critical engagement with a range of thinkers including Maxine Greene, John Dewey and Elliot Eisner, D’Olimpio offers a unique and important contribution to aesthetic education, and to research within philosophy of education.

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23

The genealogy of values: The aesthetic economy of Nietzsche and Proust. Rowman & Littlefield Publishers, 1995.

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24

Maanen, Hans van. How to Study Art Worlds: On the Societal Functioning of Aesthetic Values. Amsterdam University Press, 2010.

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25

Slawson, David A. Secret Teachings in the Art of Japanese Gardens: Design Principles Aesthetic Values. Kodansha, 1987.

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26

How to study art worlds: On the societal functioning of aesthetic values. Amsterdam University Press, 2009.

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27

Maanen, Hans van. How to Study Art Worlds: On the Societal Functioning of Aesthetic Values. Amsterdam University Press, 2009.

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28

Slawson, David A. Secret Teachings in the Art of Japanese Gardens: Design Principles, Aesthetic Values. Kodansha International, 1997.

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29

Slawson, David A. Secret Teachings in the Art of Japanese Gardens: Design Principles, Aesthetic Values. Kodansha America, Incorporated, 2017.

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30

Kāntayah̨ krāntayaśca =: Flashes and insights : creative-critical writings on the Indian aesthetic and spiritual values. V.A. Sarma, 2002.

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31

Berliner, Todd. Ideology, Emotion, and Aesthetic Pleasure. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0007.

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Chapter 7 examines the ways in which a film’s ideological properties contribute to aesthetic pleasure when they intensify, or when they complicate, viewers’ cognitive and affective responses. The chapter demonstrates the ways in which the ideology of a Hollywood film guides our beliefs, values, and emotional responses. In ideologically unified Hollywood films, such as Die Hard, Independence Day, Pickup on South Street, and Casablanca, narrative and stylistic devices concentrate our beliefs, values, and emotional responses, offering us a purer experience than we can find in most real-life situations. By contrast, ideologically complicated Hollywood films, such as Chinatown, The Third Man, Invasion of the Body Snatchers, The Last Temptation of Christ, and The Dark Knight, advance their worldviews in a novel, ambiguous, or peculiar way, upsetting our appraisals of events and characters and complicating our intellectual and emotional experiences.

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32

Cochrane, Tom. The Aesthetic Value of the World. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192848819.001.0001.

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In this book, Tom Cochrane defends Aestheticism—the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. Cochrane grounds his account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as Appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious.

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33

Brady, Emily. Aesthetic Value, Nature, and Environment. Edited by Stephen M. Gardiner and Allen Thompson. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199941339.013.17.

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This chapter discusses key issues and questions about aesthetic experience and valuing of natural objects, processes, and phenomena. It begins by exploring the character of environmental, multisensory aesthetic appreciation and then examines the central debate between “scientific cognitivism” and “noncognitivism” in contemporary environmental aesthetics. In assessing this debate and the place of knowledge, imagination, and emotion in aesthetic valuing, it is argued that non-cognitive approaches have the advantage of supporting a critical pluralism that recognizes the variety and breadth of aesthetic engagement with nature. Interactions between aesthetic and ethical values are also discussed, especially with respect to their role in philosophical positions such as “aesthetic preservationism” and the call for developing aesthetic theories that are consistent with environmentalism.

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34

Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs: Beyond Red, Green and Blue. Springer, 2017.

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35

Zhang, Xiaoyan, Martin Constable, Kap Luk Chan, Jinze Yu, and Wang Junyan. Computational Approaches in the Transfer of Aesthetic Values from Paintings to Photographs: Beyond Red, Green and Blue. Springer Singapore Pte. Limited, 2018.

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36

Lawrence-Zúñiga, Denise. Contesting the Aesthetic Construction of Community. Edited by Angela M. Labrador and Neil Asher Silberman. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190676315.013.7.

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This chapter considers community conflicts arising over the aesthetic character of homes when advocates use government policies and regulations to impose historic preservation values. Historic preservation is organized as a cosmology that values and seeks to restore original architectural forms as representations of history. Homeowner advocates for preservation are motivated by their own home restoration experiences with material agency, while local municipalities employ “aesthetic governmentality” techniques with graphic codes to help shape homeowner perceptions and change aesthetic norms. Conflicts in two southern California cities illustrate how preservationist residents use regulations to actively protect houses against remodels by “uninformed” homeowners. In another city, affluent Chinese immigrants propose mansion-sized remodels of bungalow houses as a counter aesthetic to preservation. Each aesthetic promotes a distinct but also contrasting moral suburban landscape.

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37

Cleere, Eileen. Sanitary Arts: Aesthetic Culture and the Victorian Cleanliness Campaigns. Ohio State University Press, 2014.

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38

Kanth, Rajani. Post-Human Society: Elemental Contours of the Aesthetic Economy of the United States. de Gruyter GmbH, Walter, 2016.

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39

Kanth, Rajani. Post-Human Society: Elemental Contours of the Aesthetic Economy of the United States. de Gruyter GmbH, Walter, 2015.

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40

Post-Human Society: Elemental Contours of the Aesthetic Economy of the United States. de Gruyter GmbH, Walter, 2015.

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41

The Sanitary Arts: Aesthetic Culture and the Victorian Cleanliness Campaigns. Ohio State University Press, 2014.

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42

The Sanitary Arts: Aesthetic Culture and the Victorian Cleanliness Campaigns. Ohio State University Press, 2016.

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43

Tact: Aesthetic Liberalism and the Essay Form in Nineteenth-Century Britain. Princeton University Press, 2017.

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44

Sadler, John Z. Ethics and Values in Diagnosing and Classifying Psychopathology. Edited by John Z. Sadler, K. W. M. Fulford, and Werdie (C W. ). van Staden. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780198732372.013.20.

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Psychiatric diagnosis poses ethical problems because of stigma, the close relationship between personal identity and mental illness, the legal sanctions associated with regulating mentally disordered individuals, and the value-diversity associated with judgments of psychopathology. The ethics of diagnosis can be split into two aspects: first, that of the individual practitioner working with a patient, and second, the developmental process involved in describing psychopathology and classifications of mental illness. The first half of this chapter describes the ethical and aesthetic values involved in good diagnostic practice by clinicians, in reference to Pellegrino’s medical morality of helping/healing/caring/curing. The second half considers the ethics of developing classifications of psychopathology, focusing primarily on the American Psychiatric Association’s DSM manuals and examining them under the ethics lenses of the social aspects of the conduct of science, the ethical aspects of managing a nosological effort, and addressing conflicts between professional/service-oriented interests and selfish/guild interests.

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45

Visitor profiles, economic impacts, and recreational aesthetic values associated with eight priority Florida springs located in the St. Johns River Water Management District. St. Johns River Water Management District, 2004.

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46

Da zhong wen hua yan jiu: Cong shen mei pi ping dao jia zhi guan shi ye = A study on mass culture : from aesthetic criticism to the perspective of values. Ji nan da xue chu ban she, 2015.

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47

Baynes, Ernest Harold 1868-1925. Wild Bird Guests; How to Entertain Them; with Chapters on the Destruction of Birds, Their Economic and Aesthetic Values, Suggestions for Dealing with Their Enemies, and on the Organization and Management of Bird Clubs. Creative Media Partners, LLC, 2021.

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48

Lopes, Dominic McIver. Getting Practical. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827214.003.0003.

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While the main argument for the network theory of aesthetic value is that it better explains the facts about aesthetic activity than does aesthetic hedonism, the two theories share some common assumptions. Aesthetic evaluations are mental representations that attribute aesthetic values to items. Aesthetic acts are acts based on aesthetic evaluations. Aesthetic values figure in aesthetic reasons, which are practical reasons. That is, an aesthetic reason lends weight to the proposition that an agent should perform some act—an act of aesthetic appreciation, for example. Hence, one task for a theory of aesthetic value is to state what makes some values aesthetic. A second is to state what makes it the case that an aesthetic property figures in a reason that lends weight to what an agent should do. Aesthetic hedonism and the network theory offer only to explain the practical normativity of aesthetic value.

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49

Lopes, Dominic McIver. To Seize upon the Applause of the Heart. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827214.003.0004.

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The main argument for the network theory of aesthetic value is that it better explains the facts about aesthetic activity than does its rival, aesthetic hedonism. Aesthetic hedonism reduces aesthetic values to hedonic values, which naturally figure in practical reasons. That an item offers an agent pleasure is always reason for them to access the pleasure. Most philosophers add that aesthetic values are subject to a standard. On the best contemporary account, the standard is represented by an ideal aesthetic appreciator. An argument is given to explain why the standard represented by an ideal aesthetic appreciator is normative for all aesthetic agents. Finally, aesthetic hedonism befits a desire-based theory of value.

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50

Lopes, Dominic McIver. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827214.003.0001.

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Misgivings concerning the value of beauty are widespread. Outside the academy, beauty is often regarded as frivolous, and public support for aesthetic activities is often justified by appeal to their economic and cultural spillover effects, rather than their inherent value. Arts scholars who regard perceptions of beauty as contributing to oppressive social formations have come to emphasize non-aesthetic values in art. Meanwhile, philosophy has been stuck for some time with a consensus that aesthetic values are hedonic values—an item’s aesthetic value is its power to produce finally valuable experiences. The trouble is that aesthetic hedonism plays into misgivings about the value of beauty. A plan is laid out for working towards the network theory of aesthetic value as an alternative to aesthetic hedonism.

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Books on the topic 'Aesthetic values of the greenery'

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