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1

DAUER, FRANCIS. "ART AND ART CRITICISM: A DEFINITION OF ART." Metaphilosophy 21, no. 1-2 (1990): 111–32. http://dx.doi.org/10.1111/j.1467-9973.1990.tb00835.x.

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2

Rowe, M. W. "The Definition of `Art'." Philosophical Quarterly 41, no. 164 (1991): 271. http://dx.doi.org/10.2307/2220029.

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3

Szuba, Marzena. "THE DEFINITION OF THE CHLID UNDER ART. 3045 OF POLISH LABOUR CODE – IN COMAPARATIVE." Roczniki Administracji i Prawa 1, no. XVIII (2018): 379–90. http://dx.doi.org/10.5604/01.3001.0012.6010.

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The point of this article is an attempt to create a definition of the child, under article 3045 of polish labour code. For a purpose of this paper – firstly, there was presented a common definition of the child. Then, legal definitions existing in legal order – in international, eurepean and polish law – were systematized and discussed. After that, there was made a try – to present and solve the most important problems connected to the creation of child’s definition on the grounds of polish labour law. Finally, at the end of this arcicle there was created a definiton of the child under artice
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4

Andina, Tiziana. "What is Art?" Brill Research Perspectives in Art and Law 1, no. 2 (2017): 1–88. http://dx.doi.org/10.1163/24684309-12340002.

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Abstract‘What is art?’ is one of the classic questions that philosophy has addressed over the ages, from the ancients to today. Taking as its starting point debates over the various definitions of art found in history, this article presents and discusses some of the major theories offered by both the analytic and continental traditions. It then looks at the theoretical reasons that led twentieth-century philosophy to reopen the question of definition, and in many cases inquire into the ontology of art itself. Finally, a series of considerations are addressed to help shift the problem of defini
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5

Kreiner, Leslie Elizabeth. "Toward a Definition of Art." Art Education 46, no. 3 (1993): 7. http://dx.doi.org/10.2307/3193392.

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6

Haynes, Anthony Richard. "Jacques Maritain's Definition of Art." New Blackfriars 96, no. 1065 (2015): 527–41. http://dx.doi.org/10.1111/nbfr.12145.

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7

Jackson, Philip W. "Dewey's 1906 Definition of Art." Teachers College Record 104, no. 2 (2002): 167–77. http://dx.doi.org/10.1111/1467-9620.00159.

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8

Davies, Stephen. "First Art and Art's Definition." Southern Journal of Philosophy 35, no. 1 (1997): 19–34. http://dx.doi.org/10.1111/j.2041-6962.1997.tb00823.x.

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9

Kemp, Martin. "A fluid definition of art." Nature 429, no. 6991 (2004): 506. http://dx.doi.org/10.1038/429506a.

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10

Aagaard-Mogensen, Lars, and Dan Knaan. "Towards a Definition of Art." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 419. http://dx.doi.org/10.2307/429799.

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11

DUTTON, DENIS. "A Naturalist Definition of Art." Journal of Aesthetics and Art Criticism 64, no. 3 (2006): 367–77. http://dx.doi.org/10.1111/j.1540-594x.2006.00217.x.

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12

Kaye, Nick. "Live art: Definition and documentation." Contemporary Theatre Review 2, no. 2 (1994): 1–7. http://dx.doi.org/10.1080/10486809408568294.

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13

Fokt, Simon. "The Cultural Definition of Art." Metaphilosophy 48, no. 4 (2017): 404–29. http://dx.doi.org/10.1111/meta.12251.

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14

Monro, Gordon. "Emergence and Generative Art." Leonardo 42, no. 5 (2009): 476–77. http://dx.doi.org/10.1162/leon.2009.42.5.476.

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Emergence, the idea that in some sense more comes out of a system than was put in, is the holy grail of generative art. Yet emergence is a slippery concept. Originating in the philosophy of science, it has been taken up in systems theory, cognitive science and Artificial Life. As a consequence there are numerous definitions of emergence in the literature, but none well-suited to discussions of generative art. The paper reviews some existing definitions and proposes a new definition of generative-art emergence.
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15

Oppy, Graham. "ON DAVIES' INSTITUTIONAL DEFINITION OF ART." Southern Journal of Philosophy 29, no. 3 (1991): 371–82. http://dx.doi.org/10.1111/j.2041-6962.1991.tb00597.x.

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16

WILSON, DANIEL. "Can Levinson's Intentional-Historical Definition of Art Accommodate Revolutionary Art?" Journal of Aesthetics and Art Criticism 73, no. 4 (2015): 407–16. http://dx.doi.org/10.1111/jaac.12218.

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17

LUKICHEV, RUSLAN V. "CONCERNING THE ISSUE OF GENERATIVE ART CLASSIFICATION: DEFINITION OF CONCEPTS." ART AND SCIENCE OF TELEVISION 15, no. 3 (2019): 11–31. http://dx.doi.org/10.30628/1994-9529-2019-15.3-11-31.

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The article refers to the problem of generative art taxonomy as a complex interdisciplinary phenomenon and analysis of its key features. The generative art is a relevant cultural and artistic phenomenon in Russian and foreign art that emerged in the 1910s within Russian and West European avant-garde painters and received a new boost for development thanks to contemporary computer technologies. Based on the classification model proposed by foreign researchers, M. Boden and E. Edmonds, the author of this article identifies concepts like Generative Art (G-art), Computer Art (C-art), Interactive A
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18

주강원. "A study on legal definition of art." Journal of hongik law review 12, no. 1 (2011): 559–79. http://dx.doi.org/10.16960/jhlr.12.1.201102.559.

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19

AAGAARD-MOGENSEN, LARS. "Dan Knaän, Towards A Definition of Art." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 419–20. http://dx.doi.org/10.1111/1540_6245.jaac44.4.0419.

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20

Garner, Richard. "Blocker on the Definition of Primitive Art." Journal of Aesthetic Education 29, no. 3 (1995): 27. http://dx.doi.org/10.2307/3333536.

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21

김정현. "On Noël Carroll’s Definition of Mass Art." Journal of Humanities, Seoul National University 73, no. 1 (2016): 45–75. http://dx.doi.org/10.17326/jhsnu.73.1.201602.45.

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22

Hamada, Gaidaa. "Becoming Geisha: Art, Self-definition and Objectification." مجلة کلیة الآداب . حلوان 39, no. 1 (2016): 184–213. http://dx.doi.org/10.21608/kgef.2016.157790.

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23

Bartel, Christopher, and Jack M. C. Kwong. "Pluralism, Eliminativism, and the Definition of Art." Estetika: The European Journal of Aesthetics LVIII/XIV, no. 2 (2021): 100–113. http://dx.doi.org/10.33134/eeja.213.

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24

Carroll, N. "DANTO'S NEW DEFINITION OF ART AND THE PROBLEM OF ART THEORIES." British Journal of Aesthetics 37, no. 4 (1997): 386–92. http://dx.doi.org/10.1093/bjaesthetics/37.4.386.

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25

Bittner, Wiseman. "Contemporary Chinese art: Mao's legacy and Danto's definition." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 191–200. http://dx.doi.org/10.5937/saj1502191b.

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In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far rea
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26

Caixeta, Michele Caroline Bueno Ferrari, Patrícia Tzortzopoulos, and Márcio Minto Fabricio. "User involvement in building design – a state-of-the-art review." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 26, no. 48 (2019): e151752. http://dx.doi.org/10.11606/issn.2317-2762.posfau.2019.151752.

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This paper reports results of a systematic literature review on the definitions and levels of user involvement in the design process. Although many studies have highlighted the importance of user involvement for the quality of both process and final product, the term still lacks a clear definition and different models describe diverse involvement levels, which are detrimental to the advancement of knowledge in the area. The present study focused on the mapping of definitions of user involvement and comparisons of the different proposals of involvement levels for outlining a clear definition of
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27

Bajard, Flora. "The Unfinished Artification of Ceramics in France: Reversing Stigma and Creating a New Artistic Norm." Cultural Sociology 13, no. 3 (2019): 276–92. http://dx.doi.org/10.1177/1749975519852828.

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Ceramic artists emerged as a professional group in France in the second half of the 20th century by shunning industrial standards and basing their practice on the notion of singularity. They also reappropriated the craft legacy of the small pottery companies that began disappearing in the 1940s, embracing principles such as seriality and functionality, and defining a specific bundle of tasks. Ceramicists underwent a partial artification process, rendering their practice discordant with what institutionally and legally constitutes art, as well as diverging from the standard definition of craft.
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28

Felix, John. "Pengertian Seni sebagai Pengantar Kuliah Sejarah Seni Rupa." Humaniora 3, no. 2 (2012): 614. http://dx.doi.org/10.21512/humaniora.v3i2.3405.

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Until these days, for most people art is something that is abstract, hard to understand, and beyond their capability to understand. Every people asked about art will have their own opinion or definition about art, and these definitions are various to each other. For the student who is in the middle of class or course especialy the one that is related to art, the unpleasent impact of not knowing what is the meaning of art will be experienced in every class, especially in the History of Western Art, History of Indonesian Art or History of Graphic Design. Students who don’t understand the meaning
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29

Radojčić, Saša. "Talkable things: The work of art and the aesthetized objects." Kultura, no. 169 (2020): 363–76. http://dx.doi.org/10.5937/kultura2069363r.

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One of today's most influential definitions of the concept of the work of art comes from the American philosopher and art critic Arthur Danto. Danto says, in order to be a work of art, an artefact must (1) be about something and (2) embody its meaning. Many authors have criticized this definition, one of those being Noël Carroll, who gives examples of objects that are not works of art but meet the requirements of Danto's definition. One possible answer to this criticism is offered in this essay. It offers an understanding of the objects from Carroll's examples (and similar objects) as aestheti
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30

Lord, Catherine. "Indexicality, Not Circularity: Dickie's New Definition of Art." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 229. http://dx.doi.org/10.2307/431451.

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31

Opanasyuk, Alexander P. "To the Definition of the Intentional Art Style." Observatory of Culture, no. 3 (June 28, 2014): 4–10. http://dx.doi.org/10.25281/2072-3156-2014-0-3-4-10.

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Is dedicated to the definition of its typical features. The essence and content of this style is linked to the substitution of the dynamical principle by the extensive one in the processual existence of culture together with the formation of the intentional reflection with the cultural space. The latter simulates the related intentionally connotative senses and stipulates the appropriate style of cultural entity - the intentional style.
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32

Davies, Stephen. "A DEFENCE OF THE INSTITUTIONAL DEFINITION OF ART." Southern Journal of Philosophy 26, no. 3 (1988): 307–24. http://dx.doi.org/10.1111/j.2041-6962.1988.tb01673.x.

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33

Spooner, Heather. "Embracing a Full Spectrum Definition of Art Therapy." Art Therapy 33, no. 3 (2016): 163–66. http://dx.doi.org/10.1080/07421656.2016.1199249.

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34

LORD, CATHERINE. "Indexicality, Not Circularity: Dickie's New Definition of Art." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 229–32. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0229.

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35

Mora, Stephanie. "Delacroix's Art Theory and His Definition of Classicism." Journal of Aesthetic Education 34, no. 1 (2000): 57. http://dx.doi.org/10.2307/3333655.

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36

Stecker, Robert. "THE END OF AN INSTITUTIONAL DEFINITION OF ART." British Journal of Aesthetics 26, no. 2 (1986): 124–32. http://dx.doi.org/10.1093/bjaesthetics/26.2.124.

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37

Correia, Carlos João. "Susanne K. Langer and the Definition of Art." Eidos. A Journal for Philosophy of Culture 3, no. 1 (2019): 92–103. http://dx.doi.org/10.14394/eidos.jpc.2019.0007.

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38

Crowther, Paul. "Cultural Exclusion, Normativity, and the Definition of Art." Journal of Aesthetics and Art Criticism 61, no. 2 (2003): 121–31. http://dx.doi.org/10.1111/1540-6245.00100.

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39

Eflova, Zinaida. "The relevance of definition of «ungraded school»." Lifelong education: the XXI century 17, no. 1 (2017): 100–107. http://dx.doi.org/10.15393/j5.art.2017.3410.

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40

Arn, Christof. "Definition grundlegender ethischer Fachbegriffe." Therapeutische Umschau 66, no. 8 (2009): 569–74. http://dx.doi.org/10.1024/0040-5930.66.8.569.

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Die Ethik nutzt präzise Fachbegriffe zur Analyse von Dilemmasituationen. In diesem Beitrag werden anhand eines konkreten Fallbeispiels Grundbegriffe der Ethik eingeführt. Dabei lässt sich auch zeigen, in welcher Art und Weise diese Fachbegriffe die Problemwahrnehmung schärfen, den Lösungshorizont erweitern und die Kommunikation klären können. Der Beitrag endet mit einem Ausblick auf Möglichkeiten, sich mit ethischer Methodik vertiefter vertraut zu machen.
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41

Sieper, Joachim, and Désirée van der Heijde. "Review: Nonradiographic axial spondyloarthritis: New definition of an old disease?" Arthritis & Rheumatism 65, no. 3 (2013): 543–51. http://dx.doi.org/10.1002/art.37803.

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42

Straukaitė, Ieva. "G. DICKIE’O EKSTENSIONALISTINIO-INSTITUCINIO MENO APIBRĖŽIMO NEAPIBRĖŽTUMAS." Problemos 83 (January 1, 2013): 173–84. http://dx.doi.org/10.15388/problemos.2013.0.824.

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Šiuolaikinėje analitinėje meno filosofijoje viena pagrindinių problemų – ar įmanoma ir kaip įmanoma apibrėžti meną? Straipsnyje analizuojamas George’o Dickie’o institucinis meno apibrėžimas. Parodoma, kaip jis atsako į antiesencialistų argumentus, neigiančius meno apibrėžimo galimybę. Teigiama, kad meno apibrėžimą Dickie’s įrodinėja pasitelkdamas ekstensionalistinę metodologiją, kuria remdamasis meno ir ne-meno atskyrimo kriterijus aiškina kaip semantinius eksternalistinius, episteminius eksternalistiniusir normatyviai neutralius. Tvirtinama, kad Dickie’o suformuluotas institucinis meno apibrė
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43

Baek, Yun-so. "The Meaning of Humanism in the Definition of Art: Implications for Art Education." Journal of Basic Design & Art 21, no. 4 (2020): 143–54. http://dx.doi.org/10.47294/ksbda.21.4.11.

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44

Lasko, Jim. "Art Is the Antidote." Theatre Survey 57, no. 3 (2016): 452–55. http://dx.doi.org/10.1017/s004055741600048x.

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No matter the precise definition, whether it includes beauty and imagination or even the creation of an identifiable artifact, art has long been a measure of the health of any given civilization or epoch.
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45

Namazovna, Sultanova Dilshoda. "Harmony Of Art In Architecture Of Uzbekistan." American Journal of Social Science and Education Innovations 03, no. 05 (2021): 87–94. http://dx.doi.org/10.37547/tajssei/volume03issue05-16.

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The article describes the artistic features of harmonizing the visual and artistic means of Uzbekistan based on the analysis of theoretical sources and the practice of architecture. Also, the author's position on the definition of creation is outlined as a generalization of innovative tools in architecture, whose development is given taking into account national traditions in synthesis with modern trends.
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46

Morokawa, Rosi Leny. "Reflexões Acerca da Definição Estética de Arte de Monroe Beardsley." Philosophica: International Journal for the History of Philosophy 27, no. 53 (2019): 141–54. http://dx.doi.org/10.5840/philosophica2019275311.

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Monroe Beardsley presents an aesthetic definition of art in “An Aesthetic Definition of Art” (1983), in which he claims that there is a necessary connection between art and aesthetics. Beardsley proposes that a work of art is something made with the intention of having the capacity to satisfy an aesthetic interest. Noël Carroll claims that there are artworks created without aesthetic intentions and that some artworks do not have the capacity to provide aesthetic experiences. In addition, Carroll argues that there are artworks whose status of art is prior to the appreciation of these works as a
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47

Falekas, Georgios, and Athanasios Karlis. "Digital Twin in Electrical Machine Control and Predictive Maintenance: State-of-the-Art and Future Prospects." Energies 14, no. 18 (2021): 5933. http://dx.doi.org/10.3390/en14185933.

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State-of-the-art Predictive Maintenance (PM) of Electrical Machines (EMs) focuses on employing Artificial Intelligence (AI) methods with well-established measurement and processing techniques while exploring new combinations, to further establish itself a profitable venture in industry. The latest trend in industrial manufacturing and monitoring is the Digital Twin (DT) which is just now being defined and explored, showing promising results in facilitating the realization of the Industry 4.0 concept. While PM efforts closely resemble suggested DT methodologies and would greatly benefit from im
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48

Hosking, David. "Art Let Loose: Autonomous Procedures in Art-Making." Leonardo 52, no. 5 (2019): 442–47. http://dx.doi.org/10.1162/leon_a_01476.

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This paper proposes the term “autonomous procedures” as a general description of those methods that can be applied autonomously to making an artwork and “systems” as a more specific term for those autonomous methods that fall within the systems theory definition of systems. The text looks critically at the two major proposals for describing and classifying autonomous procedures: Philip Galanter's generative art and the notion of “open systems”; it then proposes a new description: recurrence. Finally it offers a short survey of artworks made using nonrecurrent procedures.
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49

Desa, Noor Enfendi, Syed Alwi Syed Abu Bakar, and Noor A'yunni Muhamad. "The Basis of Art Appreciation." Idealogy Journal 5, no. 2 (2020): 97–106. http://dx.doi.org/10.24191/idealogy.v5i2.231.

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This study revolves around identification of ways to observe or appreciate art since an artwork possesses its own aesthetic values which are related to a philosophy or an artist’s cognitive style in conveying the meaning behind an artistic piece. According to Kamus Dewan Edisi Ke-4 (2007), aesthetic is one of the branches of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art. In this research, the two main parts involved are the definition of terms and an analysis on artwork. Three components in definition of terms are describing art and style, art and
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50

Felson, David T., Jennifer J. Anderson, Maarten Boers, et al. "American college of rheumatology preliminary definition of improvement in rheumatoid arthritis." Arthritis & Rheumatism 38, no. 6 (1995): 727–35. http://dx.doi.org/10.1002/art.1780380602.

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