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James E. Cutting

. Across the succeeding literatures on aesthetics, arousal, and preference, the axes of this type of plot are given in many different ways. Berliner chose those from Berlyne (1960 , 1971 )—arousal potential on the horizontal axis and hedonic value, in

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

cinema debate revolved around whether an aesthetic of slowness produces an active form of spectatorship or if the films consisted of a complacent aesthetics that deployed long takes and dead time in an idiomatic and mannerist fashion (for a critical

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Laura T. Di Summa-Knoop

Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized

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Rodanthi Tzanelli

Environmental sustainability and ecological aesthetics experience a turbulent affair when academic language is replaced by an artistic register: can we articulate contemporary crises stemming from uncontrolled mobilities, such as hyper

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Rainer Reisenzein

In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to

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Melenia Arouh

The idea that the study of form is fundamental in the appreciation and evaluation of works of art has a long history in philosophical aesthetics. Aestheticians, even without explicitly embracing a formalist theory, often turn their attention to

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The Aesthetics and Publics of Testimony

Participation and Agency in Architectural Memorializations of the 1993 Solingen Arson Attack

Eray Çaylı

testimony but also as a force structuring its aesthetics. 1 Unlocking the progressive potential of the aesthetic politics of testimony, then, requires confronting and challenging the ways violence structures the material, spatial and visual means employed

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Beyond Revolution: Reshaping Nationhood through Senses and Affects

Myriam Lamrani

as new national narratives emerge. 3 The perceptual is here captured by the notion of aesthetics, a periscopic view of the modalities through which people make—quite literally—sense of their worlds. Focusing on the Greek original meaning of

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

he refers to as a naturalized aesthetics of film, which sees cinema as a technocultural product of fundamental human capacities related to perception, cognition, and emotion. Taking a biocultural approach that examines the interrelationship between

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“Pretty as a Picture”

The Aesthetics of the Picturesque in British Travel Accounts of Tunis (1835–1887)

Imene Gannouni Khemiri

expansion and economic exploitation (1993: 93). In this respect, the aesthetics of the picturesque, particularly as articulated in British travel writing, has increasingly come under intensified scrutiny ( Bohls 2015 ; Edney 1997 ; Pratt 1992 ; Spurr 1993