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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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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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“Mind the Gap”

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

Jane Stadler

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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Murray Smith

Aesthetic ( 2017 ; henceforth HA)? 1 Certainly, the history of film criticism provides us with a storehouse of writing on the aesthetics of Hollywood. But—virtually by definition—such critical writing is concerned with these aesthetic phenomena in a first

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Todd Berliner

Aesthetic that reflects a distinct approach to film scholarship: philosophical aesthetics, psychology, reception studies, and the aesthetic analysis of Hollywood narrative and style. Each respondent has, in her or his own way, spoken to the capacities

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The Aesthetics and Publics of Testimony

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

Eray Çaylı

Physical environments and their images feature increasingly prominently today in efforts to contend publicly with political violence, making aesthetics ever-significant to discourses and practices of testimony. Critics have shown that the publicness of the platforms and practices used in these efforts is marked by disparate levels and types of participation and agency. Relatively underexplored, however, is how those disadvantaged by this disparity navigate it and what role aesthetics may play therein. I explore these questions through fieldwork on architectural memorializations of the 1993 Solingen arson attack where a family with Turkish background were targeted at home in their sleep. I argue that the arson attack has featured in these memorializations not simply as the subject of testimony but also as a force structuring its aesthetics.

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Why Looking at Objects Matters

An Argument from the Aesthetic Philosophy of Alexander Gottlieb Baumgarten

Adam Bencard

Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.